tinyurl.com/jdh4uaay

As Kronos came to his senses, he was all bound
His powers were missing, he could make no sound.
So he made a vow in Tartaros under the sod
That he'd wait for his grandson, some angry young god
to break Zeus' bolts, make him so riled
And so this god comes: Leto's vicious child!

I was lucky enough to ask the screenwriters for their inspirations and they said they didn't really think of Greek Calypso when writing Tia Dalma (instead, they named... Ainu myths) 🤔

I think modern authors often imply these goddesses were cursed because they cannot fathom that some deities simply liked to live off the divine grid, in their secluded enclaves.

Spatially, Aeetes rules in the East (Colchis), Pasiphae in the centre (Crete) and Kirke in the West (Aiaia), with all these locations being places over which the Sun shone in his journey.

I can't think of much classical evidence to call them 'cursed' to stay at these islands as well. It's more that they personify a trope of an enchantress in her secluded above, I believe! Tia Dalma has little to do with Calypso (in fact, I wrote a chapter likening her to Thetis!)

Sounds exciting! Let me know once you start planning! 👍😍😀

Oooh! I need more details about this volume! <3 <3

I concur with @alexvandewalle.bsky.social and @joelagordonnz.bsky.social in that this is probably a placeholder phrase for the current misotheistic bent in ancient world cinema. Then again, Odyssey is all about Poseidon's wrath and how Odysseus continues to defy him... 🤔

In many ways. First, genre, which makes excellent use of the Muse character to marry musical to a murder mystery. Second, characterisations: all gods are written with nuance and flair. Third, storytelling: the narrative flows smoothly and the world feels alive.

Hades and Stray Gods

I suppose those suffering could at times create a personal worldview in which their pain was somehow god-touched and thus part of a greater order of things. How effective would that be, I don't know.

You'd think that Greek love of marvels and wonder would account for some people just being born different... but then, they're not really people, but terata, aren't they?

The fact is that these mortals aren'tt killed, but fundamentally transformed. And this transformation takes, unlike other temporary godly disguisings, like those shapes taken by the gods to interact with humans. The aetiological explanation is simple:we need a just-so story of how things come to be.

Right, several mental paradigms vying in their minds for primacy. We want to use logic for healing, give gods some space for miracles and coopt magical practice, but sanitised (because Magic is What the Bad People Do). 😁😅

But I think there's a marked difference here between spilling ichor and spilling haima, mortal blood. The former brings no mortal pollution--although it often has cosmic consequences.

All true! From the dramatic viewpoint, gods must leave when encoutering human pollution. Artemis in Euripides' Hippolytus says as much when he lies dying:
"Farewell: it is not lawful for me to look upon the dead or to defile my sight with the last breath of the dying."

This vivid image shows us that even in Ovid's day, the idea of Olympians sending Night's children to do their dirty work was somewhat popular, enough to be included into a great mythological poem. Did this paradigm always hold? Most likely not. But it sheds some light on Greek notions of pollution.

So in Ovid's Metamorphoses, when Ceres/Demeter wants to punish King Erysichthon, she sends Hunger (Fames/Limos) to torment him. Although "Demeter and Fames(so the Fates decree)may never meet", Fames did Ceres' bidding, though their aims are ever opposite," entered the king's body, aided by Sleep.

It may be said that two orders of beings exist: the first group governs all that is dark and gloomy in human life, and the second one personifies well-being. Maybe, when Olympians want to punish a human, they withold their blessings so that the ontological vacumm is filled by negative forces.