Latest Posts by phaespxria - Page 2

Staff Pick of the Week

My staff pick is The Life and Death of Jason, a Metrical Romance by William Morris with decorations by Maxwell Armfield. This edition was published by Dodd, Mead and Company in New York in 1917.

William Morris was born on March 24, 1834 in Walthamstow, near London, England. He was known for being a being a leader in the Arts & Crafts movement, a socialist activist, and for founding the Kelmscott Press in 1891 which helped kick start the contemporary fine-press movement. Morris was also a poet and author, and his poem The Life and Death of Jason was first published in 1867. It chronicles the exploits of the Greek mythological hero Jason, leader of the Argonauts, and his quest for the Golden Fleece. Morris was a follower of the Pre-Raphaelite Brotherhood, and worked closely with the artist Edward Burne-Jones who illustrated several Kelmscott Press books, including the 1895 edition of The Life and Death of Jason.

I chose this 1917 edition of The Life and Death of Jason, printed 21 years after the death of William Morris in 1896, because of Maxwell Armfield’s wonderful illustrations. Maxwell Armfield was a British artist and writer who was trained in Arts and Crafts principles. I first came across Armfield’s Jason early in my time at Special Collections when I worked as undergraduate assistant shelving books in the department. Now several years later and much wiser about William Morris’s lasting legacy, I really see the connection of this book has with earlier editions even though it is aesthetically very different. This is made clear in Maxwell Armfield’s “Note on the Drawings” which precedes the text:

“In the case of an epic, one feels, I think, that the important quality of the décor should be unity not so much with the ideas of the text as with the book as book, and unity also within itself.

This point of view must consider the embellishment not so much as illustration proceeding from the text as a continuation of the binding and page purposing to present the text to the eye; or as commentary on certain aspects of the matter not necessarily touched on at all by the author.”

This holistic approach to book design is very much in line with Morris’s principles, even if the illustrations are more modern in appearance than the Kelmscott Press’s medievalist aesthetic.

For an even deeper dive into Maxwell Armfield’s artistic interpretation of The Life and Death of Jason, I recommend the article: Illustrating Morris:The Work of ]essie King and Maxwell Armfield by Rosie Miles published for the Journal of William Morris Studies in 2004.

View more posts about William Morris.

–Sarah, Special Collections Graduate Intern

both the iliad and odyssey plus trojan women should be required reading before you odysseus post

Πέμπτη Μεσοῦντος/ Πέμπτη ἐπὶ δέκα / Πεντεκαιδεκάτη, XV day From today’s sunset: fifteenth day of Maimakterion. The fifteenth of the month is always sacred to Athena. “Shun the fifth days: i.e. the lunar days. Shun all the fifth days.” (A woman- Cassandra?- embraces the statue of Athena; from Tanagra, 400 BC–323 BC, Besques-Mollard, Simone 1950 Tanagra. Braun & Co., Paris, France. (5-9)

🏺🌊Beach pottery🌊🏺

he was right to fear the helmet: it makes it impossible to tell father from foe.

The last image was the first image and only one I meant to make. starting thought (that I don't think I communicated well tbh): "A shot looking up the walls of Troy where Odysseus is dangling Astyanax from the top by his heel, reminiscent of Thetis dipping Achilles, ready to plunge him into his namesake, the river Scamander, brimming with Trojan blood below, while the Achaeans watch in expectation. And the walls are cyclopean, of course!"

you know. standard classicist mental illinois.

maybe one day i'll be better at art and think of a better way to communicate that concept? dipping the baby in the river to cement his legacy? idk. i'll probably come back to it someday.

Pelops and his ivory shoulder

“τέτλαθι δή, κραδίη: καὶ κύντερον ἄλλο ποτ᾽ ἔτλης.”

— Homer, Odyssey 20:18 “Take courage, my heart: you have been through worse than this.” “Be strong, saith my heart; I am a soldier; I have seen worse sights than this” (via antiquedroman)

homophrosyne

I wanted to adapt one of my favorite scenes from the Iliad into a comic ✨ the dialogue borrows and takes direction/inspiration from various translations, although pacing, general flow of the words, and page space got the final say in what I ultimately ended up deciding to letter.

(Iliad, book 20, trans. fagles)

(same scene, trans. lattimore)

society6 | ko-fi | redbubble | twitter | deviantart

queen of ithaca :D

A little reel :D got the go ahead to post it hehe

🎵 guess who finished the argonautica by apollonius of rhoooodes 🎵

the peter green translation served me well and i enjoyed the sizable commentary section, although it probably influenced my interpretation more than i'd like for a first read (green is VERY opinionated and also hilariously bitchy about scholars he disagrees with. the first time i've read such a sarcastic translator's commentary!)

BUT ANYWAY THE EPIC ITSELF:

iiiii have never felt this much anxiety reading an epic before?? there's an ambiguity and sense of danger in this poem's events that aren't necessarily WORSE than in other epics, but there's a feeling that i can't... actually trust the heroes involved. the argonauts are rowdy and reactive, and jason is NOT able to take charge of them -- he shrinks away and goes silent whenever his leader position is called into question. the mob rules, whoever shouts the loudest (often telamon!) in any given situation gets to decide, no thought of consequences.

or maybe reading about a main character who wants to do great things but suffers from debilitating conflict avoidance is a little too real. agh.

(and it's not like the thebaid! you can't trust the heroes in the thebaid either but their hubris and egos makes them PREDICTABLE. there's something unnervingly ambiguous and potentially unsafe about jason and his argonauts, even though they never get up to anything truly horrible. in this version anyway)

jason is incredibly intriguing -- even at his most unlikeable. it's like he tripped and fell into a story he doesn't belong in, he's so awkwardly miscast as a great greek hero and can't live up to the poem's own hype. he's described as heroic at every turn even when he's not actually being heroic, like in an INCREDIBLE passage as he fights the dragon teeth warriors and he's said to "valiantly hide behind his shield". LOOK AT THAT PHRASE!! HE'S BRAVELY COWERING. incredible writing. apollonius is genuinely a master of subtle sarcasm throughout.

like it says a lot that there are MANY variations of the line "but Jason, eyes fixed on the ground, sat there speechless, unmoving, at a loss in this crisis". and baby there are a lot of crises in an epic...

also maiden-coded jason still makes me vibrate! his frequently downcast gaze, his shy passivity, how delicately his body is described, the way he is a sexual object to pursue instead of the pursuer, how unusually tactile he is... one of the most memorable parts to me is when he finally gets the golden fleece, and what does he do? he doesn't raise it above his head in triumph, he doesn't wrap it around himself like a glorious cape and stride to address his men. he disengages completely and, spellbound, pets it and caresses it and combs his fingers through it in almost erotic delight. just. immediate zoned-out personal gratification, we're hitting masturbation parallels, no other greek hero would DO that!

which also makes it interesting that they use the fleece as bedding for their wedding night. i wonder which one jason enjoys lying with most, medea or the fleece...?

yeah so when medea appeared suddenly allllll my affection for jason evaporated. i'm not one of those "yay medea butchering her children is girl power actually!!" girlies (that's five hundred times too reductive a way to engage with a greek tragedy for me), i was prepared for whatever kind of medea apollonius would give me, but WOW SHE IS SO INCREDIBLY SYMPATHETIC (and intentionally so, see how she isn't even the one to kill her brother in this), she is SO ill-treated here. it's SHE who undoubtedly is the gods' plaything in this, not jason!

like how HORRIBLE her experience of being obsessively in love is! (turns out getting shot by eros' arrow is a psychological and emotional NIGHTMARE!!) how painfully aware she is of her own irrationality, how intense her inner life is. at one point she thinks so much about jason all night that she self-induces a (shockingly realistically described) migraine! she loves him so much she wants to kill herself instead of feeling something so intense and unpleasant and overwhelming. JESUS CHRIST it's so evocative.

she torches her whole life, her own safety, her own family for jason, and all he can do (after a lot of pushing) is murmur vague promises. it's HEARTBREAKING the utter helplessness she accepts to live in for him. there is no safety net for her, no way to regain safety if things go wrong (and you are so painfully aware that things WILL go wrong)

generally the argonautica feels more closely related to the odyssey than any of the other epics i've read. not just all the sailing, but the centrality of magic, and of course visiting a lot of the same places -- including the court of alcinous and arete before they had nausicaa (and arete is already the one in charge!)

more moments i keep thinking about:

that first lovely glimpse of the inherent dysfunction of the expedition as the argonauts have gathered for the first time ready for departure, and jason delivers a speech like "men! now that *I*, jason son of aeson, have arranged MY glorious expedition so that *I* can find the glorious fleece and win MY kingdom back, who do we all figure should be captain? 😉" and all the argonauts immediately start chanting "HE-RA-CLES! HE-RA-CLES! HE-RA-CLES!" it's so funny

heracles' role is generally so amazing, what contrast he offers! because HE IS the old-school hero who can do anything, fight any enemy, who has everyone's ear (if not respect -- he seems to be a LOT to handle, even for the other argonauts), who can LEAD. but they FORGET HIM ON AN ISLAND AND LEAVE HIM BEHIND, and now jason, tripped-and-fell-into-epic-heroism jason!, gotta be fully in charge and timidly face every obstacle himself.

i genuinely didn't know hylas getting abducted by the nymphs was from this myth! AND HE'S HERACLES' LOVER, actually the eromenos to heracles' erastes?? and heracles LOSES HIS SHIT TO AN ANIMALISTIC DEGREE at the loss of hylas. this is why none of the other guys brought along their boytoys, dude, this is a disaster.

i REALLY appreciated the introductory rollcall of EVERY argonaut (even if half of them were never mentioned by name again). i always wish we had something like that for odysseus' main crew in the odyssey. it's nice having that overview.

one of the most memorable glimpses into the lives of the gods i've read: eros and ganymede in the garden, playing knucklebones together under the shade of flowering trees and they're both so youthful and so inhumanly beautiful and the scene is so idyllic -- and then aphrodite stomps in and immediately snaps at her son "what are you grinning at, you unspeakable little horror?" she HATES that spoiled teen. it's zeus and ares all over again.

speaking of gods, that one time the argonauts make landfall, and in the distance they see apollo just walking across the land (each footstep thundering) and they're scared stiff and just wait until he's fully passed by... and then can finally get on with their business. no followup, no consequences, just a random incident to freak them out. it reads like an animal encounter, like they saw a huge bear on a hike, i'm obsessed.

i got jumpscared any time the text mentioned "the son of oineus". i'm like WHAT. TYDEUS?? but no, meleager's here, it's fine.

as i mentioned, jason is the one who murders absyrtus (although medea isn't uninvolved) but i'm particularly fascinated by how neutrally we're told about the rituals he performs to not be cursed for it. like there's our wondrous hero, cutting off his murder victim's hands and feet, lapping up the blood and spitting it in the corpse's mouth three times. all done, welp, time we were on our way!

circe can see at first glance that she and medea are related because they both have the sun god's golden eyes, i love that!. and THEN THEY SPEAK TO EACH OTHER IN COLCHIAN, WHICH JASON DOESN'T SPEAK. he's sitting right there and i love that he doesn't understand what these incredibly powerful women are talking about.

obsessed with how jason is described as "walking like the morning star" (bright, promising, bringing good fortune) on lemnos and is then likened to a star of destruction and woe as he's about to meet medea for the first time. aaaaa it's so good.

the argonauts being challenged to a boxing match, and I GUESSED CORRECTLY that they would choose polydeuces as their champion!! i am embarrassingly proud actually. i did not know there was a boxing match (to the DEATH) in the argonautica but i KNEW polydeuces was famous for his boxing.

also i love that when they get to the garden of the hesperides it's a WRECK because heracles was there THE DAY BEFORE!!!! what an incredible sense of time and place, only seeing the IMMEDIATE AFTERMATH of the labours of heracles.

it's so WEIRD when the argonauts get to libya and they're out of supplies so they all just immediately give up and cry and hug and lie down in the sand to die. until the local goddesses come like "JESUS ARE YOU FOR REAL WHY THE FUCK ARE YOU GIVING UP NOW. GET GOING FOR FUCK'S SAKE."

oh ancient texts, i will never get used to your incestuous dreams of good fortune (no it's GOOD that he cried with shame for passionately fucking his daughter in his dream, that's a very lucky dream to have apparently).

and then apollonius just signs off like "yeah i know they're not home yet but i promise nothing interesting happened after this point. THE END." like he's just NOT gonna touch whatever fuckery happens after, you wanted the argonauts well you GOT the argonauts.

Hey friend,

Just curious about some greek retellings you like? I tried to get through 'Clytemnestra' by constaza casti but even the first few chapters felt so anachronistic and out of character I returned the book.

i love till we have faces by c.s. lewis. not encouraging to me that no one** has come up with anything better in that vein (that is, "more or less straightforward retelling from an overlooked female character's perspective") since a white english man in the 50s.

**no one i've READ YET, i should say

but if you step away from the formula of narrative fiction, there's good stuff! denis o'hare and lisa peterson's "an iliad" and derek walcott's "the odyssey" are both interesting plays. of course, my beloved hadestown. alice oswald's poems "memorial" (drawn from the iliad) and "nobody" (drawing much more loosely on the odyssey) are [kisses fingers]. in louise glück's poetry collection meadowlands, she uses the odyssey throughout as a way of exploring marriage and parenthood; it's excellent. the lost books of the odyssey is a short story collection by zachary mason; like most short story collections, i found it very mixed, but it has a few stories i've returned to again and again.

Do you have any article related to the odyssey you'd reccommend as complementary to the source?

sorry i've been sitting on your ask for so long! i am not and never have been a classics student; i came across most of these articles incidentally or here on tumblr:

"the odysseys within the odyssey" by italo calvino

"a note on memory and reciprocity in homer's odyssey" by anita nikkanen

"penelope and the poetics of remembering" by melissa mueller

"a glossary of haunting" by eve tuck and c. ree (this is mostly about horror fiction and settler-colonialism but it has a gloss on the cyclops that i think everyone, certainly everyone american, should read)

silence in the land of logos by silvia montiglio chapter 8: "silence, ruse, and endurance: odysseus and beyond"

"the name of odysseus" by g.e. dimock, jr.

also ok it's very much not "good" but there's an article by w.b. stanford called "personal relationships" that just lists all his hot takes about the relationships in the odyssey for 25 pages. it reads just like scrolling the blog of a mutual twice removed. they let men publish ANYTHING in the 60s. i love this essay. i would read this essay out loud over discord right now if someone asked me.

sketch

glorious evolution

man of progress

only you.

The Muppets as Goncharov (1973)

the only goncharov remake I want is a muppets version

just giving up on the idea that i might finish ANYTHING this week. cassandra and iphigenia etc

The Green Knight

twenty years across the sea

Gaston de Latenay, Nausikaa scans by Book Graphics blogspot/2014

Ancient Greek culture/mores for deceit and archery is like

Male-coded intelligence vs. female-coded trickery, FIGHT

Male-coded intelligent warfare (fighting from afar is smart and minimizes injury so you can do more of it) vs. female-coded fighting from afar because of trickery and cowardice in not standing up to close combat, FIGHT

Myth-wise, then you've on the one hand got all those female characters resorting to trickery to achieve their aims (Hera, Klytaimnestra, for example) = bad. And on the other hand you've got characters like Odysseus, where the deceit of the wooden horse, which would be the modern-day war crime of perfidy, is smart and good.

And you've got instances like an author writing a dialogue between Chiron and Achilles, where Achilles is scorning archery for being a cowards' method of combat and Chiron rebuking him that it's smart fighting. And in extension/connection, we've got Odysseus who is archery-coded (even if he does not do any archery in the war, at least in our surviving source(s)), and, in the Odyssey, using it to win the day, contra Paris, our ur-example of ~bad coward archer~

Rose O'Neill knew what was up

its not about fuckin. problematic romance or whatever the myth isn’t ABOUT romance it’s about demeter and persephone’s separation. death took her child and her heart broke. The world withered from her grief. its okay if you all hate your moms and wanna run away with a guy with face tattoos or whatever the fuck but making demeter the antagonist to a forbidden romance plot means you’re illiterate sorry

penelope didn't have to turn the tree bed into a riddle. she could have asked odysseus to prove his identity, to tell her something only he would know — which she actually did a few books earlier, when she asked the beggar to describe odysseus, and odysseus told her about a purple cloak with a particular golden brooch that she fastened herself twenty years ago. when penelope tells telemachus they have signs by which they'll know each other, you sort of expect more of the same. and instead, she decides to trap him. like a bug in a cup.

and it's delightful to me, idk, how odysseus has been trapped and cornered in various way throughout the odyssey, but arguably never so that he has to tell the truth to get out. (with the phaeacians, maybe? the omniscient narrator corroborates some of what he tells them, but do we really know everything?) and in fact he is not trying to get free of penelope. he wants something from her, wants to convince her, wants to be welcomed home, but until this point he's lied to her, revealed himself to other people before her, and been distant with her (though also patient! he doesn't try to strongarm or rush her into accepting him; it's his idea to sleep elsewhere).

except penelope isn't looking for him to be distant and patient. penelope lies in a way that requires odysseus to stop playing along — not only to prove that he knows what odysseus knows, but that he's willing to tell the truth about himself.

So how 'bout those trailers. OMG.

Sketch while we're waiting. I enjoy mounted charges more than I enjoy most things. :`)

So how 'bout those trailers. OMG.