Myth:
The war on Trojans, left much to discuss and organize with the loss of friends and soldiers. The aftermath of the war left much in the air for the Gods and the Council to gather together despite the tension and lingering feeling of death and blood surrounding Mount Olympus. Zeus called together the important members as they seated together and took their places on the table and waited for the others to be called into the room. The members were chosen based on their relationship with ruling and advising Zeus and other important Gods on important matters regarding war, authority, and compliance. Zeus sat the head of the table, somewhat impatient and distracted as he had other things to do and was thinking about wife Hera. The other members of council seated patiently, whispering with one another discreetly.
“My Lord are you ready for him to enter?”, said one of Zeus’ armed men. “ Yes, bring them in at once”, he replied.
The guard proceeded to open the doors of the main gate and ushered the other guards to bring in the guests into the room. In stepped in Achilles, Aphrodite and Apollo, all dressed beautifully in their God-like attire, their facial expressions neutral, with the exception of Achilles appearing to be somewhat nervous and fidgety. They all gathered to the center of the table gazing their attention on the Council in front of them. Achilles pondered to himself in silence of how he hopes this revelation will give the Gods a new look of hope and prosperity.
“Hello, everyone, thank you for seeing us today”, Achilles spoke. They all nodded in acknowledgment. “Please proceed son”, Zeus responded.
“After some time of thought and conversations amongst one another, we all shared some of our personal experiences and tribulations about our love life. When I lost someone close with me, I realized that there is no point in hiding who I chose to love. That only brought me more sadness and loneliness, as I have not been myself. With that being said… I love all those who love me, including my fellow male counterparts. And I hope that you will all accept that, accept all of us for that matter,” Achilles said as he stood firm, and stepped back.
“Father, I stand before you all to speak in our truth of love and divinity. We want to show you and the world what can be completely accepted and prosperous to us and our followers. We will no longer hide behind the shadows and walls as it only demonstrates weakness,” Aphrodite spoke softly.
“Well, that was a beautiful admission from you all, and it is greatly appreciated that you showed strength and courage today”, Zeus spoke with a smile. “We accept and love you and whom you chose to love, that does not take away your presence in this world and to me”.
“Thank you, Zeus, and Council. Through our stories and hardships, we will begin to open a new chapter for all with our leadership. This is only the beginning,” Apollo said as they all bowed and exited the temple.
Analysis:
Firstly, with the adaptation of this myth I wrote, I decided to keep some elements the same and others slightly different. In terms of choosing the option of sexual orientation for the basis of the myth, this was chosen because it represents a major theme written either discreetly or publicly in certain mythological texts. Sexual orientation diversity amongst the gods is not necessarily uncommon or unheard of. Furthermore, sexual desire or behaviour is more so established by the act rather than who is committing the act. First accounts of sexual connections between adult men in ancient Greek culture would be in the Iliad written by Homer.
I decided to keep some elements of the Trojan War the same because it stood as an important period for the Gods and the army of Troy. Achilles being one of the most important characters within the story demonstrated his strength and bravery despite losing his closet friend Patroclus. I added in the Council to the Gods because normally for important powerful figures, there is a group of trusted, highly favoured members that are chosen to represent and provide counsel to the Gods in important situations. The sadness that Achilles is going through was kept portraying the feelings of anguish and loneliness that were the same in the Iliad after losing his friend (Homer, Iliad 18. 1-10). This set the basis for him essentially “coming out” or revealing his true feelings and identity to the gods and council with his counterparts Aphrodite and Apollo. Additionally, in the Iliad, I decided to keep Achilles mother Thetis separate over his sorrows only because I wanted it to be more prominent, to be honest in front of Zeus and the council as this would have been more profound and represent more vulnerability.
Secondly, the idea behind Achilles revealing his truth and sexual identity came from the perception of how one usually feels inwardly about themselves. Emotions such as guilt, shame, unworthiness come with revealing your true self and can often set the precedent for others to follow in pursuit. In this myth adaptation, I decided to demonstrate Achilles being vulnerable and addressing the audience in front of him and to eradicate any feelings of shame or guilt, because certain acts either sexual or not can have a negative impact (Hesiod, Work and Days 363-365). Furthermore, with him dealing with his friends and lovers’ death, makes it more meaningful how he will deal with his life and relationships moving forward. The acceptance from Zeus and the Council will set the tone for how the Gods and their counterparts manage different perceptions and outlooks on love, how to love and whom one chooses to love. Additionally, Aphrodite being known for her beauty and love naturally attracts both men and women sexes and declares her feminine divinity which she embodies wholeheartedly (Hesiod, Theogony 18). Zeus’ background and history with his parents and fight for dominance, power and, control is shown at the beginning of the story because, he understands the dynamics of the violence and hatred he encounters with Uranus and Cronus and to his mother Gaia (Hesiod, Theogony 19). Therefore, when he takes the stand and allows full acceptance from Achilles’, Apollo and Aphrodite should eradicate any form of violence or negative connotations and solidify the strength the gods portray and show towards themselves and their followers.
Furthermore, the group remains adamant much like how their originality is shown also. Not much was changed because the story represents one of truth and honesty, to be an example for other gods and humans as well. I decided to keep Patroclus death included instead of him being alive because, death has a heavier presence on one’s soul, especially a lost lover or friend. The intimacy and comradery they shared are felt through his words as he spoke to everyone (Homer, Iliad 9. 615-630). Also, something else that remains the same from this selection would be, Zeus showing honorary and gratitude towards him during and after the Trojan war (Homer, Iliad 9. 606-615). Through the myth, Zeus showing who he is as a leader, someone others follow and, seek guidance from is demonstrated through the story as he showed respect and applauded them for being vulnerable out loud. Keeping the presence of who we know him to be throughout this adaptation was kept also because it will allow the process to be easier for those who follow and if there is any form of negative backlash, violence or problems, he can easily address them and put those in their proper place. Furthermore, through his power, anyone would have to think twice before doing anything trickery or potentially harmful as we know that he would retaliate in any way he sees fit with no question.
Regarding the relationship between Apollo and Zeus originally can be viewed as strained since his mother Leto and Zeus had an affair that caused Hera to be angry and Leto concerned for her son (Homeric Hymns, 1-129). In the myth adaptation, I decided to change the dynamic of their relationship for the sake of the stronger issue at hand of sexual orientation and love being told. I wanted them to have a more meaningful and respectful relationship that would allow for them to have more progressive interactions in regard to important matters as this. Additionally, in the beginning of the Odyssey, the actions of Troy were talked about with Zeus speaking to the Olympians (Odyssey, 22-43). I considered adding a part in about how he spoke to the immortals, however I realized that it was more important and profound to first address the Council and the speakers. I decided that because to confront the audience at Mount Olympus would speak more volumes to them more crucially then afterwards, they can stand together to address the humans.
In conclusion, through this myth adaptation, I have written speaking about sexual orientation through the characters mentioned in the story. This issue was always shown throughout mythical stories and creations, although some may not have been so expressive or clear regarding this issue. Sexual orientation back was also not so taboo or regarded down because the Gods were known to engage with whomever they want at any time without having the negative consequences. No one would dare to challenge or question them because, in the end, it would backfire or lead to further engagement either way. Now, looking at current times sexual orientation has broadened in terms of the numerous identities one can identify with that ranges on a broad spectrum. During mythological times, there may not have specific names or categories to place one in as characters acted within their own will and on their terms. Additionally, they were able to hide their acts and their feelings more commonly amongst themselves and others therefore, there was not many conversations around the issue as there is today. Lastly, this myth adaptation can hopefully set the example of how people can choose to be vulnerable within themselves that shows others that they can do the same as well. Thus, we can also be more accepting in acting towards a more loving and progressive nature for others to identify, follow, and support others.
References
Hesiod. 1943. Theogony: Work and Days. Robert Lombardo. Indianapolis Hackett Publishing Company.
Hesiod, 1914. Theogony. Chapter 18. Translated by H.G. Evelyn-White, H G. Leob Classical Library London
Hesiod, Theogony. Chapter 19. Translated by H.G. Evelyn-White, H G. Leob Classical Library London
Homer, 2004. The Homeric Hymns “To Apollo”. Translated by Trzaskoma, Stephen, Smith, R. Scott, 1971, Brunet, Stephen, 1954, Palaima, Thomas G. 1-29 Indianapolis: Hackett Publishing Company.
Homer, 2008. The Iliad: Book IX. 606-615. Translated by A.S. Kline
Homer. 2008. The Iliad Book IX. 615-630. Translated by A.S. Kline
Homer. 2008. The Iliad Book XV111. 1-10. Translated by A.S. Kline
Homer, The Odyssey. Book 1. 22-43. Translated by Murray, A T. London: Harvard University Press.