Thersites

I mean, I go into it a little bit, but there's much more that could be said.

And then there's the half-man, who in the first sentence before his name is mentioned, he's compared to the Homeric figure Thersites, who is a very minor character.

But he's described in the Iliad as the... as an ungainly figure, stooped, hunched, wispy hair, speaks in an unclear, raspy way, a completely unsympathetic character physically from the description.

But what makes him heroic in the Iliad is that he's willing to speak truth to Agamemnon and the senior members of the Greek expedition, saying, this is a vain folly that you're all committing us to death in order to rescue this king's wife.

I'm interested in Franz Kafka's lectures to an academy where he imagines an ape who's been captured, learns to speak and to reflect on what it's like to be a human from the ape perspective.

as he's losing his apeness through his ability to articulate.

That strikes me as not not unenlightening for understanding the possible readings of Thersites, for example, as a primate post-death, and for Vendris' own place in that Byzantine society of the 9th century, but then in his literary and visual afterlife, what he came to represent in terms of difference that is largely... critiqued, I guess, in the image.

He's not the hero of the story, as it's told.

I mean, I go into it a little bit, but there's much more that could be said.

And then there's the half-man, who in the first sentence before his name is mentioned, he's compared to the Homeric figure Thersites, who is a very minor character.

But he's described in the Iliad as the... as an ungainly figure, stooped, hunched, wispy hair, speaks in an unclear, raspy way, a completely unsympathetic character physically from the description.

But what makes him heroic in the Iliad is that he's willing to speak truth to Agamemnon and the senior members of the Greek expedition, saying, this is a vain folly that you're all committing us to death in order to rescue this king's wife.

What I imagine is that this can seem as if it is a too casual and arbitrary set of associations brought to bear on this.

I mean, I'm interested in Franz Kafka lectures to an academy where he imagines an ape who's been captured, learns to speak and to reflect on what it's like to be a human from the ape perspective as he's losing his apeness through his ability to articulate.

That strikes me as not not unenlightening for understanding the possible readings of Thersites, for example, as a primate post-death, and for Vendris' own place in that Byzantine society of the 9th century, but then in his literary and visual afterlife, what he came to represent in terms of difference that is largely critiqued, I guess, in the image.

He's not the hero of the story, as it's told.

I mean, I go into it a little bit, but there's much more that could be said.

And then there's the figure of the half-man, who in the first sentence before his name is mentioned, he's compared to the Homeric figure Thersites, who is a very minor character.

But he's described in the Iliad as an ungainly figure, stooped, hunched, wispy hair, speaks in an unclear, raspy way, a completely unsympathetic character physically from the description.

But what makes him heroic in the Iliad is that he's willing to speak truth to Agamemnon and the senior members of the Greek expedition, saying, this is a vain folly that you're all committing us to death in order to rescue this king's wife.

some aspects of his physical state that make him different.

And it's that difference that I really wanted to explore.

The other thing not mentioned in the Scalizzi, the text and the illustration of the 12th century, is that in Plato's Republic, Thersites takes on, in the afterlife, his soul becomes an ape.

So he's diminished during his life, but in terms of, we could say, the media of Greek literature or language, he's diminished to a bestial state.

I mean, I go into it a little bit, but there's much more that could be said.

And then there's the half-man, who in the first sentence before his name is mentioned, he's compared to the Homeric figure Thersites, who is a very minor character.

But he's described in the Iliad as the... as an ungainly figure, stooped, hunched, wispy hair, speaks in an unclear, raspy way, a completely unsympathetic character physically from the description.

But what makes him heroic in the Iliad is that he's willing to speak truth to Agamemnon and the senior members of the Greek expedition, saying, this is a vain folly that you're all committing us to death in order to rescue this king's wife.

What I imagine is that this can seem as if it is a too casual and arbitrary set of associations brought to bear on this.

I mean, I'm interested in Franz Kafka lectures to an academy where he imagines an ape who's been captured, learns to speak and to reflect on what it's like to be a human from the ape perspective as he's losing his apeness through his ability to articulate.

That strikes me as not not unenlightening for understanding the possible readings of Thersites, for example, as a primate post-death, and for Vendris' own place in that Byzantine society of the 9th century, but then in his literary and visual afterlife, what he came to represent in terms of difference that is largely... critiqued, I guess, in the image.

He's not the hero of the story, as it's told.

I go into it a little bit, but there's much more that could be said.

And then there's the half-man, who in the first sentence before his name is mentioned, he's compared to the Homeric figure Thersites, who is a very minor character.

But he's described in the Iliad as the... as an ungainly figure, stooped, hunched, wispy hair, speaks in an unclear, raspy way, a completely unsympathetic character physically from the description.

But what makes him heroic in the Iliad is that he's willing to speak truth to Agamemnon and the senior members of the Greek expedition, saying, this is a vain folly that you're all committing us to death in order to rescue this king's wife.

What I imagine is that this can seem as if it is a too casual and arbitrary set of associations brought to bear on this.

I mean, I'm interested in Franz Kafka lectures to an academy where he imagines an ape who's been captured, learns to speak and to reflect on what it's like to be a human from the ape perspective as he's losing his apeness through his ability to articulate.

That strikes me as not not unenlightening for understanding the possible readings of Thersites, for example, as a primate post-death, and for Vendris' own place in that Byzantine society of the 9th century, but then in his literary and visual afterlife, what he came to represent in terms of a difference that is largely critiqued, I guess, in the image.

He's not the hero of the story, as it's told.

I go into it a little bit, but there's much more that could be said.

And then there's the half-man, who in the first sentence before his name is mentioned, he's compared to the Homeric figure Thersites, who is a very minor character.

But he's described in the Iliad as the... as an ungainly figure, stooped, hunched, wispy hair, speaks in an unclear, raspy way, a completely unsympathetic character physically from the description.

But what makes him heroic in the Iliad is that he's willing to speak truth to Agamemnon and the senior members of the Greek expedition, saying, this is a vain folly that you're all committing us to death in order to rescue this king's wife.

I'm interested in Franz Kafka's lectures to an academy where he imagines an ape who's been captured, learns to speak and to reflect on what it's like to be a human from the ape perspective.

as he's losing his apeness through his ability to articulate.

That strikes me as not not unenlightening for understanding the possible readings of Thersites, for example, as a primate post-death, and for Vendris' own place in that Byzantine society of the 9th century, but then in his literary and visual afterlife, what he came to represent in terms of difference that is largely critiqued, I guess, in the image.

He's not the hero of the story, as it's told.

Are we supposed to feel sorry for him? Well, the next lines in Homer say, one soldier popped up and said, of all the great things Odysseus has done for us here, that was the greatest.

to shut up a big mouth idiot like Thersites.

Well, what Thersites had done that was wrong.

Of course, the poet and Odysseus didn't like his policy suggestion, but what he really had done, he had no right to speak at all.

The only people who could speak in a council or in an assembly were the noblemen, the basileus.