now why does lewis & short consider catullus' use of gallae "satirical". that is not how I would read it
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now why does lewis & short consider catullus' use of gallae "satirical". that is not how I would read it

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the catullan poetic persona frequently calls their own masculinity into question, even (& perhaps especially) when attempting to reassert it (carmen 16, most notably). we know what catullus sounds like when he's engaging satirically with roman gender norms. the gap between that & 63 is pretty fucking wide, imo
every time i read catullus' plea for cybele to leave him alone at the end of cat63 i just imagine him being plagued by godly visions telling him to Become A Gallus Right Now
however âď¸ one must note that significantly catullus puts it gallae (and so presumably galla) in the feminine
Please make a post about the story of the RMS Carpathia, because it's something that's almost beyond belief and more people should know about it.
Carpathia received Titanicâs distress signal at 12:20am, April 15th, 1912. She was 58 miles away, a distance that absolutely could not be covered in less than four hours.
(Californianâs exact position at the time isâŚcontroversial. She was close enough to have helped. By all accounts she was close enough to see Titanicâs distress rockets. Itâs uncertain to this day why her crew did not respond, or how many might not have been lost if she had been there. This is not the place for what-ifs. This is about what was done.)
Carpathiaâs Captain Rostron had, yes, rolled out of bed instantly when woken by his radio operator, ordered his ship to Titanicâs aid and confirmed the signal before he was fully dressed. The man had never in his life responded to an emergency call. His goal tonight was to make sure nobody who heard that fact would ever believe it.
All of Carpathiaâs lifeboats were swung out ready for deployment. Oil was set up to be poured off the side of the ship in case the sea turned choppy; oil would coat and calm the water near Carpathia if that happened, making it safer for lifeboats to draw up alongside her. He ordered lights to be rigged along the side of the ship so survivors could see it better, and had nets and ladders rigged along her sides ready to be dropped when they arrived, in order to let as many survivors as possible climb aboard at once.
I donât know if his making provisions for there still being survivors in the water was optimism or not. I think he knew they were never going to get there in time for that. I think he did it anyway because, god, you have to hope.
Carpathia had three dining rooms, which were immediately converted into triage and first aid stations. Each had a doctor assigned to it. Hot soup, coffee, and tea were prepared in bulk in each dining room, and blankets and warm clothes were collected to be ready to hand out. By this time, many of the passengers were awakeâprepping a ship for disaster relief isnât quietâand all of them stepped up to help, many donating their own clothes and blankets.
And then he did something I tend to refer to as diverting all power from life support.
Hereâs the thing about steamships: They run on steam. Shocking, I know; but that steam powers everything on the ship, and right now, Carpathia needed power. So Rostron turned off hot water and central heating, which bled valuable steam power, to everywhere but the dining roomsâwhich, of course, were being used to make hot drinks and receive survivors. He woke up all the engineers, all the stokers and firemen, diverted all that steam back into the engines, and asked his ship to go as fast as she possibly could. And when sheâd done that, he asked her to go faster.
I need you to understand that you simply canât push a ship very far past its top speed. Pushing that much sheer tonnage through the water becomes harder with each extra knot past the speed it was designed for. Pushing a ship past its rated speed is not only recklessâitâs difficult to maneuverâbut it puts an incredible amount of strain on the engines. Ships are not designed to exceed their top speed by even one knot. They canât do it. It canât be done.
Carpathiaâs absolute do-or-die, the-engines-canât-take-this-forever top speed was fourteen knots. Dodging icebergs, in the dark and the cold, surrounded by mist, she sustained a speed of almost seventeen and a half.
No one would have asked this of them. It wasnât expected. They were almost sixty miles away, with icebergs in their path. They had a responsibility to respond; they did not have a responsibility to do the impossible and do it well. No one would have faulted them for taking more time to confirm the severity of the issue. No one would have blamed them for a slow and cautious approach. No one but themselves.
They damn near broke the laws of physics, galloping north headlong into the dark in the desperate hope that if they could shave an hour, half an hour, five minutes off their arrival time, maybe for one more person those five minutes would make the difference. I say: three people had died by the time they were lifted from the lifeboats. For all we know, in another hour it might have been more. I say they made all the difference in the world.
This ship and her crew received a message from a location they could not hope to reach in under four hours. Just barely over three hours later, they arrived at Titanicâs last known coordinates. Half an hour after that, at 4am, they would finally find the first of the lifeboats. it would take until 8:30 in the morning for the last survivor to be brought onboard. Passengers from Carpathia universally gave up their berths, staterooms, and clothing to the survivors, assisting the crew at every turn and sitting with the sobbing rescuees to offer whatever comfort they could.
In total, 705 people of Titanicâs original 2208 were brought onto Carpathia alive. No other ship would find survivors.
At 12:20am April 15th, 1912, there was a miracle on the North Atlantic. And it happened because a group of humans, some of them strangers, many of them only passengers on a small and unimpressive steam liner, looked at each other and decided: I cannot live with myself if I do anything less.
I think the least we can do is remember them for it.
I canât begin to describe how happy and flattered and a little teary I am that this just broke 100k.
I may be the actual only human being on Tumblr with a post this popular that I not only donât regret making, but am actually HAPPY whenever I notice a surge in its circulation.Â
I never intended this to gain any traction at all (youâll notice thereâs no sources or anythingâthis was a personal ramble, prompted in good humor by a friend after I jokingly said that I wished someone would give me an excuse to cry about Carpathia on Tumblr so I could get it out of my system.) I literally expected to get, like, maybe 20 likes and a reblog, from friends, indulging me in my nonsense.
It justâŚ.means a lot to me that itâs touched so many people. I see a lot of tags to the effect of âHOW DARE YOU HURT ME LIKE THIS AND MAKE ME CRY ABOUT A BOATâ that are often really funny, but overwhelmingly the tags on this post are from people saving it for a rainy day, or remarking in a sort of quiet awe that they never even really thought about her role in the storyâand God knows I never did, I learned it by complete accident much as most of the people whoâve found this post.Â
And so many of you guys are taking strength and reassurance from the reminder not only that people are capable of amazing things together, but simply that kindness matters and that a simple, tiny act of compassion is never wasted. Iâm just really glad to have been able to do that for some folks.
If I can just add one personal note. I need to emphasize something I only touched on in the original post.
I need to emphasize that Carpathia failed.
A lot of the tags and comments have a tinge ofâŚdespair, or guilt, or wistfulness about things like this happening so rarely. Or inadequacy, or just being overwhelmed or unhappy about not being in a position to step up in a comparable way. And I want to gently bring up the fact that this is still the sinking of the Titanic.Â
They did not get there in time. They did not save the ship. It can be argued that they may not even have saved a single life; we have no way of knowing. This was still a horrific maritime disaster mired in arrogance and incompetence and a lack of care.
If the response to this story shows anything, it shows this:Â It matters that they tried.Â
Even though they got there too late, even though the ship still sank. It matters that they tried. The difference between making the best reasonable speed after confirming the seriousness of the situation, and the miracle they pulled offâit matters. It makes all the difference. Even if it made no difference at all. Not one of you read this and concluded that I was stupid for caring so much when the Titanic still sank and all those people still died.
You donât have to fix the world. Youâll likely be cold and sick and miserable and testy and scared, and unprepared, and in over your head, and entirely too small to be of any real use. It feels stupid, passing out blankets and coffee in the middle of an ice field knowing what just happened. Itâs hard to feel anything but useless when all you can do is tap a wireless transmitter and promise help that you know will come too late.
It matters that they fought for those people. It matters that they cared, and it matters that they tried. It matters that they didnât stop. If it didnât matter, you wouldnât have read this far.

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Nobody held me back so I reverse-engineered the process of deflected double-weave for my first loom weaving.
For non-weavers: this is two scarves! It's a rainbow scarf and a grey scarf that were woven simultaneously. They pass through holes in each other in such a way that they can never be separated, but no yarn from one scarf intersects with yarn from the other!
"Our Simone once took me to task over my âsneeringâ about prayer. My notion of prayer was juvenile: forget this telephone line to God bullshit, she snapped, hot with impatience. It wasnât even about God, she said, which I thought must surely be blasphemous. Praying was a way to interrupt your own habitual thinking, she told me. Itâs admitting yourself into otherness, cracking open your prejudices. Itâs not chitchat; itâs hard labour. She spoke as if all this were obvious. I longed to understand her. It feels always that I am on the edge of some comprehension here but never breaking through to the other side."
- Charlotte Wood, 'Stone Yard Devotional'
"Sys how is your decent into fiber arts hell going"
Glad you asked. I have arrived at 'modern flax is Bullshit compared to what we had in historical textiles, the flax widely available for handspinning is basically the tow that would be discarded from textile creation and used with tar to caulk ships back in the day'
This naturally led me down a hole of 'why is the staple length of this stuff a bullshit 6 inches' and the answer is 'we have bred modern flax more for the oil than the fiber because cotton usurped the place of everyday textile thanks to slavery and the cotton gin'
Anyway, THIS led me to a rabbit hole that culminated in me finding flax seed bred for proper 30 inch tall plants for fiber, sold by some fellow minded nerds on a website that has not been updated since 1998 and you have to email them to buy anything.
Anyway how are all of you doing.
I FAILED YOU ALL here is the site. You can also buy flax fiber from them. The PROPER shit, not the hot garbage ass tow fiber sold as flax top for handspinners.
Thank you for explaining, @fidgetyhands. I agree with you on the complete garbage front, it's maddening.
I tried on some cheap linen clothes yesterday and the fabric looked okay-ish, but knowing what I know, I ended up not buying anything. It's not worth even the cheap prices.
Bernadette Banner had a very thorough walk through of various linen fabrics available to buy online recently. She didn't mention many reasons why it has ended up like this, but her assessment of their different qualities is very interesting. I recommend giving it a watch.
t'es woke toi𫵠toi t'es un WOKE LEFTđĄ tu supporte les ENTERREMENT pis les rites funĂŠraires toi𪌠veux-tu savoir mes lois? mes croyances? âď¸the/baiđ âď¸eteo/cles đ âď¸lo/yau/tĂŠđĽ âď¸go/maenads/go đ
đsphinx pis dragon𩷠toi c'est quoi vos loyautĂŠs hein?𤨠vas-y. dis moj tes croyances𫵠đ´oe/di/pe?𦶠đfa/mille? đ¨âđŠâđ§âđŚ j'vas prier pour toisđ
Walking across the frozen Lake Reschensee to the church tower of the drowned village of Graun, Italy (via here)Â

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The first flower of her house
[âŚ] The qualities we hail as heroic in Western culture â courage and fortitude, selflessness and nobility, steadiness of mind and will â are not unique to men. Arguably, theyâre not even characteristic. But in the male-dominated myth, folklore, and literature that defines our culture, theyâve been annexed as âmasculineâ traits. Weâre still struggling to create or consume stories about valorous women, unless they also display the âfeminineâ virtues: passive sex appeal and fragility that requires rescue. In a hero, these are flaws. Thus, any heroine who tries to embody both contains the seeds of her own undoing. The female hero can hoist up the shackles of femininity and take them with her on adventures, but thatâs not the same as breaking free. [âŚ] In college, I was a particular fan of Edmund Spenserâs âmartial maidâ Britomart, who gets to wear armor and carry a spear and go on quests and even rescue maidens â but eventually, even Britomart gallops back to her role as a princess, a wife, and the mother of a race of noble Britons. Her whole mission, in general, has been to find the man she glimpsed in a magic mirror and fell in love with. The rescuing damsels part was just a side quest. [âŚ] And if the heroine truly slips the constraints that her femininity is supposed to place on her, the very heroic virtues she embodies often mutate into monstrosity. In the Old English epic poem Beowulf, the eponymous male hero is described as an aglĂŚca, a word for which we do not know the exact meaning but which is usually translated as something like âheroâ or âwarriorâ. Beowulfâs antagonist, the monster Grendel, also gets described as an aglĂŚca, which in his case is usually glossed as âdemonâ or âmonsterâ or something similar. What the two have in common is the sense of being awe-inspiring or formidable, so thatâs probably more or less what aglĂŚca means. But the word has a feminine form, aglĂŚcwif, and the ancient text contains an aglĂŚcwif too: Grendelâs mother. There is no ambiguity to this word, not in the way itâs come down to us; aglĂŚcwif is translated as âmonster-woman,â âtroll-lady,â âwretch,â or âhag.â In other contexts, âwifâ (which is also attached to other descriptors of Grendelâs mother) specifically denotes a human woman, and yet â like itâs not indignity enough that sheâs always called âGrendelâs mother,â as if the bards were Grendelâs schoolmates who didnât realize mothers had names â the aglĂŚcwif is assumed to be subhuman and bestial. Sheâs just as much an aglĂŚca as Beowulf, and just as much a wif as the other human women to which that refers, but the combination inspires not awe but horror. The monstrousness of Grendelâs mother, the factor that makes her a hag or a troll or a wretch, comes from her stepping outside the slim strictures of womanhood into the realm of aglĂŚca, of formidability and awe. In another world, she would have been a hero.
Zimmerman, Jess. Introduction to Women and Other Monsters: Building a New Mythology. Beacon Press, 2021.
I used to post Jorge Louis Borges's extremely short story "The Plot" (links to a translation of the story as posted on the blog "Biblioklept") as my FB status every year for the Ides of March. So now I'm sharing it here. Sprinkle a little Borges on your celebration, as a treat!
Girl in bus and figures in street during snowstorm. New York City, USA, 1967. Erich Hartmann. Gelatin silver.
every word out of guillermo del toroâs mouth is the most hardcore thing iâve ever heard and he says it all so casually like he doesnât even realize how much of a gothic visionary he isÂ
âSince childhood, Iâve been faithful to monsters. I have been saved and absolved by them, because monsters, I believe, are patron saints of our blissful imperfection, and they allow and embody the possibility of failingâ
I STILL THINK ABOUT THIS EVERY DAY OF MY LIFE
Yo okie Guillermo has some of the best quotes and lines Iâve ever heard, here are just a few of his quotes that have me questioning life:
âWhat is a ghost? A tragedy condemned to repeat itself time and again? A moment of pain, perhaps. Something dead which still seems to be alive. An emotion suspended in time. Like a blurred photograph. Like an insect trapped in amber.â
âI knew that monsters were far more gentle and more desirable than the monsters living inside ânice people.â Accepting that you are a monster gives you the leeway to not behave like one. When you deny being a monster, you behave like one.â
âWhen you see something or experience something extraordinary, you canât go back to normal⌠I think that thatâs the way I see the supernatural-as happening in mundane circumstances or to people who are unpreparedâ
âTo learn what we fear is to learn who we are. Horror defines our boundaries and illuminates our soulsâ
âAny legend, any creature, any symbol we ever stumble on, already exists in a vast cosmic reservoir where archetypes wait. Shapes looming outside our Platonic cave. We naturally believe ourselves clever and wise, so advanced, and those who came before us so naĂŻve and simpleâŚwhen all we truly do is echo the order of the universe, as it guides usâŚâ
And the last but certainly not the least:
âIn fairy tales, monsters exist to be a manifestation of something that we need to understand, not only a problem we need to overcome, but also they need to represent, much like angels represent the beautiful, pure, eternal side of the human spirit, monsters need to represent a more tangible, more mortal side of being human: aging, decay, darkness and so forth. And I believe that monsters originally, when we were cavemen and you know, sitting around a fire, we needed to explain the birth of the sun and the death of the moon and the phases of the moon and rain and thunder. And we invented creatures that made sense of the world: a serpent that ate the sun, a creature that ate the moon, a man in the moon living there, things like that. And as we became more and more sophisticated and created sort of a social structure, the real enigmas started not to be outside. The rain and the thunder were logical now. But the real enigmas became social. All those impulses that we were repressing: cannibalism, murder, these things needed an explanation. The sex drive, the need to hunt, the need to kill, these things then became personified in monsters. Werewolves, vampires, ogres, this and that. I feel that monsters are here in our world to help us understand it. They are an essential part of a fable.â
I quoted him in my MA thesis!
âThe Beast doesnât transform back into a stupid fucking prince, because transformation is not love. Acceptance is love.â

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Anne Carson (2009)
Arthur S. Way (1898)
George Theodoridis (2010)
Ian C. Johnston (2010)
E.P. Coleridge (1910)
Theodore Alois Buckley (1892)
John Peck, Frank Nisetich (1995)
R. Potter (1906)
M. L. West (1987)
William Arrowsmith (1958)
Philip Vellacott (1972)
Michael Wodhull (1782)
Kenneth McLeish (1997)
David Kovacs (2002)
Andrew Wilson (1993)
Euripides - Original (408 BCE)
MĂŠdĂŠe by Joseph Stallaert (1880)