void-of-the-valley - Ṣafar صَفَر
Ṣafar صَفَر

Old (you) recognises old (classical history)

57 posts

Latest Posts by void-of-the-valley - Page 2

7 months ago
Fulvia With The Head Of Cicero By Pavel Svedomsky

Fulvia With the Head of Cicero by Pavel Svedomsky

7 months ago
Centaur Watching Fish By Arnold Böcklin (1878).

Centaur Watching Fish by Arnold Böcklin (1878).

I love love love Böcklin’s mythical pieces, they have this sense of realism, and often even sensitivity.

7 months ago

me before making yet another unintelligible post about my current hyperfixations

Me Before Making Yet Another Unintelligible Post About My Current Hyperfixations
7 months ago
Like many children, I was afraid of clowns. I remember the moment vividly when, as a seven-year-old, I was finally able to articulate the basis of this fear. My grandparents had taken my brother and me to the circus, and since we had arrived early, we were sitting and watching the roust-abouts set up the equipment. A clown spotted us and approached me and my brother. As he drew closer, I was able to get a good look at him. He asked us if we wanted to be in a procession during the show with a bunch of other kids, some animals in cages, and – of course – a whole host of clowns. I said no, shrinking back into my seat. He was surprised and looked at my grandparents, asking whether I was sure I didn’t want to be part of the fun procession. They smiled and said that I was shy, and the clown retreated, seeking out other children among the early-comers. But I suddenly understood my fear: the clown had a big smile painted on his face, but the real mouth underneath the painted smile wasn’t smiling. Clowns could go through a whole performance without ever actually smiling, I realized. Clowns could actually be evil, and you’d never know unless you got up close. And by then it would be too late.

WHAT a way to begin your book on performance and identity in the ancient world


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7 months ago
Achilles is thus the one Homeric hero who does not accept the common language, and feels that it does not correspond to reality. But what is characteristic of the Iliad, and makes it unique as a tragedy, is that this otherness of Achilles is nowhere stated in clear and precise terms. Achilles can only say, "There was, after all, no grace in it," or ask questions that cannot really be answered: "But why should the Argives be fighting against the Trojans?" or make demands that can never be satisfied: ".. . until he pays back all my heart-rending grief.''l2 Homer in fact, has no language, no terms, in which to express this kind of basic disillusionment with society and the external world. The reason lies in the nature of epic verse. The poet does not make a language of his own; he draws from a common store of poetic diction. This store is a product of bards and a reflection of society: for epic song had a clear social function.'3 Neither Homer, then, in his own person as narrator, nor the characters he drama- tizes, can speak any language other than the one which reflects the assumptions of heroic society, those assumptions so beautifully and so serenely enunciated by Sarpedon in book 12. Achilles has no language with which to express his disillusion- ment. Yet he expresses it, and in a remarkable way. He does it by misusing the language he disposes of. He asks questions that cannot be answered and makes demands that cannot be met. He uses conventional expressions where we least expect him to, as when
he speaks to Patroclus in book 16 of a hope of being offered material gifts by the Greeks, when we know that he has been offered these gifts and that they are meaningless to him; or as when he says that he has won great glory by slaying Hector, when we know that he is really fighting to avenge his comrade, and that he sees no value in the glory that society can confer.'4 All this is done with wonderful subtlety: most readers feel it when they read the Iliad; few under- stand how the poet is doing it. It is not a sign of artistic weakness: Homer profits by not availing himself of the intellectual terminol - ogy of the 5th century. Achilles' tragedy, his final isolation, is that he can in no sense, including that of language (unlike, say, Hamlet), leave the society which has become alien to him. And Homer uses the epic speech a long poetic tradition gave him to transcend the limits of that speech.

adam parry, the language of achilles


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7 months ago

classical reception is anything that adapts, borrows from, capitalises on, draws upon, bastardises, etc. the ancient world. there is no requirement that it be "good" to "count". gladiator is classical reception. 300 is classical reception. there are classicists who have written whole articles about soap ads. as a dear friend once put it, it's all reception innit.

7 months ago

down with found family. UP with FOUND DIVORCE!!!!!!!!!!!!!


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8 months ago
Skull Of St. Thomas Aquinas Being Transported To Fossanova Abbey. Photograph By Daniel Ibanez, 2024

Skull of St. Thomas Aquinas being transported to Fossanova Abbey. Photograph by Daniel Ibanez, 2024

8 months ago
Etruscan Shell Cosmetic Container

etruscan shell cosmetic container

8 months ago

My T-shirt with the entire text of Borges' theoretical Library of Babel is raising a lot of questions already answered by the shirt, somewhere.


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8 months ago
Even Our Ancestors Sang Popipo

even our ancestors sang Popipo


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11 months ago

There you are, innocently eating tapas at a restaurant, when you hear boss fight music behind you:

There You Are, Innocently Eating Tapas At A Restaurant, When You Hear Boss Fight Music Behind You:

(He'll have the Caesar salad, gracias.)

This 10 meter tall statue of Augustus looms over Puerta Cinegia Gastronómica, a dining/shopping mall in Zaragoza, Spain. Augustus founded the town as Caesaraugusta (hence Zara-agoza) over 2000 years ago as a colony for veterans of the Cantabrian Wars, and many Roman ruins are still visible. I now want to visit Zaragoza.

1 year ago
The Reading (Catullus And Clodia) (Giulio Aristide Sartorio, 1860 - 1932)

The Reading (Catullus and Clodia) (Giulio Aristide Sartorio, 1860 - 1932)

1 year ago
This Is Going To Have Me On My Hands And Knees Dry Heaving

this is going to have me on my hands and knees dry heaving

1 year ago

cato the younger pregnant trying to rebirth the republic.

1 year ago

cato mpreg… cato mpreg…. cato pregnant with the death of the republic… trying to cut the evil out of him but it just brings death on faster

1 year ago
A 1964 Illustrated Satyricon, Translated By William Burnaby And Illustrated By Antonio Sotomayor
A 1964 Illustrated Satyricon, Translated By William Burnaby And Illustrated By Antonio Sotomayor
A 1964 Illustrated Satyricon, Translated By William Burnaby And Illustrated By Antonio Sotomayor

A 1964 illustrated Satyricon, translated by William Burnaby and illustrated by Antonio Sotomayor

1 year ago
Big Day For The EoG Fandom

Big day for the EoG fandom

1 year ago
"Wretchedly perish, then," said Cicero,

wretchedly perish then said cicero wednesday

1 year ago

good morning, it is sacrifice day! i woke up at 4:45 (after going to bed at 11 bc i was committed to trying to get up at 6 given how badly the 5 am wake up call has been going) and probably should have tried to go back to sleep but did not so. we're just rolling with it. i am, for the most part, feeling calm and relaxed! i'm going to run to starbucks and get breakfast and tea then do my duolingo and then be ready to start settling down at 8.


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1 year ago

The Foundation of the World

People do not wish to know that the whole of human culture is based on the mythic process of conjuring away man's violence by endlessly projecting it upon new victims. All cultures and all religions are built on this foundation, which they then conceal, just as the tomb is built around the dead body that it conceals. Murder calls for the tomb and the tomb is but the prolongation and perpetuation of murder. The tomb-religion amounts to nothing more or less than the becoming visible of the foundations, of religion and culture, of their only reason for existence.

Violence and the Sacred, René Girard (1972), quoted in The Girard Reader, James G. Williams ed. (2000)


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1 year ago

“Scared at last the maiden took refuge by the tripods; she drew near to the vast chasm and there stayed; and her bosom for the first time drew in the divine power, which the inspiration of the rock, still active after so many centuries, forced upon her. At last Apollo mastered the breast of the Delphian priestess; as fully as ever in the past, he forced his way into her body, driving out her former thoughts, and bidding her human nature to come forth and leave her heart at his disposal. Frantic she careers about the cave, with her neck under possession; the fillets and garlands of Apollo, dislodged by her bristling hair, she whirls with tossing head through the void spaces of the temple; she scatters the tripods that impede her random course; she boils over with fierce fire, while enduring the wrath of Phoebus. Nor does he ply the whip and goad alone, and dart flame into her vitals: she has to bear the curb as well, and is not permitted to reveal as much as she is suffered to know. All time is gathered up together: all the centuries crowd her breast and torture it; the endless chain of events is revealed; all the future struggles to the light; destiny contends with destiny, seeking to be uttered. The creation of the world and its destruction, the compass of the Ocean and the sum of the sands—all these are before her.”

— Lucan, Pharsalia 5:161ff, tr. J. D. Duff.


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1 year ago
Revisiting Crassus, Clodius, And The Bona Dea Scandal! But This Time With A New Composition And A Limited
Revisiting Crassus, Clodius, And The Bona Dea Scandal! But This Time With A New Composition And A Limited

revisiting crassus, clodius, and the bona dea scandal! but this time with a new composition and a limited color palette

originally when I drew the first version of this idea, it was back when I thought that crassus would be a week long fixation at most (lmao), and instead he just. took up permanent residence in my mind. it seemed like a fun thing to go back to an earlier idea and see what changed now that I've spent a lot more time with everyone involved in this era!

also the way these two interlocked politically. I am. biting into it.

Revisiting Crassus, Clodius, And The Bona Dea Scandal! But This Time With A New Composition And A Limited

The Defeat of Rome: Crassus, Carrhae and the Invasion of the East, Gareth C. Sampson

Revisiting Crassus, Clodius, And The Bona Dea Scandal! But This Time With A New Composition And A Limited

Crassus: the First Tycoon, Peter Stothard

Revisiting Crassus, Clodius, And The Bona Dea Scandal! But This Time With A New Composition And A Limited

Crassus: A Political Biography, B. A. Marshall

Revisiting Crassus, Clodius, And The Bona Dea Scandal! But This Time With A New Composition And A Limited
Revisiting Crassus, Clodius, And The Bona Dea Scandal! But This Time With A New Composition And A Limited

Crassus, Clodius, and Curio in the Year 59 B.C., Robert J Rowland, Jr.

bsky ⭐ pixiv ⭐ pillowfort ⭐ cohost

1 year ago

ranking sophocles plays in order of how real ghosts are in them

1 year ago
This Was My Art School’s Water Fountain. Drink From Them Wolf Tiddies

This was my art school’s water fountain. Drink from them wolf tiddies

2 years ago

Dudes be like "Et tu Brute"

My brother in Jupiter you were the one about to destroy the Republic


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