Hecuba the Queen of Troy During the Trojan War, Queen Hecuba of Troy had a decade's long front row seat. Whether from the palace or the city ramparts, she experienced it all. I think one of the most heart-breaking things she had to do was face the fact that in saving one son, she doomed another. Hecuba's life is really a mirror of life in general: the things we seek to change, don't always bring about the intended result. During the Trojan War era, she passes from a "mothering" figure to "crone" (classic archetypes). She's also THE queen. After the city falls, she is awarded to Odysseus as a "prize" of war and her next life begins. She's a pivotal figure in my Homeric Chronicles series where we fallow her from the birth of Paris through the fall of Troy in Song of Sacrifice, Rise of Princes, and the current book I'm writing called Rage of Queens. Click on the video and join me in admiring Hecuba.
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Listen to the full episode at Greek Mythology Retold Podcast Hello fellow myth lovers! I’m so excited to share with you the Greek world of the Homeric Chronicles. If you watched the movie Troy and loved it, or felt like you wanted more...If you’re currently watching the BBC One Troy: Fall of a City (or waiting for it to hit your Netflix playlist), this podcast is for you. You’re a Myrmidon. Basically, if you love Greek mythology in any form you’ve come to the right place. Shall we get started? When I first began toying with the idea it was...what if you could read about all the mythological stories as one seamless tale? I thought, what if George RR Martin was telling it? It would be EPIC! CRAZY HUGE! Can you imagine the cast of characters? It’d be a celebrity Who’s Who of the ancient myth-historic Greek world. And because I love these stories, I got to thinking...what if I wrote it? No way, I can’t do that. Then, I thought, you have a degree in history, why not try? And the Homeric Chronicles was born. That left me with the million dollar question: Where to start? How to begin? After piles of research, 25 gray hairs carefully dyed dark brown, and a bazillion cups of coffee later, I realized exactly where I needed to start: with Homer. But not just some retelling that was meant to get you to the “great war” or to take you through the bizarre journeys of Odysseus back to Ithaka...It needed to be MORE. Much more! But, Homer’s work in the Iliad and Odyssey definitely provide the backbone. I wove many other stories that touched on the characters in Homer’s work into the structure of the spine. The major heroes and heroines of Homer’s tales are entwined with so many other characters I had to dig deep, b/c it’s chronological, I had to make some hard choices. The original myth-makers weren’t worried about telling stories that made chronological sense outside of the story they were reciting. But for the Homeric Chronicles to be what I envisioned that’s exactly what I had to do. I wanted to include the regulars: Achilles, Paris, Hektor, Odysseus, Menelaus, Agamemnon, Helen, Hecuba, Cassandra, Andromache, Leda, Deidamia, Priam, Tyndareus, Peleus, Thetis, and Chiron just to name a few. And include characters like Palamedes, the poor guy who unfortunately pissed off Odysseus, Tantalus the first husband of Clytemnestra, Oenone Paris’s first wife, Peisidike the Methymnaan princess in love with Achilles, well, you get the picture. Now, I was tasked with putting the myths in chronological order, and keeping them all easy to connect with. It wasn’t until I fell in love with GRRM’s SOIAF that I knew structuring a story of this epic scale was possible. I take you along several characters’ journeys through five major kingdoms. And after the movie Troy ruthlessly cut them out (and I wonder if David Benioff wishes now that he hadn’t), I put the pantheon of gods and goddesses back in there. On to chronology: The first chronological hiccup involved Helen, Paris and Achilles. Let’s start with Paris, in particular: the Judgment of Paris. Most people familiar with the story assume that Paris gives the judgment of the fairest goddess to Aphrodite and leaves to Sparta not long after. But, it just doesn’t make sense that way, not in the context of the larger EPIC tale. Let me explain: The golden apple contest that caused the Athena, Aphrodite and Hera to seek Paris as the judge occurred at the wedding feast of Peleus and Thetis. These are Achilles parents. So, Achilles, the greatest fighter of all the Greeks has NOT been born yet. He’s the star of the Iliad. So, the judgment of Paris takes place soon after the wedding feast, before Achilles is conceived and born. Why does this matter? Because, we have to wait at least 15 to 18 years for Achilles to grow up, get trained, and father a son, Neoptolemus, BEFORE Odysseus can discover him on Skyros, dressed like a girl and call our hero into action. This means two things: Paris has to be at least 15-18 years old to be considered MAN enough to judge the goddesses (he’s not an 8 yr old judging 3 of the most powerful females in the story); therefore, Paris is 15-18 years older than Achilles. Most movies and books depict Paris and Achilles about the same age, or as in Troy make Paris much younger than Achilles. It’s all wrong. Paris is definitely Achilles’ elder. That raises the next logical question: When does Paris meet and woo Helen? Because that is the EVENT that brings the Argives, Achaeans, Danaans to Troy. Paris couldn’t have taken off with Helen any time soon following the judgment because that would mean Paris and Helen would’ve been in Troy for years before Menelaus even tried to get her back...B/C we’d be waiting for Achilles to get born and come of age. Even if you take the whole Paris and Helen get lost in Egypt into consideration that still leaves too many years in between the kidnapping and the attempted rescue. Remember, no matter what, Achilles has to be old enough to lead the Myrmidons and have fathered a child before he goes to Troy, as other prophecies depend on it. My research took me to Apollodorus (a 2nd century AD compilation of ancient texts) which states in 3.13.8 that Achilles was 9 when he was taken to Skyros, because Odysseus was looking for him due to a prophecy by Agamemnon’s seer, Kalchus. There is some consensus that Achilles left Skyros at about 15. But let’s break this down chronologically and logically. 1. If Odysseus is looking for Achilles when Achilles is 9 and that’s why Thetis hid him as a girl, then he has to be hiding there for years before he’s old enough to get the princess Deidamia pregnant. So, for all these years, what are the Greeks under assembled under Agamemnon’s banner doing in Aulis? Twiddling their thumbs? Sewing sails? Getting sunburns? If the consensus is correct (and we have to make choices to be consistent) at least 6 years (give or take) have to pass until Odysseus finds Achilles. 2. I recall reading that there were TWO calls to war that met at Aulis...the first one which assembled the Greek tribes went to Aulis was a bust b/c they needed Achilles, so everyone went home and waited...then returned...years later? after Achilles was found? This doesn’t make any sense...it would’ve been a monumental feat getting that many ships and men from all across the Greek world assembled just once, but twice? And in all his searching, Odysseus never makes it back to Ithaka to sneak a little love time in with Penelope? I don’t buy it. 3. What makes sense in the human and mytho-historic terms is that Achilles is 9 when he goes to Skyros with Thetis fully aware about Achilles’ dual fate, and that some day he’d have a huge decision to make. When the call to Aulis came, 6 or so years later, that’s when Odysseus and Ajax find him. It gives time for him to grow up, father a son. I do give Achilles a few more years, rounding out his age at 18. Why? Because I used the historic figure, Alexander the Great, as a model. Alexander distinguished himself at Chaeronea at 18, so makes sense that a young man at 18 could indeed be seen to lead an army of warriors (Myrmidons). Well, Myrmidons, times up for today. Up next time let’s take a deeper look into Helen’s age and how placing her story in chronological sequence was challenging, but not impossible. For now-- What do you think about Paris being 18 years older than Achilles? that Helen couldn’t have been born at the time of the judgment? How do you think a comprehensive timeline will change up the Greek myths as you know them? Listen to the full episode at Greek Mythology Retold Podcast You can find out by reading the Homeric Chronicles Song of Sacrifice and Rise of Princes Love to hear your thoughts, answer questions, and connect with my fellow Greek mythology lovers. Join my mailing list for updates and Greeky things! Until next time, let’s take the advice given to Menelaus in the Cypria: “know that the gods made wine the best thing for mortal man to scatter cares.” Drink your wine and be merry Myrmidons. © 2018, revised 2026 Janell Rhiannon. All rights reserved. Start the journey... Sometimes people think being an historian is all about names and dates and politics, but it’s so much more. My favorite thing about studying ancient Greece is getting to a museum and looking at all the pottery. You get to see these beautiful works of art close up. Pictures just don't do justice to the sheer size of some of the pottery. My favorite place on the west coast to gaze at antiquities is the Getty Museum in Malibu, California. If you get a chance to go, you should. It's amazing not only for its art work, but because it's an actual replica of wealthy Roman villa complete with gardens and a giant pool. While writing the Homeric Chronicles, I reference amphorae quite a bit because these vessels were commonly used to store wine, oil, and water much the way we use Tupperware. So, one vessel that intrigues me is the two handled amphora depicting Achilles and Ajax playing dice while trying to relax during the Trojan War. The vessel is from the Archaic Period (525-520 BCE). I love this scene and decided to reference it in Rise of Princes, book two of the Homeric Chronicles. Playing dice humanizes the Greek heroes, making them reachable characters because they too needed reprieve from stress and bad days, as well as the grinding hardships of war. Enjoy the video :) Start your journey with the Homeric Chronicles grab Song of Sacrifice today! In our modern American society, there remains a strange discomfort around a woman baring her breast—even briefly—when breastfeeding. I’ve always found this reaction curious. Breastfeeding is one of the most natural acts a woman can perform. It is, quite simply, what the body was made to do. So what, exactly, are people afraid of when they see a mother nursing her child? That it might somehow be inappropriate? That something inherently life-giving could be mistaken for something else entirely? Perhaps it says more about our cultural lens than the act itself. Maybe it’s time we question the unease rather than the mother. Since the earliest days of humanity, women have nourished their children this way—openly, instinctively, without shame. One of the oldest known human figures, the Venus of Willendorf (dating from roughly 30,000–25,000 BCE), emphasizes full breasts and hips—symbols not of modesty, but of power, fertility, and the ability to sustain life. So what does this have to do with mythology, Homer, and The Homeric Chronicles? According to the 2015 article “Breastfeeding in the Course of History” published in the Journal of Pediatrics & Neonatal Care, breastfeeding held deep cultural and symbolic value in ancient Mesopotamia and Greece, with numerous references appearing in mythology. From my own reading of the Iliad, the Odyssey, and other sources, this holds true. In the ancient world, breast milk was not merely nourishment—it was sacred. The act of nursing was essential, intimate, and worthy of reverence. The article goes on to note that it was not until the 20th century, when formula companies rose to prominence, that public perception began to shift, and mothers were increasingly made to feel shame around an act that had once been honored. This brings me to one of the most powerful scenes in the The Iliad. As Hektor prepares to face Achilles, knowing it will likely mean his death, his father, King Priam, begs him not to go. He grieves the sons he has already lost and fears the loss of his heir. But it is Hecuba’s plea that cuts deepest. She does not speak as a queen but as a mother. She bares her breast and begs her son to remember what she gave him from the beginning: life. Through that gesture, she invokes something older than war, older than honor—the sacred bond between mother and child. It is not a political plea. It is not even a rational one. It is elemental. And it is powerful. Throughout The Homeric Chronicles, I return to this motif—the breast, the act of nursing—as a symbol of that sacred connection. It is intimate. It is primal. It is life-giving. So when Hecuba is unable to nurse her second son, Paris, it becomes a quiet but profound wound. That loss stands in contrast to the deep, embodied bond she shared with Hektor, and it shapes her choices as a mother moving forward. She refuses a nursemaid for her later children, determined to preserve that connection for herself. Because in a world of war, prophecy, and the will of the gods, there are still things that belong solely to the mother and the life she gives. If you enjoy this post or Greek Mythology check out the Homeric Chronicles
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Janell Rhiannon
Historian, Author, & Podcaster
“Tell me, O Muse…”
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