Summer Edition 2021

SE duimt imo ne r

Dear Readers,
It is my absolute pleasure to present you with our new
Summer Edition of Satyrica.
It is a cliché to say that this year was tough, but indeed it was
rough, tough and challenging. Writing and editing is fun yet
also hard work, so I would like to honour and praise my
creative team and contributing writers for their outstanding
work. It was an absolute pleasure to put this edition together
and finish it before we get our exam results :)
Most of us started our summer some time ago. Just in case
you run out of ideas, we have plenty of summer
recommendations for you: books, films, games. All Classics
inspired, so you can call it research. If you got into cooking
during the pandemic, or are just a massive foodie, we have
some ancient food recipes. For your soul, we have poetry,
translations and a bit of advice from our queen, Auntie Athena.
On a personal note, cause why not, I would like to thank my
amazing friends for all their support and encouragement and
for just being the best. Special thanks to Ibby, for giving an
enthusiastic unexperienced editor a chance of a lifetime.
Last but not least, special thanks to you, dear Readers, for
sticking around and reading our serious and silly pieces. We
wouldn't be here without you.

Keep eating your greens,
Agnieszka Arcisz
Editor-in-chief

Auntie Athena
The Lovers from a
Forgotten Age
'Ariadne' review
'Hades' review
A reimagining of
Sappho
Summer
Recommendations
' A Thousand Ship'
Ancient Roman Recipes

edited by Rocio Martin-Martinez

Why is my mom always mad at
me? - K-Dwag

Χαῖρε K-Dwag!

There are plenty of reasons for anger - in fact, us gods are rather prone
to it! For some it’s losing a war, for others it’s the much more serious
affront of not being chosen as the prettiest being in the world. There’d
be no Odyssey without Poseidon getting into a tizzy over Odysseus
blinding the Cyclops - though I personally think my mortal protegé was
quite right to do so; how is it that that Cyclops can feast on innocent
people, but my darling Nobody is condemned for blinding him?!
Similarly, the Iliad would be frightfully dull without Achilles’ wrath - that
boy sure knew how to spice up a conflict! It seems that some of our
greatest tales are forged in hot-headedness. However, our greatest are
not our happiest.

A mortal quite dear to my soul, Marcus Aurelius, once wrote: “In anger
the soul hurts itself”. Frustration, expressed in anger, is a form of self-
flagellation. Although I am loathe to admit it as a war goddess, we live in
times where conflict is something to be overcome, rather than sought
after for κλέος (glory). Armour is out of fashion, laid aside in favour of
crop tops and jeans (though I myself still favour a chiton).

Upon such considerations, my divine advice is communication.Try
discussing with thy begetter the feelings that her ire arouses in you, and
consider whether her motives are justified and whether you might act
upon them. This is worth a try, for family is certainly a treasure when it
works - as someone with more siblings than even my own father knows,
let me tell you it’s amazing what can be forgiven and forgotten.
Nevertheless, if you find irreconcilable differences, it may be time for an
odyssey of your own.

Sometimes absence does make the heart grow fonder, and independent
growth is crucial to self-discovery and self-appreciation. Ultimately, my
dear mortal, the fire of anger is a bitter hearth, and warmth can be
sought in other pastures. Be wise, be kind to yourself and others, and
keep an eye out for a watchful owl by your window - I shall watch as you
make me proud.

Divinely yours,

Auntie Athena

(with thanks to my scribe Mathilde Hunt)

Can you be subjective on the topic of
subjectiveness - Quiche Lorraine

Dear Quiche Lorraine,
Some might say that by asking the question yourself you have answered
the question. I appreciate your very intelligent enquiry; indeed, you must
use your brilliance to put reason and logic above your emotion.

Take this, for example. As goddess of war, some might say my
subjectiveness saved Odysseus from the wrath of Poseidon. I would not
be able to help Telemachus, or Odysseus, or anyone was I not subjective
and acting on fact itself. This statement itself is subjective, but Homer
appears partially objective in his encapsulation of immortals like myself. I
do not harbour any particular favouritism towards Odysseus, I just help
him occasionally, so some might say I am objective. In spite of that, this
is a subjective decision. Mortals are subjective beings, irrational beings
for the most part, and immortals such as I, a passionate bunch who act
impulsively and subjectively too.

However, since I was not born from a mother, but I emerged from the
head of Zeus, I could be viewed as objective in guiding you, Q. Lorraine,
as I am not equipped in the subjectiveness of female figures.Perhaps
one can be objective about subjectiveness after all?
Ultimately, dear Quiche, it is you who decides whether one can be
subjective on subjectiveness. For one, do you choose to ally yourself with
the mortals or immortals? This may make the question easier to answer.

All the best,
Auntie Athena
(with the help of my scribe Issy)

Where did COVID-19 REALLY come
from? - KF

Dear KF,

I must admit I am flattered you would approach me on this matter,
rather than Pythian Apollo, god of prophecy and bringer of
pestilence. Be that as it may, if augury and divination have not
revealed to you the true origin of the plague, it might be because the
gods do not wish it to be known. And, as embarrassing as it is to
admit, in some cases even we do not know what the Fates have
decided or why.

Although we immortals cannot get ill, trust me, we also find the
situation irritating. I had a trip to Athens planned down to every last
detail! And as large gatherings are banned in many countries, the
festivals traditionally held in our honour are being neglected. Zeus is
grumpy about the possibility of the Olympic Games being postponed
yet another year; Dionysus cannot wait for his worshippers to gather
in large crowds in bars and clubs to honour him; Hestia, I suppose, is
the only one who remains unaffected, happy that people are staying
at home and spending more time with their families and around the
hearth. Alas, even we gods must submit to Fate and let the events run
their course.

As the goddess of wisdom, I understand how frustrating it can be to not
have all the answers. Nevertheless, it is my advice to continue to have
faith in science, and to keep up with your usual sacrifices and prayers to
keep both yourself and your loved ones safe.

All the Best,
Auntie Athena xx
(With thanks to my scribe Juulia)

What is God ? - K-Dwag

Some several thousand years from now, you shall know of this,
however, you’re still too young. All you need to realize is that you
have me and all the other gods, and we will take care of you. Don’t
think of it no more.
And before you ask, no, the Moirae will not be easily tricked into
telling you.

Auntie Athena

(with the help of my scribe Nemo)

Dear Roro, Kell and Lolo
Your amazing friend Connie is sending

you lots of love and hopes to see you
soon as she missed all of your terribly

Pandemic is tough but friendship is
stronger !

The Lovers from
a Forgotten Age

by George Hodges

Of Love and war I sing, O Muse, tell me
A fine spun tale of lovers, who, separated

By war, return to each other in sweet
Embrace before a welcoming hearth.
In the waning years of the Great Age of Heroes,
When the lofty town of Ilium lay in ruins,
Still smouldering decades after it was laid low
By the bronze armoured Achaeans,
Savage Strife began sinking its claws

Into kingdoms far and wide.
The collapsing Of an age was unravelling, decaying

From the unchecked greed and petty tyranny
Of incensed warlord kings.

Yet among the ruin, lovers, kings, and forgotten Heroes,
Lion-Hearted Andronikos and

Gentle Pythodoros had managed to rule piously
Over Minoan Phaistos,

South from Ida’s Lofty peak on one hundred towned Crete.

Not long after rosy-fingered

Dawn had reached Her golden throne,

Andronikos, standing before the Megaron in the palace, arching his
brow in conceNrnot, lLoentgtahfetesrerwosoyr-dfinsgfelyretdhus to Pythodoros,

Dawn had reached Her golden throne,

Andron‘iDkoesa,rsetastndtoinmg bee,fIosreenthseeMtheagatrsotnriifne twheillpbaelacaet, oaurcrhVinegrhyisgabtreosw! in
You too hacvoencheeranr, dLeht othwesoenwcoerdgsreflay tthTuoswtonsPyatrheodeonrgous,lfed in flames,
‘Dearest to me, I sense thaMt sytcriefenaweill be at our Very gates!
You too AhafavevoheuarritdehoofwHoenrcae’sg,riesatnToowwnnsoathreinegngbuulftedruinbbfllaem, es,

ScorchMeydceannade ravaged.
A favourite ofTHheerag’rs,eiesdnoowf tnhoethriunlgebrsut rubble,

Has mSacdoercthheedmanwderaakv,agitehd.as allowed
ForHtahsemsaaTdvheaegtghereemseedawoedfawtkh,eeiltlrehuralessrtsaollolawyedwaste to
For the savaTgheesseeapdowwelelerrss otof loalydw. aste to
We must be resoluTteh,esMeypolowveer,swofeomldu. st protect our people,
We must beMreasoyluthtee, Mgoydlosvleo,owkekminudstlypruopteocnt ouusr!’people,

KindM-hayeathretegdodPsyltohookdkoinrdolsy luopookneuds!i’n shook,
Kind-hBeuarttsewd iPfytltyhocdoomropsoloseodkehdiimn sshelofo. k,
Looking askance HBuetrsewpifltileydco‘Mmypolosevde,htihmesenlfe.ws is dire and I know
Looking aWsWkeaenmmceuuHssttehhraeaspstlitilieyldypr‘pMerpyeaploraeveroe,utrhoseuelrnvseeewsl,vsleoiss! ,dLolioroe!kaL! nodokI !know
IIsseeee aa ddoozzeennswswiftifsthsiphsi,pist,mitumst ubsetthbeemt,hem,
TThhee sseeaa ddwweelllelersr!sI! wI iwll igllagthaetrhtehrosthe onsoet anbolet able

TToo figghhtt,,aannddI wI willillelaledatdhetmhetomretofugrefuge

AAbboouutt tthheeppeeaaksksofoIfdIad, aw,awysaoynslyonwleykwnoewk,now,
TTrreeaachchereoruosutso taoll aoltlhoertsh.ers.
I Idrderaedatdo taoska,sk,

BSBukuitltleccdoouuinllddbyayotoutlu,es,atsrgtoarnoingnsetgsttehosoftsaoelflb,aalelralb,dalerthaiaodnsset?h’ ose
Skilled Hinavbiangttlseeeangtahienastwtfhulossigehbt,arbarians?’
Brave-hearted AHnadvroinngiksoesegnatthheereadwhfius lasrmigsh,tw, ith power
Brave-hearteBdehAinnddhriosnviokioces, g‘Faotrhyeorue,’dhhe issaaidrms, with power

Behind his voice, ‘For you,’ he said

Not long after rosy-fingered

Dawn had reached Her golden throne,

Andronikos, standing before the Megaron in the palace, arching his

brow in concern, Let these words fly thus to Pythodoros,
‘Deare‘sItwtooumld ed,oIasneynthseintgh. aI wt islltrsiefnedwtihllembetoatHoaduersV, ery gates!

And I will ensure they bring our people No harm!’

You too have heAanrddsho,owwithonthcies tghreeakitnTgsolwaunnscahreed engulfed in flames,
Into action, like wilMy Oydceysnsaeues sending forth

A faAvnoaurrriotew othfrHouegrha’tsw, eislvneoawxesn,ostohtihnugsbthuetyrubble,
Rushed through tShceomrcahneydstarenedtsroafvtahgeeirdA.ncient town.

TPhytehogdreoerods ocaf ltlhede arlul lers
HThaestmowandsefotlkh,elemadwinegatkh,eimt htoaws aarldloswed
For thTehesamvoaugnetasineas, adnwdeAllnedrsrotnoikloasy waste to

Called all the warriors, leading them

ToTwhaersdespthoewhearrsboouf ro.ld.
We must be resoTlhuetelo, vMerys lsoavwe,eawceh motuhesrt protect our people,

OMnacye mthoereg,oadnsdllooockkekdiinndelmy ubrpaocne. us!’
KinBde-fhoerae rthteedir Pveyrtyheoydeos,rtohseyloloookkeeddiant shook,

ThBeuptaslawcief,tltyhecior mwepllo-bsueidlt hhoimmsee; lf.
Looking askanAcepoHlleo,rwehpolieshdo‘oMtsytlhoevaer,rtohwesnoefwars, is dire and I know

We muSestnthaasratiylyofplrigehptaorveeroiut,raseslivgens, , lo! Look!

No longer would it be hearth for them.

I seAelthaoudgohzetankesnwaifgtasshpi,pths,eyitkmneuwstthbeey them,
The sea dHwaedllteorsh!aIstwenillthgeaitrhpelarnt.hose not able

To fight, aGnivdinIgweailcl hleoatdhetrhem to refuge
AbouOtntehlaespt eloankgsinogfgIldaanc, ew, athyesyosentlyofwf. e know,

WarT-lrikeeaAchnderroonuiksotsoleadllhoisthmeerns.
To the hollow sIhdiprse,aads stwoifatlsyka, s possible
But cTohueyldemyobua,rksetrdohnegaedslot nogf taollr,almead those

The sea dwellers.

Skilled in battle against those barbarians?’

Having seen the awful sight,

Brave-hearted Andronikos gathered his arms, with power

Behind his voice, ‘For you,’ he said

Not long after rosy-fingered

Dawn had reached Her golden throne,

Andronikos, standing before the Megaron in the palace, arching his

Soon they were on them, disorganised

brow in conAcnedrnc,hLaeotticthinestheewirowradyss,fltyhethseuas to Pythodoros,
‘Dearest to Dmwee,llIesrsenwseerethraamt msterdif,ethweilcllabsehiantgour Very gates!
You too haOvfebhreoanzredahnodwtimonbcereegcrheoaetdTaocwronsss tahreesehnorgeu. lfed in flames,

But with every ship sunkM, ayncoetnhearewould take Its place.

A favourite oFefaHresraan’ks,inistontohwe hneoatrht ing but rubble,
Of AnSdcroorncikhoesd, faonr dnorwavhaegkendew.
TheTsehewegrreeneodt ojufstthmeorrutalelsr,s

But semi-lifeless men, conjured by

PosHeaidsomn, athdeewtahveemchwurenaekr,, hitohrraibslealtlootwelel.d
ReFaolirsitnhgethsaatvasogoens, eifahedwdiedllneortsttuornlathyewsahisptse to

Back to the Tsahfeestye opfolawnedr,shoefaonlddh. is men
We must be resoWlouuteld, Mfacyeloavwea, twerey mgrauvset.protect our people,

May the gAonddssoloaotkonkcinedly upon us!’
KHiins dbo-hoemairntgevdoPicyetrhooadreodro‘Gsreloaotekset dfigihntesrhsook,
Of PhaBiusttoss,wtuifrtnlybcaocmk ypoousresdhihpsimatseolnfc.e!

This is the wrath of but one god, Poseidon,

Looking askanWcee mHeusrteepslciaepde‘Mnoywl,olevset, wtheeounreswelsveis dire and I know
We muBstechoamsetiltyhepfroeuplasreea odwureslleerlvse!’ s, lo! Look!
AIt stheies,athdeoPzheanisstiwaniftshsihpisprso,tiattemduthsteibr ehuthllsem,
The seAanddtwhelyletorso!kIrwapilildglyattohtehretohaorse. not able

TFoorftiugnhatt,ealynwditIhwoinlllylemaidnothr edmamtaoger,efuge
AboTuhtetyhoeupt emaaknseouvfeIrdead, twheayfosuol nshlyipws.e know,
Hark! The sTeraeadwchelelerrosufsoltloowaeldl ,olitkheedrsri.ftwood

Caught in the swirling waters of a rapid.

All this wasIsdeerenabdy tthoeatsokw,nsfolk,
BuPtytchooudlodroysoluo,oskterdoinngsehsotookfaasltlh, eleoandethose
HSekliollveedd,iannbdatthtelebaragvaeisnt swtatrhroiosres obfaPrhbaaisrtioasns?’
Rushed soHqauviicnkglysbeaecnk,twhheilaewhfoualrdsisgohftn, ear

Brave-hearted AnRdortotinngiksohsipgsaptuhresrueedd.his arms, with power

Behind his voice, ‘For you,’ he said

Not long after rosy-fingered

Dawn had reached Her golden throne,

Andronikos, standing before the Megaron in the palace, arching his

brow iSnwcifot-nfocoetrend, PLyetthtohdeosreoswhoarsdtesnfeldy tthheupsetooplPey, thodoros,

‘DeaAsrehsetftoounmdea, Iclsuesntesreotfhcaatvesst,roifveerwloilolkbinegatht eoaulrmVoesrty gates!
You too have heard howEnodnlceessghroeraiztoTno. wns are engulfed in flames,

When all the townsfolkMhaydcehnuadedled Into the caves,
A fTarvieodutProiyttsehoooodtfhoHeroetshr,aewi’sri,tmhisiwnndaosr,mwbiunntgohtwihsoimrndgisnbdutot orubble,

Churned withSceomrocthioends,alinkde trhaevmagixeindg. of wine.
As the peoplTehoef Pghreaeisdtoosflotohkeerduolnerisn terror,
AndronHikaos amnaddtheethberamvewmeeanks,tiatmhpaesdaeldlothwreodugh

FTohretshtereseatsvtahgeey aslelakndewweslolewrseltl,oglliamypwseasste to
Of days passed fiTllehdestheepiromwienrdss obef hoilndd. tearful eyes.
We muAstt lbaset,rtehseoylumtaed, eMitytlootvhee, mwoeumntuasintopursopteacthtso, ur people,

LooInktiongtMhbeaehhyaintrhdbeoaugsrot,hdsepseolwonsionlakgukfgoihnrttdholytfhsuehpifpoosunlcrmuases!hn’ e. d
WaKviensdo-fhfeiraerctoevderPeydththoadt oornoces plorooskpeedroinussthoowonk, ,
As the maBrauutdsewrsifctloynctionmuepdotsheedir hseinmsesleelsfs. acts.
LookingTahsekwaanrcreioHrsehraedpfliineadlly‘Mreyalcohveed, tthheevnanetwasgeispdoiinret, and I know

WPreepmaurisntghthaesmtilsyelpveres pwaitrheaormurssoeflvaellst,ylpoe!sL, ook!
I seeFarodmozsepneasrws tioftjsahggipeds,bitoumlduesrts.be them,

TheTsheeafoduwl oenlleesrsju! sItwtoilulcghaetdhtehretfhoootsheilnlsot able
OOTfonIdfaaing,yhlictk,reeaaantsudwreIawrtmhiallotlfhebaaerdmestshdteehsmeciertnhodivirneeg,fuge

About the peWahkesnoTfheIdyah,awlteady.s only we know,
TTrehae cPhhearisotuiasnstogaaslpl eodthers.

As the sea dwI edllreeras dbetgoanastok,collapse

But Icnodurlodvyeso,uw,isthtreorinnggeasntdodfeaclal,yilnegad those
SkilJluesdt ains tbhaetotlneceaggareiennstletahvoesseofbtarerbesarians?’
Fall to theHgarovuinngd,speaelenatnhde waiwltefudlbsyigAhutt,umn.

Brave-hearted Andronikos gathered his arms, with power

Behind his voice, ‘For you,’ he said

Not long after rosy-fingered

Dawn had reached Her golden throne,

Andronikos, standing before the Megaron in the palace, arching his
brow in conTcheerynh,aLdetretahcehseedwtooordfasr filnyltahnuds, to Pythodoros,
‘Dearest toNmo leo,nIgseer nasbeletthoatthrsitvreifoenwthilel bseeaaatiro, ur Very gates!

You too have heaRArednadhchsooinwignosthtnaecneetnlygdrtehoaef ytthcTeooilrlwatepntssheeadr,r.e engulfed in flames,
Rejoice! Rejoice! MThyecpeenoapele of Phaistos

A favouTrhiteey ochfeHereerda’asn, distnheoywcenleobtrhaitnegd,but rubble,
Relieved toShcaovrechbeednasnpdarreadvaadgreeda.d fate.

AlthougThhtehegireceitdy loafytshmeoruuldleersing,
TheirHoanscempardidee tahnedmjoyw, ethaek,pietohpaleshaaldloliwveedd.

FAonrdthsoeassanviagghet csreeaptdinw, ethlleerpseotoplelasyetwuapste to
TMhSatekasenesdhpiinfotgwhbeeearforstrhoesf. old.

We must be resolute, MTyheloirvoew, nw,e must protect our people,
MaAyntdhreongiokodssalnodokPyktihnoddloyrousp, on us!’

KFinodrg-ohteteanrtleodvePrsy,tohnocdeokrinogssloofoPkheadisitnoss, hook,

EmbrBacuetdsawnidftlpylecdogmedptoosbeudilhdiamfrseeslhf.a
Looking askancNeeHwesertetplelmieednt‘M, nyeslotlevde,inthtehenheiwllss, is dire and I know

We muSasftehfraosmtilythperheoprarorres oouf trhseelsveeas., lo! Look!
As theIpsaeier Sapdokoezeanll nsiwghifttloshngip, As,piotllmo duesltabyeedtDhaewmn,’s

Arrival so that they may rejoice in each

ThOethseeras dcowmepllaenrsy!, jIuwstilal glitatltehwerhitlhe olosnegnero, t able
To fBigehfotr,eatnhdeirI awgiellcloelaladpsthedemintoto refuge

About thTehepienackepstoiofnIdoaf a, wneawysoonen.ly we know,

Treacherous to all others.

I dread to ask,

But could you, strongest of all, lead those

Skilled in battle against those barbarians?’

Having seen the awful sight,

Brave-hearted Andronikos gathered his arms, with power

Behind his voice, ‘For you,’ he said

The unspoken privilege
of having one’s story heard

review of ‘Ariadne’
by Jennifer Saint

- by Agnieszka Arcisz
edited by Flavia Collyer-Powell

In 2021, retelling myths from a woman’s perspective is not new. After
Circe and Silence of the Girls (reviewed in the last edition so check it
out if you haven’t already), Ariadne fits perfectly with the demands of
the market. I was very excited to read it because, while there are
many similar publications, I think there is still a lot of material waiting
to be re-considered. The narrative is based on well-known stories, and
while Jennifer Saint uses different variants of the myths, it does not
impact the overall logic of the narrative. To summarise, Ariadne, a
Cretan princess, betrays her family by helping a handsome stranger
kill her monstrous brother. The famous lady of the labyrinth, still a
young woman, leaves her sister Phaedra and their mother Pasiphae
to marry her co-conspirator in Athens. However, she is abandoned at
Naxos, despised and disgraced in her own eyes. Just as she deems
her life to be over, she is rescued by another handsome, this time also
divine, stranger. Phaedra is given a voice of her own too as she
navigates her own adult life in Athens. Their worldviews and decisions
are heavily influenced by the presence of the stories regarding other
iconic women like Medea or Medusa in the narrative, creating a
kaleidoscope of female perspectives on mythological antiquity.

Jennifer Saint, author and KCL Classics alumna, transports her
readers to the masterfully crafted Greco-Minoan world. The
incorporation of Minoan and Greek iconographic elements as well as
evident usage and allusions to a wide scope of Greco-Roman
literature seem effortless and graceful. I am very impressed by the
way she used motifs from such a variety of sources, whilst never
making me feel I was bombarded with them. The created world feels
consistent and original yet simultaneously close to the one
recognisably ‘ancient’ for a modern reader, and maybe, dare I say,
quite familiar for Ancient Greeks themselves.

Re-examination of the glory and righteousness of the quest of kleos
revokes the classics, yet the female take on it provides a genuinely
interesting perspective and questions if the desire for kleos is as
archaic as one might think. My personal favourite was the
incorporation of Minoan elements, since they did not feel tacky or
thrown there for aesthetic sake but added to the story, providing
sometimes surprising twists. For example, Ariadne’s dancing scenes
are written primarily as touching moments of self-expression not
because ‘dancing scenes’ are on the Minoan frescoes and they look
cool. I also appreciated the numerous invocations of the idyllic beauty
of Crete and Naxos and the dazzling glamour of Athens, which
offered a chance to breathe in and reflect on the heavier tones of the
book, without being too distractive.

Yet it is an issue of storytelling that lies at the heart of this book. From
the first sentence that echoes familiar classics, till the very end, the
power of speech rather than physical force spins the action of the
narrative. Saint presents her Greco-Minoan world as a collection of
stories. Yet instead of playing rhapsoidos and singing the glories of
brave men and their silenced women, she sits us all, characters and
readers alike, in a circle, around a fire with a kylix of wine, and by
removing a third person narrative, she gives her characters plenty of
time to reflect upon their lives or to present themselves with a
carefully constructed image. I found the duality of female and male
storytelling techniques presented in this book especially interesting. It
shows the influence of the privilege of having one’s story constantly
heard or ignored on the actions of an individual, providing an
interesting angle for the re-telling of Greco-Roman myths.

Essentially the world of ‘Ariadne’ is composed of powerful and
privileged men and women who are manipulated and wronged by
them. I think many of us can still relate to the fear or sense of
hopelessness felt by women in the story. We can empathise with their
focus on surviving rather than fighting the privileged men on top, who
till this day are allowed to get away with so many unspeakable
abuses. Interestingly, men of ‘Ariadne’ are powerful mainly because
they know how to fashion themselves to the expected image of gods
and heroes, not because of their heroism. Yet a careful examination
of all of their actions and inclusion of another perspective on them
essentially strips classical heroes from their power and glory. Do not
expect to like or worship them, Saints seems to be saying, and it
sometimes felt like she urged us to re-evaluate heroes of our day and
age.

Yet, I found this gender division suffocating at times. At first, I thought
it was because all the men in this book are in one way or another
simply terrible, which made rooting for all the female characters a
little enforced. I think there was also room for more diversity and
complexity as the universalism of female suffering seemed to be too
generalising. Yet the main issue, in my opinion, was the lack of a
defined character journey for Ariadne and Phaedra, that would set
them apart from the general narrative of female suffering. Since the
main characters are lacking in charisma, I think the book could have
worked better as a collection of separate stories rather than a long
continuous narrative, since it was difficult to root for or empathise
with them up till the end of the book. They are finally in the spotlight
with plenty of space to examine their emotions and concerns, yet
there is something simply missing. Ariadne gets one powerful
moment on Naxos where she expresses her fury and uses her
agency. Yet this is quickly squashed and resurfaces only years later as
a distant memory of a person ‘she used to be’, although we never see
this active side of Ariadne lasting more than a few days.

The passivity of characters can be explained by the realities of the
patriarchal world Saint has created, yet while moving at first, this
becomes tedious by the end of the book. Ariadne and Phaedra do
grow up, yet surprisingly in many ways, they stay the same. They are
only considering making changes in their lives or are running away
from making important decisions by making impulsive choices. Even
when they discover the manipulations and cruelty of the men around
them, that usually only confirms their long-held assumptions, so the
climax of the dramatic situations is often lost. Their stories are retold,
some more controversial and sexist bits are straightened up, yet they
stay victims.

Overall, I think ‘Ariadne’ is worthy of your time. It is a great piece of
Classical reception, worthy of being on your reading list for the
summer. Spotting familiar images in the narrative or allusions to
works of literature so many of us spend years studying or are just
beginning to discover is a lot of fun on its own. Although I did not
always follow or agree with all the ideas in this book, I think it
presents an important angle for re-examining myths and, by
association, even our methodology for researching antiquity. As more
people speak up, demand and enact changes, we are right to
examine whom and what we are celebrating. Whose stories do we
deem important to tell and how do we tell them? How do we look at
History, to whom do we choose to erect statues, and whose statues
we decide to tear down? Saint’s book is a supporting voice for critical
engagement with the past, and even if I do not always agree with or
understand the way she approaches the topic, I think her book is an
interesting and valuable contribution to the world of Classical
receptions.

Hades Review:
Hell Ain’t a Bad Place to Be

Written by Marino Unger-Verna,
edited by Juulia Tumanoff

If you’re a Classics student who plays video games, it’s highly likely
you’ll already know about Supergiant Games’ Hades. The first result
upon Googling the word ‘Hades’ is, unsurprisingly, the deity’s
Wikipedia page. The next several after it, however, are dedicated to
this game and the startling praise it has received. Hades has won
several BAFTAs and was named ‘Game of the Year’ by more
publications than any other 2020 release. If you somehow haven’t
heard of Hades by now, though: buckle up. My job will have been
done poorly if, by the time you’re finished reading this review, you
aren’t compelled to play this masterpiece.

In Hades, you play as a lesser-known son of Hades named Zagreus.
In actual mythology, Zagreus’ position is exactly what you’d expect:
fragmentary and a lot less clear-cut. Ζαγρεύς is referenced as Hades’
son by Aeschylus, while Callimachus referred to him as a son of Zeus
and Persephone, a ‘chthonic Dionysus’. Aeschylus, meanwhile,
associated Zagreus with the Underworld.

In the Alcmeonis, he is linked with Gaia and called the ‘highest of all
gods’, likely referring to the underworld in particular. Hades
thankfully does away with this ambiguity; the Zagreus of this story is
the son of Hades and Persephone, and he isn’t all too happy with his
dad.

You control Zagreus in his repeated attempts to escape the
Underworld after discovering that Persephone, who has been
missing for some time, is his birth mother – not Nyx, as his father
had previously insisted. Predictably, Hades is less than pleased with
this rebellion against his authority and sends his minions to stand in
Zagreus’ way. These make up the enemies you fight as you climb
your way to the mortal world, from lowly spirits to larger threats
such as the Fury Megaera, a Lernean Bone Hydra, and the ghost of
Theseus. Thankfully, Zagreus is also supported in his quest by
various prominent figures from Greek mythology. Achilles and Nyx,
both mentors to Zagreus, aid him as best they can. While in active
escape attempts, too, major Greek Olympians will send Zagreus
boons, claiming they seek a reunion for their family. Other spirits
who have come to know Zagreus, including those of Sisyphus and
Orpheus, will lend you aid as well.

Hades is what’s called a ‘rogue-lite’ game, meaning it is intended to

be completed in one sitting but, crucially, that much of the player’s

progression is reset between escape attempts. Some upgrades you

make are permanent, such as those granted with the help of your

mentors and the various ‘infernal arms’ you can unlock for use in

combat, including a Stygian blade, a shield lined with bone shards,

and twin fists for a more up-close and personal approach. The

boons granted by Olympians, however – often the most valuable

tools of your escape attempts – will be reset after each death. The

result is a game that takes time to master but can be played in short

bursts, perfect for awkward breakout room sessions or, if you’re

feeling particularly bold, during boring segments of in-person

lectures. Just call it creative revision.

Hades manages to perfectly offset its steadily increasing difficulty

scale with a sense of self-improvement and progression. As you

acquire permanent upgrades and begin to learn different enemies’

attack patterns, you will begin to find yourself blowing through areas

which previously gave you trouble, increasingly ready to tackle the

next. In a genre which can often be frustratingly difficult, the

fine-tuned mechanics at the core of Hades are part of what makes it

stand out. As you continue to explore the Underworld and develop

relationships with its various denizens, you will learn more about their

motivations, informing your understanding of Zagreus in turn. Each

character is given their own distinct personality, relayed to the player

through both dialogue and the ‘Codex of the Underworld’, given to

Zagreus by Achilles and containing fascinating tidbits of lore and

backstory. Achilles’ entry on Ares, for instance, highlights the regret he

holds for how the tale narrated in the Iliad transpired, despite its

inevitability: ‘Although my heart has long since stopped, it yet holds

love in it for all the gods, save one, the one who made and ruined me

as well. I have no kind words to impart to him, except, perhaps, in the

form of this concession. War, much like the heavens and the sea, can

be considered a force of nature.’

Well-written character moments like these are supported by gorgeous
environmental and character artwork. Poseidon is depicted as a laid-
back, fisherman-like figure with flowing, sea-green hair and a grin that
masks the power held by one of the central Olympians. Dionysus’
purple hair is lined with bunches of deep purple grapes, and his
demeanour is more casual as he aids Zagreus in his escapes. Hypnos
looks like she’s perpetually half-asleep, with messy white hair and a
vacant smile on her face. Hades himself hides his face behind a mess of
black hair, and seems at once domineering and absent as he rules the
Underworld from his towering desk. The environments themselves are
hand-drawn, and despite not being photorealistic are some of the most
detailed locations I’ve come across in a modern game. Colours pop and
lend already gorgeous scenes an extra sense of life, even when skulls
litter the stone floors of Tartarus or the hot islands of Asphodel. It’s
plain that Supergiant’s writers and art directors did their due diligence
in researching while lending their own unique twists to concepts which
have been established for thousands of years.

Moreover, the game motivated me to dig deeper into the classical tales
from which it draws inspiration. Whether characters were based on
obscure figures I’d never heard of or major gods any Classics student
knows inside and out, Hades always manages to offer a unique twist
based on nuanced interpersonal dialogue and artistic flair.

The game’s music completes the already sublime atmosphere.
Composed by Darren Korb, the soundtrack blends more ancient-
sounding string, percussion, and woodwind with modern guitar
interludes, allowing the tone to shift from one of lone exploration to
high-octane combat at the drop of a hat. All of these aspects blend
together in myriad ways to create enjoyable gameplay and story beats
which can be enjoyed across hundreds of play sessions, long or short.
Whether you’ve been through the Fields of Elysium one time or twenty,
the dynamic upgrade system, stage design, and scattered moments of
storytelling guarantee an enjoyable experience.
While I won’t spoil the more prominent story beats in Hades, the game
tells a far more personal story than many other adaptations of Greek
legends and monomyths. Hades is a tale of a family reconciling with its
past to pave the path to a better future, and is a fabulous experience
anyone from Classics nuts to video game enthusiasts owe it to
themselves to try.

Hades is available for purchase on Steam and the Nintendo eShop. It will be
available on Xbox One, Xbox Series X|S, Playstation 4, and Playstation 5 from
August 13.

A reimagining of Sappho

written by Mathilde Hunt

Sappho fragment 16, reimagined as a muttering
monologue overheard at a bar by a drunken man who

chews tobacco and has lived raunchily.

A roaring riot of Harley Davidsons pass,
Some joggers, a Merc,
But I’m unimpressed.

Among all the city and its stage,
I have eyes only for you, babe.

And who’d be surprised?
Helen herself, the cheeky minx,
Made for magazine covers she was,
And left it all behind, the glam and the glitz!

She took the Magic Bus to Troy -
it was easy in those days, a penny a trip -
and forgot the rest - kids, parents, the nuclear family.
Just one look and she was taken by almighty Aphrodite.

And my god her body […]
So flexible […]

It brings me back to the 70s,
A chick called Anactoria … I wonder what she’s up to…

What I wouldn’t do to see her walking around here,
Smiling like the sun is in her pocket, what wouldn’t I say.

I’d send all the bikers and the joggers,
the whole nine to five to hell,

for just another glimpse at her grace.

.

Original (trans. Julia Dubnoff)

Some say an army of horsemen,
some of footsoldiers, some of ships,
is the fairest thing on the black earth,
but I say it is what one loves.

5 It’s very easy to make this clear
to everyone, for Helen,
by far surpassing mortals in beauty,
left the best of all husbands

and sailed to Troy,
10 mindful of neither her child

nor her dear parents, but
with one glimpse she was seduced by

Aphrodite. For easily bent...
and nimbly...[missing text]...
15 has reminded me now
of Anactoria who is not here;

I would much prefer to see the lovely
way she walks and the radiant
glance of her face
than the war-chariots of the Lydians or
20 their footsoldiers in arms.

Summer Recommendations for
Professional Procrastinators

By Rocio Martin-Martinez
Edited by Marino Unger-Verna

This year more than ever I reckon we all needed a breath of fresh air
from uni - or at least that’s what I told myself during my film binge-watch
sessions and the numerous hours I spent on my Animal Crossing island
in order to make it half as pretty as the designs you can find on
Pinterest.
Due to that escapism that I so desperately needed, however, I have been
feeling that I have not done enough; that no matter how many hours I
spend on my readings, essays and exam preps, I haven’t done as much
as it was humanly possible… and that has obviously made me feel
godawful. Minerva is watching me from up-high with a very judgy stare, I
know it.
Anyway, despite knowing that I’m not the most unproductive human
being, I believe that this summer I should probably try to reconnect with
that deep love I once experienced for Classics. Of course, I could reread
Percy Jackson for the millionth time, but that wouldn’t really imply
discovering more about antiquity. It would just be another comfort read,
and I want something a little more challenging. I had the idea of asking
some of my professors, as well as some of my Satyrica peers, for some
recommendations, and then I thought: “Why don’t I also write an article
on those recommendations while I’m at it? I could add the experience to
my CV and decrease the levels of anxiety I received in exchange for the
unsuccessful applications I sent this year!” Plus, students in our
department (or other departments for that matter) who have never had
a real on-campus experience will finally be able to feel a sort of
connection with the professors and students with whom they would’ve
interacted under normal circumstances.

Two very kind professors sent me their Classics-related guilty pleasures -
and I have to admit that they look very tempting. Fellow members of the
Satyrica team also sent in their recommendations for your Classics-filled
summers.

Professor Dan Orrells
For my guilty pleasures, I'd like to suggest the 2014 Hercules film
starring Dwayne Johnson, AKA The Rock. It's a shocker of a B-movie, but
it's very smart. It's not clear in the film whether Hercules really is the son
of Zeus. It's a film all about how stories, rather than biology, create our
identities. It's a slick postmodern take on how identity is constructed. My
other guilty pleasure, which I don't feel very guilty about (!), is the 1884
novel Against Nature by Joris-Karl Huysmans about an ailing aristocrat
who takes pleasure in bad taste, artificial flowers, and the very worst
corners of Latin literature!

Professor Martin Dinter
I’d like to recommend Naomi Iizuka’s Polaroid Stories – an Adaptation of
Ovid’s Metamorphoses (1997). This play has come to my attention thanks
to a recent MA student in the department, and whilst occasionally a
harrowing read, it nevertheless constitutes a modern and inspiring take
on Ovid’s stories interwoven with material from firsthand interviews with
street kids addressing issues such as domestic abuse, addiction, and
prostitution. I also enjoyed Thomas Mann’s The Buddenbrooks (1901);
clearly inspired by the Iliad, this novel details the decline of a once
influential 19th century patrician family in Hanseatic Germany. Mann
even adapts Homeric epithets. A classic based on a classic. And lastly,
the Harry Potter series by J.K. Rowling (1997-2007): the spells are
usually a mix of Latin and German; in addition, some of the Hogwarts
professors are (apparently) based on Rowling’s Classics lecturers.

When it comes to The Satyrica Team, since there are many members,
I had to narrow down the amount of recommendations received. Here is
what our lovely staff came up with:

Plebs is quite fun; it could be described as an ancient Roman version of
The Inbetweeners. Lore by Alexandra Bracken is an enjoyable read
surrounding the events of the Agon, an imaginary competition in which,
every seven years, nine gods are chosen to walk the earth as mortals. If
the once-divine beings are killed, their slayers acquire their powers and
immortality.
Reign: the conqueror! is a manga which reimagines Alexander the
Great’s life, and Troy (2004) is an entertaining movie despite its
inaccuracies. Lastly, Rome - an HBO show in which two soldiers become
involved with events related to the fall of the Republic and the rise of the
Empire - we get to see our faves: Caesar, Mark Anthony, Cleopatra and
Octavian.

I hope that everyone has time over summer to recharge their social
batteries for the new term, and that you are able to disconnect from the
stress of uni life - but you now have a very good list of recommendations
to check out, so that shouldn’t be an issue ;)

A Review of ‘A Thousand Ships’
by Natalie Haynes

By Juulia Tumanoff
Edited by Caitlin Jackson

Natalie Haynes’ A Thousand Ships retells the tale of the Trojan
War, from the events leading up to the judgement of Paris to
Odysseus’ return to Ithaca, exclusively from the point of view of
women, both mortals and goddesses. Framing the story of the
Trojan War is the narrative of Calliope, the muse of epic poetry,
who tries to inspire an unnamed poet to recount the untold
stories of women, the forgotten heroes of the war.

Overall, I enjoyed reading this novel and thought it was a
refreshing take on retelling Greek myths. I’d never really thought
about just how many women were involved in the war and how
the story could be told almost completely without any male
narrative. Penelope’s chapters, to me, were the weakest, as she
told the story of Odysseus’ nostos. She, supposedly, had heard
rumours about his return but I found it implausible that she
would know all this in such great detail before he ever arrived in
Ithaca.

For me, the best part of the novel was learning the stories of
lesser known female characters, such as Oenone, Theano, or
Laodamia. While Haynes, a former Cambridge classicist,
clearly knows the source material very well and based most
of her portrayals on the stories of Euripides, Aeschylus, or
Homer, for instance, in the case of minor characters, the
characterisations were largely her own invention.

While the book makes a point about female heroism, the
numerous glowing reviews praising the novel for its feminist
perspective left me expecting more. I am glad the author did
not try to project modern feminist ideals onto ancient
female characters who would have had different views
about female roles in society than we do. The characters are
flawed and realistic, and their internalised sexism is evident
in the characters’ treatment of Helen, for example. Not
having a chapter from Helen’s point of view was an
interesting choice on the author’s part, and while her story is
widely known, I wanted to hear more of her thoughts and
feelings within the narrative.

Her story, like those of all the other female characters, has
historically been told by men, and I wanted to read a woman’s
take on Helen’s perspective. When it comes to classical
retellings, I am sure all classicists have strong opinions on how
they think each character is to be depicted. I didn’t agree with
Haynes on all accounts, such as Iphigenia, portrayed as vapid
and shallow, but I appreciate her interpretation of each myth
and commend the level of research that went into writing this
book.

As the Trojan war is so neatly contained in this novel in its
entirety, A Thousand Ships would be an accessible
introduction to Classics for aspiring classicists and non-
classicists alike, as well as a great starting point for those
second and third-years who have managed to get this far into
their degree without ever having read either the Iliad or the
Odyssey.

I TRIED ANCIENT ROMAN
RECIPES AND THIS IS HOW IT

WENT…

by Isabel Doyle

Now exam season is coming to a close and freedom
seems that much closer, we must begin summer
celebrations, ancient style!

I decided to try out some Ancient Roman recipes to help
you decide what to include in your post-exam banquet!
Or, if you are a keen host, as a part of pres at next year’s
Classics society’s toga pub crawl.

While pizza wasn’t mainstream in Ancient Rome (how did they cope?!), they
did enjoy a focaccia-style dish called pinsa (coming from the Latin word
pinsere - to press), perfect for those summer evenings. Many historians
believe the dish originated from the Etruscans of North Italy before the
formation of the Roman Empire, or possibly even by the Ancient Greeks in
the first millennium BC, and the recipe has become increasingly popular in
Italy over recent years. Traditionally eaten among farmers and lower
classes, this is the perfect recipe for a poor student like myself. Tomato was
not introduced until the 16th century, therefore toppings were minimal and
basic, usually just a drizzle of olive oil, sea salt and rosemary. I used
rosemary and garnished with the ‘very garlicy garlic cheese’. Together, I got
dough balls at Pizza Express vibes! Although, sweet toppings can also be
used, such as honey. If you are a cheese lover like me, the garlicy cheese
can be a nice alternative to hummus, the Pecorino Romano cheese is
glorious!

Ancient Roman cheesecake is most definitely not what it is now; for one, it
does not have the biscuity base. In fact, apart from the cream cheese, it is
quite different to the New York style cheesecake we have come to know and
love. Also, it is typically served hot as opposed to chilled.

Where my inspiration came from:

The very garlicy cheese recipe is based on Moretum, a poem rumoured to be
written by Virgil: ‘First, lightly digging into the ground with his fingers, he pulls up
four heads of garlic with their thick leaves; then he picks slim celery-tops and
sturdy rue and the thin stems of trembling coriander… He splashes a grass-
grown bulb with water and puts it to the hollow mortar. He seasons with grains of
salt, and, after the salt, hard cheese is added; then he mixes in the herbs. With
the pestle, his right hand works at the fiery garlic, then he crushes all alike in a
mixture… So he sprinkles in some drops of Athena’s olive oil, and adds a little
sharp vinegar, and again works his mixture together. Then at length he runs two
fingers round the mortar, gathering the whole mixture into a ball, so as to
produce the form and name of a finished moretum.’ (Moretum 88–120)
In fact, the word pinsa is used in Virgil’s Aeneid, props to those who can identify
where!
The cheesecake recipe can be found in Cato: ‘Libum to be made as follows: 2 lb
cheese well crushed in a mortar; when it is well crushed, add in 1 lb bread-wheat
flour or, if you want it to be lighter, just half a pound, to be mixed well with the
cheese. Add one egg and mix all together well. Make a loaf of this, with leaves
under it, and cook slowly in a hot fire under a brick.’ (Cato, On Agriculture 7).
Works by Ovid go into even more detail, and include honey in the centre, dating
back to Bacchus, the discoverer of honey.
All in all, I must confirm I am not as gifted as Grumio in a kitchen (Cambridge
Latin Course peeps- if you know, you know), but surprisingly they didn’t turn out
appallingly! As a bit of fun, I would recommend. If I can do it, you can!

Send in your ancient cooking pics to @kclsatyrica on Instagram!

Sources:
https://blog.britishmuseum.org/cook-a-classical-feast-nine-recipes-from-ancient-
greece-and-rome/
https://www.eatalianwithroberto.com/ancient-pizza-recipe-pinsa/

Pinsa

By originally doing this recipe without rice flour/ cornflour, I realised the
importance of it in the recipe. It creates the pizza dough texture as opposed
to a bread loaf. I had to frantically add rice flour after the first leaving to
salvage it!

I found it useful to add more water than indicated in the recipe before each
leaving. I also added some extra olive oil before the second leaving and
putting in the over which kept it moist.

Ingredients: Toppings:
Dough: Sea salt topping (if no other ingredients
on top)
630g wheat flour Rosemary topping
40g rice flour *you can be far more adventurous with
30g spelt (or soy) flour the toppings, I just kept it plain for
500 gr water cold authenticity.
Dehydrated yeast: 0.25 bag. Fresh: 5g
10g sea salt for the dough
10g extra virgin olive oil for the dough

Method:
Add the different flours and yeast and mix together.
Add 400ml of cold water and mix for at least five minutes.
Add the salt, olive oil and the remaining 100ml of water and mix until the dough
looks smooth (Warning: this step took ages, I was mixing for almost twenty
minutes! I had to add slightly more water at this stage).
Put it into a bowl and cover with cling film. Leave in the fridge for at least twenty
four hours.
Split the dough into two or three parts and cover it with a tea towel at room
temperature for a few hours.
Heat the dough to 250°C on a baking tray for about five minutes.
Shape the dough into an oval shape , after sprinkling the worktop with rice flour.
Lower the temperature to 200°C and cook for 15-20 minutes.
Add toppings and finito!

‘Very garlicy garlic cheese’

Can use a food processor for ease, but if you want the Roman touch, you can
use a pestle and mortar.

(the pestle and mortar definitely gave authenticity, but my arm ached for
ages after, it was like a workout! Who needs the gym?!)

Serves 4

Ingredients:
• 1 head (8-12 cloves) garlic *
*the online recipe suggested even more garlic should be added, I’m hoping
Romans had some form of breath mint!
• 170g Pecorino Romano cheese
• 1 large handful of coriander leaves
• 1 tsp salt
• 1 tbsp white wine vinegar
• 1 tbsp olive oil

Method:
Peel and chop the garlic.
Grate the cheese.
Chop the herbs.
Start with the garlic and salt; break it down to a pulp,

then add the cheese and herbs. When you have a smooth mixture add the
liquid and mix well.

Cheesecake

Serves 2

Ingredients:
• 90g plain flour
• 250g ricotta cheese
• 1 egg
• 2 bay leaves
• 2 tbsp clear honey (but if you have a sweet tooth like me, just wing it!)

Method:
Grease a baking tray with butter and place two large bay leaves in the centre.
Beat the cheese until smooth, add the egg and beat again to mix it together.
Sieve the flour, adding two tablespoons to the mixture one at a time, stirring
gently and slowly until they are incorporated.
Gather the rest of the flour and sprinkle over the mixture and on to the hands
before gathering up the soft dough and very gently forming it into a round
ball.* Do not knead.
Place the ball directly onto the bay leaves.
Bake it in the oven at 200°C for 20–25 minutes until golden brown. Remove
from the oven and immediately score the cake across the centre and pour the
honey into the gap. Serve at once before it begins to cool.

*I can confirm that mine did not go into a proper ball, so I would recommend using
slightly more flour and definitely lather your hands with flour before touching the
dough.

(not 10/10 presentation from me, but I can
confirm it was delicious, the honey sweetens it
up to make it the perfect dessert, and the bay
leaves infuses the libum with an interesting
taste and aroma)