Achilles, Best of the Greeks (
refusetofight) wrote2024-10-08 06:59 pm
For @messageforyou
The palace at Skyros is only a loose sketch; Achilles dreaming memory can only paint it in sparing detail after so many years. The shapes and colors describe the place as much as Achilles’ emotions: The palace itself is washed out and bland, but the sunny rocks, the glittering sea, and the endless horizon just beyond are vibrant, tantalizing with the lure of fateful heroism.
It felt like a prison after the freedom of his bright, sunny youth on Phthia and his adventures on Mount Pelion. He was bored, impatient, but respected his mother’s wishes even as he resented them.
The dream palace is hollow and quiet. Lycomedes’ table is empty. His daughters’ looms are left abandoned. Achilles imagines the real Skyros must be in the same sorry state; he left Deidamia unwed and Lycomedes had no sons to defend his meager kingdom.
Achilles walks the halls and thumbs the shells encircling his wrist. He has no dream guide this time, but he came here on his own instincts: visit a memory both he and Pyrrhus share. Eventually, he finds an abandoned lyre and settles to play in a central courtyard where plucked notes echo hauntingly between colonnades—the only sound in the palace other than the sigh of the sea.
It felt like a prison after the freedom of his bright, sunny youth on Phthia and his adventures on Mount Pelion. He was bored, impatient, but respected his mother’s wishes even as he resented them.
The dream palace is hollow and quiet. Lycomedes’ table is empty. His daughters’ looms are left abandoned. Achilles imagines the real Skyros must be in the same sorry state; he left Deidamia unwed and Lycomedes had no sons to defend his meager kingdom.
Achilles walks the halls and thumbs the shells encircling his wrist. He has no dream guide this time, but he came here on his own instincts: visit a memory both he and Pyrrhus share. Eventually, he finds an abandoned lyre and settles to play in a central courtyard where plucked notes echo hauntingly between colonnades—the only sound in the palace other than the sigh of the sea.

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But Achilles knows better than to use Pat as an example here. Pyrrhus would take it as an insult to Deidamia. Or he could easily dismiss his trust in Pat as what’s to be expected between two men. Two equals.
Sadly, Achilles can’t imagine his son trusts any other men like that. As friends or lovers. He has no one.
Ophelia might be Pyrrhus’ best chance at someone he can be vulnerable with. “If she’s indeed a worthy wife, Ophelia will gladly look after you in her own ways if you allow it.”
No, Achilles remembers, Pyrrhus has already been vulnerable with at least one other person. “Your serving woman, Aspasia—you showed her kindness, you came to her defense. You earned her loyalty and now she looks after you when you’re ill, when you’re grieving. She sees your strengths as well as your weaknesses and doesn’t think any less of you.”
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Achilles hums, low and grim and thoughtful. “Kings, warriors, servants, slaves … grief unites all mortals, and there may be nothing worse for grief than loneliness.”
And speaking of loneliness …
He stands, lifting Pyrrhus in his arms as he paces the courtyard, slow and thoughtful like a philosopher in the Lyceum. “How long has Ophelia been looking after her father? Has she spoken about any companions? What her life was like before she landed at Epirus?”
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Achilles examines the memory, heart aching for the poor woman, trapped as a slave to her father. It is tempting to fix such an injustice with violence. How many times has he considered taking a blade to Menoetius after the pain he put Pat through?
“Love inspires us to great violence,” he breathes, almost as if to himself. “But to what end? It only begets more suffering.”
He turns to face Neoptolemus and the king, circling back around to his earlier thought: “Do you not see echoes of yourself in Ophelia?”
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As much as he’s convinced himself otherwise, Pyrrhus still worries him. The reason he’s here to begin with is to protect Lyra, to avoid disappointing her.
And he’s doing it in an attempt to soothe himself. This is a salve to calm the agony of another regret. He can’t carry the blame for another ruined life.
Will he ever love his whole son? Or only the pieces he approves of? Is he still doing what he vowed not to—forcing Pyrrhus to struggle towards an impossible goal? Even asking favors of gods to achieve that end?
Achilles’ neck bobs with a swallow before he asks, “… Do you feel the same way? That nothing you do is enough?”
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He looks at the king. His calm should be impressive, but it’s an artifact of numbness. Bred out of necessity. “You’ve worked all your life to impress me, and what have I done? I’ve come and asked more of you. Too much. Just as Odysseus and Diomedes and Agamemnon asked too much of you.”
Achilles steps around the fading afterimage of his son’s memory, dissipated by the anger thrumming through the dream. “Just as Ophelia’s father asks too much of her.”
He moves closer to the king to meet his eyes. “You’ve every reason to be angry with me.”
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No, there’s no changing history. Achilles still chose war and death over family. Odysseus used that as leverage for Pyrrhus and reinforced an image of Achilles that was not inaccurate, but still lacked nuance. How could Odysseus—or anyone else—know what lessons Achilles only learned in death?
“Much has been asked of you, and you’ve labored tirelessly to deliver on it.” The Greeks, Achilles himself, Pyrrhus’ own mother in her ailing state. Pyrrhus served them all loyally and what has he received in turn?
Achilles adjusts Pyrrhus’ weight so he can reach out a hand, rest it on the king’s arm. “You’ve done enough. Now … what would you ask of me? What can I do for you, lad?”
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There’s little Achilles can do to change that. Not without time and patience. He wants to bend Pyrrhus, not break him.
“I won’t leave. You have my word.” He meets each of their eyes in turn.
“Is that all you ask? Is there more I can do?” he asks after a moment, then adds, “I’ve found your boys in Asphodel and brought them to your mother. I’ll continue to visit and do everything in my power to make their eternities comfortable.”
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“Like with most lost babes, other shades had been looking after your lads. Few can abide the sight of a child alone in Asphodel.” Achilles rarely has difficulty finding a kind guardian for the shade of a newly-dead child: adults who never had a chance at rearing children in life, or parents and grandparents who left their families behind. “A young mother who died in childbirth gave Amphialus comfort. She insisted on coming along and helping Deidamia.”
Not that child shades need too much care. The infants still instinctively seek a mother’s breast, but older children mostly need company and safety from the Underworld’s perils.
“I found Pergamus playing with a few other lads. He was quite content with his friends. Children often adapt to death more readily than adults.”
Achilles combs Pyrrhus’ hair behind an ear. “He asked after you. I told him that you miss him very much. When next I see him, I’ll deliver your apology.”
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It’s hard enough for Achilles to keep track of time, as connected as he still is to the living world. How much worse is it for the shades of Asphodel?
“I’ll deliver your thanks and your love,” Achilles guarantees with a warm smile. This urge to show gratitude stirs new pride in his son. “They’re good lads. Fate took them too soon, but I’m pleased to have grandsons so near.”
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But the conversation has, thankfully, moved on. He laughs softly at the story of his grandson’s antics.
“There are no spiders to be found in Asphodel, but I will be certain to tell him the tale of Arachne. It’s said she resides somewhere in Erebus, but I’ve yet to meet her.” He makes a note to ask Prometheus if any spiders can survive in the Underworld and which might be safe for— … well spider bites aren’t an issue for a shade, are they?
“Amphialus … hm.” He’s still a newborn and will be forever, so his expressive options are sorely limited. “He adores Pherenike. I don’t think I could have separated them if I tried.”
In that sense, he’s getting a better mother than he might have found in Andromache. “While your mother held him, he was captivated by the bracelet you made. He loved the sound of it.”
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Achilles falls silent for a moment, rocking his weight back and forth, Pyrrhus with it.
“Can I ask that you make three?” Achilles finally asks. His son seems more receptive than he has in the past. “There’s one other person who loves you very much. You’ve never met them, but someday I hope you will.”
Asking is a risk, but he made a promise to Lyra, and as a father and a hero, he’s honor-bound to keep it.
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“As to the design: they would like anything Galene suggests. Her fine taste pairs well with your careful craftsmanship.”
Having fulfilled his duty to Lyra, Achilles clears his throat and shifts to another matter. He doesn’t consider that it might be equally baffling: “At Athens, you had a vision of your mother … Tell me, have you seen others like it? Anything unusual?”
For a terrifying moment, Achilles wonders if this woman, Ophelia, is the Morrigan in disguise. He makes it a point to ask Hermes to check when he picks up the bracelets.
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Still, the Morrigan’s message was clear, and Pyrrhus should know it.
“That was not your mother,” Achilles says, voice low and serious. “It was a portent from a god. Not a good one, as you can surely guess … But it’s a fate that can be avoided.”
For how long? The Fates already had designs to take his son’s life by violence, and his temper can always usurp reason. Achilles knows that very well. “Please, don’t take up arms in battle, lad. For Molossus and Ophelia’s sakes.”
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