About a year ago, I asked my friend and colleague, Elijah Fleming, what she thought about hosting a movie review podcast. I had just defended my dissertation, the pandemic was in full swing and the year ahead promised mostly solitary work punctuated by the occasional zoom meeting. I needed something new, something engaging, something fun. So, I asked Eli, a fellow grad student at UT Austin, if she’d be interested in talking about movies, a frequent hobby of ours, but into a microphone and (hopefully) for an audience. Thus, Movies We Dig was born. You can listen to our first season on our website or on multiplestreamingplatforms.
Now, as the school year enters full swing, we’re excited to announce we’re returning for another season. We recently released a short episode laying out some teasers and plans, but I wanted to reflect a little more about our past and future plans, for both current and potential listeners.
From its first conception, we wanted MWD to go beyond nitpicking what movies get right or wrong, though shedding our pedantic tendencies remains a struggle (2004’s Troy has llamas!). Instead, we wanted to review movies as both works of art and of reception; how perceptions of the past intersect with contemporary media and culture. Moreover, we wanted to approach our material without the formal trappings of academic presentations or lectures, to get earnest and humorous reactions from experts but also movie-lovers. If it wasn’t fun, then what’s the point?
Very excited to announce @elijahfleming19 and Colin are returning for another season of Movies We Dig. Today we released a short proem teasing our upcoming episodes which promise more films, more not-films, more wonderful guests and all the hot-takes https://t.co/gVf6h6JXPm
Looking ahead, our initial goal of a lighthearted but (somewhat) informed show remains largely unchanged. If anything, we’re expanding. In addition to tackling some big titles we’ve kept in reserve (looking at you, Gladiator), we’re also branching out into other media. The ancient world has been a popular setting for many television programs, from the foundational I, Claudius to several current historical dramas like Barbarians and Britannia. Additionally, the last few years have seen a small blossoming of Classical myth and history in video games just begging for attention from our field, including two Assassin’sCreed titles and the indie smash hit Hades. It’s all on our radar.
Concerning expansion, our other goal for S2 is to bring in more voices to our hot-take-centric approach to ancient film criticism. Our first season was graced by a wonderful array of guests from public-facing classicists and archaeologists, including SA’s own Joel Christensen, and we’ve already got several exciting guests booked already. Still, we’re constantly seeking new guests, especially non-professors. Last year, we were joined by a fantastic group of first-year students from Adam Rabinowtiz’s class on the Trojan War to discuss Troy: Fall of a City.
This brings us to our final vocatio. Classicists near and far, if you, your colleagues or your students know a film, show or game that needs discussion, reach us at movieswedig@gmail.com or on Twitter at @dig_movies. Please listen, like, review, subscribe and get ready to dig some more movies, not-movies and all the hot takes.
You can learn more about us the hosts on our website, where you can also find links on where to listen.
Just a few days left to win money and immortal fame! (For students in the US and Canada, at least. The competition in Greece is open to December 18 and so is the UK version)
Let’s start with the basic details:
High School and College students in North America (and UK and Greece): Create a short video of yourselves performing part of Euripides’ Medea
The contest is open to high school and college students in the US and Canada (as well as the UK and Greece, but on a different schedule with different translations) and there is a $400 prize for first place, and two $200 prizes for second place. We’re using Diane Rayor’s translation and you can choose from a selection of scenes, all of which are available here.
So, record a scene from Medea and submit it by 23rd October 2020. Our panel of judges (including representatives from the British American Drama Academy) will watch all submissions and then announce the winners during the Reading Greek Tragedy Online episode on Medea on 11th November 2020.
This competition has grown out of the weekly meetings of Reading Greek Tragedy Online. We started this project during the early days of the pandemic lockdown in the United States and have learned a lot about Greek tragedy and performance while also maintaining some sense of community even while living alone. We know that this is a year of unparalleled isolation and stress for students and teachers alike, so we designed this project to expand our community and encourage others to strengthen their own.
We encourage creativity and daring, and we welcome all contributions however modest they may seem. Entries can be recorded entirely on zoom, or by groups who are able to share the same space. University or high school groups can enter multiple times, but each actor can appear in only one submission.
Our website also includes a dramaturgy pack (thanks to Emma Pauly for putting it together) which includes information about the play, its characters, and its production history. There is also a wonderful Medea ebook created by the Archive of Performances of Greek and Roman Drama.
Here’s a video of Amy Pistone, Paul O‘Mahony and me trying to be clear in on 3 or 5 takes.
The contest is open to high school and college students in the US and Canada (there will be separate competitions in assorted other countries) and there is a $400 prize for first place, and two $200 prizes for second place. We’re using Diane Rayor’s translation and you can choose from a selection of scenes, all of which are available here.
So, record a scene from Medea and submit it by 23rd October 2020. Our panel of judges (including representatives from the British American Drama Academy) will watch all submissions and then announce the winners during the Reading Greek Tragedy Online episode on Medea on 11th November 2020.
This competition has grown out of the weekly meetings of Reading Greek Tragedy Online. We started this project during the early days of the pandemic lockdown in the United States and have learned a lot about Greek tragedy and performance while also maintaining some sense of community even while living alone. We know that this is a year of unparalleled isolation and stress for students and teachers alike, so we designed this project to expand our community and encourage others to strengthen their own.
We encourage creativity and daring, and we welcome all contributions however modest they may seem. Entries can be recorded entirely on zoom, or by groups who are able to share the same space. University or high school groups can enter multiple times, but each actor can appear in only one submission.
Our website also includes a dramaturgy pack (thanks to Emma Pauly for putting it together) which includes information about the play, its characters, and its production history. There is also a wonderful Medea ebook created by the Archive of Performances of Greek and Roman Drama.
Here’s a video of Amy Pistone, Paul O‘Mahony and me trying to be clear in on 3 or 5 takes.
“Would you rather be a tyrant or save your country?”
πότερα τυραννεῖν ἢ πόλιν σῶσαι θέλεις,
Euripides, Phoenician Women 357-360
“Mother, I have come with good intentions among enemy men Even though it is a bad plan. Still, everyone loves their country By necessity. Anyone who claims otherwise is just playing with words— Keeping their true thought deep inside.”
“I want to offer some bit of wisdom to you: Whenever a friend is angry with a friend And comes together to look them in the eyes, One must examine on those things they are discussing And make no reminder of troubles they had before.”
Tamieka Chavis – Jocasta/Tiresias Tabatha Gayle – Antigone/Eteocles Richard Klautsch – Creon Sara Valentine – Menoeceus/Messenger Noree Victoria – Chorus Argyris Xafis – Polynices/Oedipus
Special Guest: Anna Lamari
Euripides, Phoenician Women 469-472
“The story of truth is simple. It does not require sophisticated interpretations. Its very character is the occasion! But unjust speech Is sick and needs clever medicines to work.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Associate Director: Liz Fisher Director of Outreach: Amy Pistone (Gonzaga University) Dramaturg: Emma Pauly Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Upcoming Episodes
Performing Epic 1, Homer’s Iliad, October 7th
Euripides, Rhesus, October 14th
Aeschylus, Agamemnon, October 21
Euripides, Phoenician Women 889-890
“Since the wicked part is stronger than the good, There is one other strategy for salvation.”
“When god has given us this kind of support for life Are we not truculent if it isn’t pleasing to us? Arrogance seeks to be stronger than god— Because we have boasts in our thoughts we think We are wiser than divinities.”
“There are three groups of citizens: the wealthy Are useless and are always longing for more. Those who have nothing and struggling for a living Are frightening because they honor envy too much And aim their wicked barbs at the well-to-do, Directed by the words of their cowardly leaders. Those people in the middle third save cities By preserving the order that each state creates.”
“There is nothing more hateful to a state than a tyrant. There, first, there are no common laws Because one person rules, holding the law In his control. This is not equality. When laws are written both the weak And the wealthy receive equal judgment. It is possible then for the weak to accuse The lucky whenever they are slandered And the smaller person overcomes the great if his cause is just. This is freedom: “Who has a good idea And wants to offer counsel to the state?”
This week keeps us in the city of Thebes and contemplating unburied dead, but with a typical Euripidean twist. Instead of just the body of Polynices being at issue, Euripides’ play centers around the chorus of mothers of the Seven Against Thebes who supplicated Theseus in Athens to force Thebes to allow their bodies to be buried. Beyond the basic expansion of the funerary rites theme to the entire expedition, this play also introduces fascinating questions of Athenian empire and the ability of any one Greek city state to force another to maintain some basic level of civilization.
This play was allegedly performed in 423 BCE and reflects some earlier historical changes in ritual (there were tombs to the seven warriors erected on the borders of Attica in the historical period. But it would not be strange to wonder how this reflects the concerns of the Athenian and people during the Peloponnesian War.
Euripides, Suppliant Women 486-488
“All people certainly understand the better Of two arguments, the good and the bad, By how much peace is better than war for mortals.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Associate Director: Liz Fisher Director of Outreach: Amy Pistone (Gonzaga University) Dramaturg: Emma Pauly Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Upcoming Episodes
Euripides, Phoenician Women, September 30
Performing Epic 1, Homer’s Iliad, October 7th
Euripides, Rhesus, October 14th
Euripides, Suppliant Women 1006-1008
“The sweetest death Is to die together with your loved ones If some god will allow such things.”
This week brings us back to Thebes, one of the central locations for Ancient Greek myth, and likely the second most famous tale of a besieged city from the ancient world. The tale of Seven Against Thebes is part of the Oedipus story, following on from his departure from the city and his cursing of his sons. We have records of a famous epic which told this tale, the lost Thebais, but Aeschylus’ version is our earliest full text dedicated to the struggle between Eteocles and Polyneices. Sophocles and Euripides will provide their own versions of this story, focusing in part on different aspects.
Aeschylus’ account takes us from the anticipation before the battle right up through the conflict over burying the brothers (more well-known from Sophocles’ Antigone). This play was produced in 467 BCE as part of a trilogy dedicated to the family of Oedipus, apparently with a play dedicated to each generation: Laios, Oedipus, and the warring sons. The bulk of this play is the run up to the action, the description of where each of the famous seven fights, and the aftermath.
Aeschylus, Seven Against Thebes 287-295
“I care about this, but my heart cannot sleep in fear. Anxiety lives next door To my heart, growing fear About the enemies around my wall Just as a dove shakes all over Afraid of the snakes with evil plans For the children sleeping in their beds.”
“The story hunts through my chest Each strand of my hair stands straight up As I leason to the boasts of these boastful Unholy men. If the gods are gods, I pray they destroy them in our land.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Associate Director: Liz Fisher Director of Outreach: Amy Pistone (Gonzaga University) Dramaturg: Emma Pauly Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
“It is just as if the sea is driving on
Waves of troubles. One recedes but another rises
Three times as strong. And it crashes around
The city’s prow.
In between all we have
Is this thin breadth of a wall.”
“Our state is hard to please and loves complaints”
δυσάρεστος ἡμῶν καὶ φιλόψογος πόλις.
Euripides, Elektra 112-119
“Quicken the move of your foot with song Walk on, walk on in tears. Ah, my life. I am a child of Agamemnon, And Klytemnestra also bore me, That horrible daughter of Tydnareus. The citizens around call me Unlucky Elektra.”
“Stranger, women love their husbands not their children.”
γυναῖκες ἀνδρῶν, ὦ ξέν᾿, οὐ παίδων φίλαι
If this week’s story sounds familiar, well, it should. Euripides’ Electra revisits some of the same basic myths as his Orestes and the same story as Aeschylus’ Libation Bearers and Sophocles’ Electra. Of course, since this is Euripides, the tale is far from the same as either playwright or his own treatment. In this version, Electra really is front and center and she has a husband–who doesn’t touch her, don’t worry–and a kind of agency over the action she does not enjoy elsewhere.
This play, then, is famous for its engagement with Aeschylus and Homer (watch for a fabulous scar) while also offering potential parallels for Sophocles’ own version which may have been written later. This play likely proceeds Euripides’ Orestes with its murderous ends and responds in different ways to the Orestes who appears in foreign lands in Iphigenia at Tauris. But it is still Euripides: tune in for thelock of hair and footprints, stay for the Dioscuri taking it all home.
Euripides, Elektra 585-595
“You have come, You have come! O long-coming day, You are shining bright and you have shown A clear sign to the city, a torch which went On an ancient flight from paternal halls Wandering miserably abroad. A god, some god, brings us victory, Friend. Raise up your hands! Raise up the tale! Let loose prayers to the gods that with luck, With luck your brother enters our city now.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Associate Director: Liz Fisher Director of Outreach: Amy Pistone (Gonzaga University) Dramaturg: Emma Pauly Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Euripides, Electra938-945
“What deceived you the most, what you misunderstood, Is that someone can be strong because of money. Money can only stay with us for a brief time. Character is strength, not money. Character always stands at our sides and bears our troubles. Wealth shacks up with fools unjustly and then disappears Leaving their houses once it bloomed for a little while.”
“I join in pity for this woman, undone by her children. God certainly gives out justice at some point or another. You suffered terribly things, but, wretched woman You did unholy things to your husband.”
“May the people whose will rules the state, The forethought for common good, Guard well our citizens’ rights And grant just agreements to foreigners Without pain before considering Arming for war.”
“We need deep thinking as a savior, Like that of a diver reaching to the deep Looking with an eye not overcome with wine, How these things may turnout unharmful to the city, first, And then can have a good end for me too….”
This week we turn to Aeschylus’ Suppliants. This play, produced soon after the Persian Wars, tells of the flight of the Danaids from Egypt to Greece to escape forced marriage to their cousins. It is in part a record of the complex foundational narratives of Greece, stories which made the Greeks kin to the Egyptians, Phoenicians, Persians and more yet still tried to position the leading families as homegrown, indigenous to the most famous cities of the time. Its themes reflect modern concerns about immigration and migration, sexual violence, and what values we assume as part of cultural and political authority. Along with this, though, we find xenophobia, misogyny, early reflections on ethnicity and culture, and a great deal of suffering due to all of these themes
At the foundation of this story is a myth of the Danaids, a tale of global fraternal strife, of how the daughters of Danaus fled marriage with their cousins, the sons of Aegyptus, yet still ended up having to marry them in Greece. On their wedding night, as the traditional story goes, all but one of them used the knives their father had given them to kill their husbands. For this, they were to be punished eternally in the underworld, carrying water to fill a leaking cistern
Aeschylus’ play is set in the run-up to the marriage. The scene is Argos. Danaus has led his daughters there from Egypt. They meet Pelasgus. They ask for his protection. Then their ‘bridegrooms’ arrive.
Aeschylus, Suppliants397-401
“This case is not easy to adjudicate: do not make me its judge. I have said before that I would not do this Without the people even though I am in charge, In case the people say when things go badly, “You destroyed the state by honoring immigrants.”
843-1073: Chorus, Herald, Danaus, King (Pelasgus), Chorus of Handmaidens
Aeschylus, Suppliants277-286
“You utter things incredible for me to hear, That you are of our Argive race! You look more like the women of Libya Than the women who are born in this country. Ah, the Nile might bear a crop like this; And there’s a similar imprint on the Cyprian clan Formed there by the male artisans. I hear also of nomad women in India Who ride across the land on camels like horses Neighbors to the Ethiopians!”
Chorus: Tamieka Chavis and Tabatha Gayle Danaus: David Rubin King (Pelasgus): Damian Jermaine Thompson Herald: Argyris Xafis
Special Guest: Rebecca Futo Kennedy
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Associate Director: Liz Fisher Director of Outreach: Amy Pistone (Gonzaga University) Dramaturg: Emma Pauly Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Aeschylus Suppliants143-150
“The oar’s flat blade and the linen-stitched Wooden home walls out the sea And sends me here without a storm On fair winds. I do not complain. May the all-seeing father in time Bring about favorable ends for us.”
“…you have fallen into so much misfortune
How could you imagine you’d break free of it?
But if in the end you have more good than ill
You’d certainly be lucky enough as a human being.”
“Did you hear it? Did you hear
The queen speak aloud sufferings
One must neever speak?
May I die, my friend, before
I think your thoughts. My gods,
How pitiful you are from these pains.
Oh, all the toils that nourish mortals.
You are ruined—you have introduced evils to the light.
What can await you in this nearly endless day?”
“Women have an ill-fit harmony in their lives:
Their suffering lives alongside
The miserable helplessnesss of labor pains
And senselessness.
This breath escaped out of my womb
So I cried out to the heavenly aid
The queen of arrows
My much envied visitor among the gods:
Artemis.”
Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.
Euripides, Hippolytus 293-296
“If you suffer a sickness that is one of those we can’t mention,
These are women who can help take care of the disease.
If your suffering is open to discussion with men,
Tell us so we can share this deed with some doctors.”
Euripides’Hippolytus takes us away from the stories of Agamemnon’s family and the Trojan War and takes us to some of the local tales of Attica. He tells the story of Theseus and his son Hippolytus, a product of Theseus’ rape of Hippolyta. The action of the play is in Troezen where Thesus is in exile for murder. Hippolytus has declared himself celebate and to punish him, Aphrodite has made his stepmother Phaedra fall in love with him.
This play was performed as part of a trilogy in 428 and won first prize. It is also not the only time Euripides turned to this topic. An ancient scholar writes that “this is the second Hippolytus, also called “the wreathed”. It appears it was written later. For it corrects what was improper and worthy of accusation in the earlier play” (τερος ᾿Ιοφῶν, τρίτος ῎Ιων. ἔστι δὲ οὗτος ῾Ιππόλυτος δεύτερος <ὁ> καὶ στεφανίας προσαγορευόμενος. ἐμφαίνεται δὲ ὕστερος γεγραμμένος· τὸ γὰρ ἀπρεπὲς καὶ κατηγορίας ἄξιον ἐν τούτῳ διώρθωται τῷ δράματι. τὸ ).
According to scholarly traditions, Hippolytus was famed for his wisdom as well has his beauty and this play sets forces of prudence and self-discipline against desire and pleasure. Of course, since this is Euripides, it is not as simple as that: each character struggles with their impulses and their incomplete knowledge, struggling to be better and punished for trying to be something they are not.
Euripides, Hippolytus 653-655
“I am going to clean out everything I just heard
From my ears with running water. How could I be bad when
I feel dirty just hearing these kinds of things?”
“O humanity, why do you fuck up pointlessly so often?
Why do you teach countless skills
And contrive and invent every kind of thing,
But fail to understand or even pursue at all
How to teach people to think when they are mindless?!”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Associate Director: Liz Fisher Director of Outreach: Amy Pistone (Gonzaga University) Dramaturg: Emma Pauly Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Euripides, Iphigenia in Tauris 821-824
“…I look over a sea of suffering, poor one,
So large that it is impossible to swim free again
Or to cross over the wave of this sorrow.”
“This is the very thing that lays low the well-lived cities
And homes of mortals: excessively attractive words!
You must not utter things to entice the ears at all
But rather whatever plan will bring us good fame!”
Euripides, Hippolytus 176-198
“Oh, for mortal kind suffering and hateful diseases!
What will I do? What won’t I do?
This is your light, your bright sky-
Already outside lies
Your sick bed.
Coming here was your every word,
Quickly you will rush to go back again,
And quickly you will slip and delight in nothing.
Nothing present pleases you, what is absent
You hold more dear.
It is better to suffer sickness than tend to it.
The first is simple but the other unites
Anguish of thoughts with labor’s hands.
Human life is only pain
And there is no respite from labors.
Anything at all dearer to us than life
Darkness embraces and hides in shadows.
Then we show ourselves to be unlucky lovers
Of whatever shines clear for a bit on the earth
Because of our ignorance of any other life at all.
There’s no revelation of the afterlife.
We are carried along by nothing but stories.”
“Night has come with strange new fantasies
I will tell them to the sky, if that provides any relief.
I imagined in sleep that I was freed from this land
and was sleeping in my girlhood’s home in Argos….”
“I have come. What’s going on? What are your worries?
Why did you bring me to this temple,
child of the man who approached Trojan towers
with a famous fleet of one thousand ships
of ten thousand arms
that leader of an army
the oldest of the famous Atreids?”
Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.
Euripides, Iphigenia in Tauris 376-379
“…I put off many embraces
to a later time,
because I thought I would go back to Argos again.
Wretched brother, Orestes, if you have died you have
such great fortune as you leave our father’s envied stores.”
This week we return to Euripides and the fate of Agamemnon’s daughter Iphigenia in the surprising and challenging Iphigenia at Aulis. This play joins other Euripidean tragedies–like the Helen or his Orestes–in presenting alternative accounts of myth and challenging well-known narratives. In this one, the very daughter who was sacrificed to Artemis was whisked away to Tauris where she became a human sacrificing priestess of the goddess. Somehow, Orestes and Pylades end up in her hands after their trial at Athens. And, well, it goes on from there.
What do we make of such a fantasy, of the willful rewriting of the past? This play was performed during some of the most troubling of the years off the Peloponnesian War and its genre bending may have appealed to audiences eager for some escape or some hope that all was not fated. Like Helen it flouts mythical tradition, but unlike Helen it seems to create a largely new ending for its characters.
Euripides, Iphigenia in Tauris 479-481
“Where have you come from, unlucky strangers?
You have sailed long to get to this land
and you will live below far from your homes for long indeed.”
“The gods who are called wise
are bigger liars than winged dreams.
The great confusion among the gods exists
among mortals too. Only one reason for lament
remains to one who’snot a fool and has not trusted the words of the prophets:
he dies as those who know he died believe.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Associate Director: Liz Fisher Director of Outreach: Amy Pistone (Gonzaga University) Dramaturg: Emma Pauly Executive Producer: Lanah Koelle (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Euripides, Iphigenia in Tauris 874-885
“What end can there be for the fate that stalks me?
What will fortune bring me?
What path can be found
to send you from this man-killing city
back to our Argive home
before the sword tastes your blood.
Well, this is something you need to discover,
my dark soul.
Is the path by land, not with a ship
but with a dance of the feet?”
“Hope is a dear friend to mortal suffering,
people have no fill of it when they wander
for a weight of wealth over the sea’s swell
testing themselves against cities and foreigners
for this common belief.
But some find expectation for wealth
untimely even though it comes in moderation for others.”
“I fault the tricks of this goddess.
Any mortal who even touches blood
or dips a finger in childbirth or death,
she bars from her alters because she thinks them unclean
when she herself delights in human sacrifice!”
