Apollo, Cat of Hydra’s Parnassus

In Hydra’s alleys, where shadows chat,
There lives a cat, proud and tabby, at that,
Apollo, named for gods of yore,
With golden eyes that seek no more
Than his reflection, deep and pure,
In every glass and mirror, love is secure.

His fur, like moonlit gold streams,
A creature born of an artist’s dreams,
He walks with grace, a royal stride,
In every step, in every quiet glide,
The island’s streets are his quiet stage,
A living portrait, page by page.

The summer crowds, they come and go,
Yet Apollo moves in timeless flow,
Unbothered by the human crush,
For in his heart, there’s no such rush,
He knows the world but loves just one,
The cat he sees when the day is done.

In a quiet room where echoes dwell,
He paints himself, his private spell,
On canvas, walls, and hidden nooks,
In every mirror, in every look,
For Michael’s voice no longer speaks,
Yet in his heart, Apollo seeks.

With every brushstroke, every line,
He captures all that’s feline fine,
A testament to what’s been lost,
Yet still he paints, no matter the cost,
For in his art, his spirit sings,
A cat of Hydra, born a prince.

Yet more than fame and mirrored gleam,
Apollo yearns for what once seemed,
A second home in Kamini’s light,
Where Michael’s hands, so kind, so bright,
Would stroke his fur and softly say,
“You’re the best in every way.”

He misses walks to that warm space,
Where art and love would interlace,
With every stroke of Michael’s hand,
Made Apollo feel like he could command,
The world, as both muse and king,
In that studio, his heart would sing.

So, while the world may shift and change,
And Hydra’s streets grow new and strange,
Apollo, a cat of endless pride,
Will always walk with love beside,
A love for self, a love for grace,
In every stroke, in every space.
Hydra, August 2024

The cat in the emerging self-portrait is named Apollo, a name that the tabby cat in the picture lives up to effortlessly, for he truly looks good. His self-love, a driving force behind his artistic pursuits, is evident in his immaculate fur, every stripe seemingly painted by Rembrandt, his perfectly groomed whiskers, and his tail, a true ornament. Apollo's self-expression is not just about his appearance but also his artistic pursuits. He seeks his reflection on various surfaces and finds treasures among the discarded items of Hydra’s artists, all to create his unique self-portraits and sculptures. His artistic endeavours, a reflection of his self-love, contribute to the creative spirit of the island of Hydra.

Apollo was fortunate. The room he occupied was vacant due to an inheritance dispute. Seventeen siblings and cousins couldn't agree, so even if cats have nine lives, his residence seemed secure for as long as he lived. Apollo didn’t care that the wallpaper was peeling and the curtains faded by the sun or that the floor was worn as long as the cracked windowpanes didn't fall out and make the room drafty. Rent-free and furnished—what more could a cat ask for? The entrance facing the port was boarded up, but feline standards generously sized the broken ventilation grille on the back. Water was available from a tap that constantly dripped just enough for a cat. Apollo was meticulous about cleanliness; there was no dirty dog here—everything was as polished as his fur. He spent several hours each day grooming himself, and painting was all he did when he wasn't sleeping. Food was no problem with a bakery nearby. Apollo had inherited the baker's favour from his mother, who had thoroughly charmed the old man. The wholesome discards from the bakery were not worth mentioning; the entire cat food pyramid was on Apollo’s menu. All it took was a visit to the bakery and a pleading meow.

Against the picturesque backdrop of the harbour view, a row of self-portraits hung on the walls. With his unique character and artistic vision, Apollo repurposed the frames left behind by the previous owners for his images. This act proved his creativity and the distinctiveness of his character, sure to captivate any observer.

With the portrait of his mother in a classic setting of columns and portals, Apollo wanted to depict the timeless love he felt for his mother, the one who had brought him into the world—the only love Apollo had, apart from his love for himself, and even then his mother came second. She had long since left the island and was now in cat heaven if such a place existed. He loved the name she had given him, taken from the most beautiful of the human gods. In Greek mythology, Apollo is typically portrayed as a male deity associated with various aspects, including music, poetry, prophecy, healing, and the sun. Apollo is often depicted as youthful and handsome, embodying the ideal of male beauty and athleticism in ancient Greek culture.

While Apollo is male, his characteristics often blend qualities that might be traditionally considered both masculine and feminine. For example, in some cultures, his association with the arts, especially music and poetry, might be seen as more delicate or feminine traits.

The picture with the folk costume was not of his mother but of Apollo, dressed in a fanciful creation that he felt did him justice. Apollo had always wondered if his love for himself would have been even stronger if he had been a woman—those divine beings in art constantly desired and admired.

Apollo's father did not appear in any pictures or his thoughts. His father had been a worthless stray cat who had sung beautiful songs to his mother, seducing her on a night with a full moon and the fragrant blooming of red oleanders. This was how Apollo came to be, much like his namesake when Zeus seduced Leto, the mother of the god Apollo. Apollo's feelings towards his father were complex, a mix of resentment and a strange connection to his origins. He often wondered if his father's artistic and seductive nature had been passed down to him and, if so, how he could reconcile that with his self-love and his mother's memory.

Apollo had been his mother’s favourite, and her love made him a mama’s boy. He felt great sympathy for Oedipus, the mythical king of Thebes, who loved his mother so much that he even married her. Apollo didn’t care about the female cats who paraded around him like the Muses around Narcissus, for he loved himself most, an undivided love since his mother had passed away one winter night, never to wake again. Apollo's deep love for his mother will indeed evoke empathy in you.

Hydra’s artists' trash had replenished Apollo’s painting supplies. In particular, Michael Lawrence became a friend. The artist liked cats, but especially Apollo. Michael had taught Apollo a lot, both about painting and sculpture. Their friendship, a unique bond between a human and a cat, transcended the ordinary. This bond, fueled by their mutual love for art, showed the power of friendship in nurturing creativity and the impact of human-animal relationships on artistic pursuits.

Turpentine, watercolour pastes, half-empty tubes of acrylic and oil paints, canvases with unfinished masterpieces—some of which Apollo could use as backgrounds for his self-portraits. Michael was his own harshest critic, and watercolours he wasn’t satisfied with went into the trash, but the reverse side could be used. Apollo’s collection of brushes had grown to be the finest on Hydra. Many artists discarded their brushes prematurely, but with proper cleaning, they became better and better. Apollo was particular about the type of hair used in his brushes. Cats' sworn enemies were in trouble. Marten's hair is the most sought-after for high-quality brushes, especially for watercolour painting. The hair of the Siberian Kolinsky marten is particularly prized for its ability to hold a fine point and absorb a lot of colours. The marten and the cat hunt the same prey and are not exactly friends, but they usually avoid each other. Although such pests didn’t exist on Hydra, Apollo was in solidarity with feline friends who had to deal with these creatures in different parts of the world. His meticulous care of his brushes and his dedication to his craft are inspiring.

Like marten hair, weasel hair is often used in high-quality brushes but is not as expensive. The hairs are soft and flexible, ideal for watercolour and oil painting. The weasel is a fearsome mouse hunter, much more efficient than a cat, and high on Apollo’s hate list.

Badger hair is often used in brushes for oil painting and is a bit stiffer, helping to create textured brushstrokes. Apollo had many such brushes. Usually, badgers don’t take cats; they eat mushrooms, earthworms, berries, and the occasional vole. But since Apollo had heard rumours of a badger in Stockholm that had chewed up a cat, the species was in trouble on Hydra. They existed here and there in Greece but had been eradicated on the island for generations. Cat killers ended up in Apollo’s brush jars.

Boar bristles in brushes make them very durable and stiff, perfect for oil and acrylic painting, and excellent for creating thick, textured brushstrokes in backgrounds, for example. Wild boars, according to cats, are first-class vile creatures. Cats have few natural enemies besides twisted humans who lay out poison. The greatest threat by far is from hunting wild boars, surpassed only by being run over by cars—but such vehicles are banned on Hydra and can’t be turned into brushes.

Wild boars are not stupid, and careless cats are no problem. So-called farm cats are generally bolder than pedigree cats but also more accustomed to roaming. Pedigree cats that encounter wild boars tend to be more curious and don’t understand that they are in danger. The wild boars simply chase the cat up a tree and then engage in a wild dance around it. The boar runs around so fast that the fine cat in the tree gets dizzy and falls, becoming a tasty morsel for the boar, who eagerly devours it. Disgusting! With his suppressed hunting instinct, Apollo found a connection between this ruthless act of nature and his artistic pursuits, pressing the brush harder against the canvas.

Squirrel hair is very soft and often used in watercolour brushes. It holds much water and paint, making it ideal for broad and soft brushstrokes. The squirrel is not an enemy but rather a prey for cats. Apollo's suppressed hunting instinct made him ruthless when using squirrel hair in brushes.

Apollo also had a few larger brushes made of goat and horsehair. Goat meat was part of his diet, so he had no scruples when it came to goats. Hoofed animals were in trouble in Apollo’s world since a mule had kicked one of his siblings to death. As a hoofed animal, the horse had to suffer for its cousin’s misdeed. Apollo used these kinds of brushes to wash large areas with watercolour.

No matter the breed, cat hair was out of the question. Cats are used in cheap brushes from China, a country known for eating dogs, a trait that many cats view sympathetically. In some parts of China and other Asian countries, dog and cat meat have historically been consumed, though it is much less common today. The cat is not considered a delicacy but is more valuable as a rat exterminator. “Dogs are only good for chasing cats, barking, and causing trouble, so they deserve it,” Apollo thought. Besides, they aren’t even suitable for making brushes.

The walls were running out of space, or Apollo lacked a frame worthy of his creations; the pictures were crowded into a closet while waiting for one to appear. Apollo competed with the garbage truck daily to get to several strategic trash containers near the artists' homes. This constant struggle and the lack of recognition for his work added a layer of depth to his artistic pursuits.

Michael Lawrence had taught Apollo to make statues and busts, of course, of himself. Clay was hard to come by on Hydra, and Apollo did not waste the precious material. He had practised on a bust that stood in the window and had even managed to bronze it with a concoction he had inherited from Michael. It made the dried clay look like and shine like bronze. The masterpiece on the floor, Apollo Belvedere, was, of course, himself, draped in a bedsheet as a toga. Apollo was very pleased with how he recreated the fur, strand by strand, so the statue looked almost alive.

Currently, Apollo is working on another self-portrait, the largest so far, on a one-to-three scale. The acrylic painting would hang above the bed, Apollo’s favourite spot, with a worn, soft mattress that made him feel as he did seven years ago, swaying in his mother’s belly. This self-portrait, a reflection of his artistic growth and personal journey, was truly modern, with a marbled background, resulting from one of Michael’s failed attempts to depict the sea seen through a bougainvillaea bush. Apollo would have loved to show it to his friend, who had tragically died a few years ago. He would have liked to boast about his latest artistic technique: two self-portraits in one, where Apollo had worked his teenage cat face into the fur on the chest. Remarkably successful, he thought.

The next project was a small statue of himself as Zeus, holding a lightning bolt in his raised right paw. Zeus looked like Apollo—lots of hair on the head, and with the full beard, they could have been twins. The statue would eventually stand on the chiffonier, which, for the first time, would have a purpose other than holding the human books, which Apollo couldn’t read anyway. The drawers under the slanted flap were too stiff for a cat. Otherwise, they would have been great for brushes and art supplies. He stored those under the bed, but much was on the table in front of the easel.

Had Apollo been able to read the books in the chiffonier, he might have become captivated by a book about the god who shared his name. How his mother had been able to read her newborn kitten’s character naturally escaped Apollo’s judgment. Yet, there were striking similarities between the two who shared the name. The title should have made him eager to dive into the work: "Apollo: A History of the God and the Idea of the Beautiful" by Friedrich Nietzsche, a philosophical exploration of Apollo as a symbol of order, harmony, and aesthetics. There were several other books about the god, but the one beside it on Narcissus, a mythological figure known for excessive self-love, should have grabbed his attention.

Ovid’s "Metamorphoses" contains the original tale of Narcissus and his tragic love for his reflection. In his quest for self-discovery, Apollo might have preferred a more modern work, like Hermann Hesse’s "Narcissus and Goldmund," which uses the myth of Narcissus as an allegory. It explores the philosophical and psychological themes of identity, art, and human relationships. In that book, Apollo would have recognised many of his own traits. Otto Rank, one of Freud’s disciples, analyses the psychological significance of the myth in another book. That book might have been too revealing and could have driven Apollo to start painting flowers instead. That would have been a tragedy, for he lived to paint and had become so skilled that he had surpassed his mentor, Michael, in technique.

Rank could have confirmed that both Apollos were nearly as selfish as Narcissus. In mythology, the god Apollo exhibits traits that can be interpreted as narcissistic, such as his delight in his beauty and pursuit of perfection. There are stories where Apollo is proud, self-absorbed, and obsessed with his status, which, according to modern psychological research, can be seen as narcissistic traits. He often rejected women and men who fell in love with him, and his strictness and sometimes cruelty towards those who challenged or scorned him are signs of an excessive ego or pride. This was the individual Apollo saw in the reflection before him, the one that was taking shape on the canvas at the easel. Imagine the self-awareness Apollo could have gained from reading about his traits.

Indeed, one might think that Apollo is a narcissist with all these paintings of himself, as a statue or as a bust, in addition to all those other things—his obsession with shoes, children's shoes neatly lined up in several closets, with clothes hanging above them that Apollo had ‘rescued’ from dumpsters and loved to dress up in front of the full-length wardrobe mirror. Jewellery and trinkets were another chapter. Apollo had emptied the small drawers of the chiffonier of pens, erasers, and paper clips and instead filled them with discarded jewellery. Just look at Apollo in a dress and all the little baubles he had adorned himself.

The concept of 'narcissism' cannot simply be dismissed as a modern psychological term that cannot fully be applied to mythological figures, as these characters often represent various forces, aspects of human nature, and social ideals rather than being intended as complete psychological portraits. Nonetheless, people in the past understood peculiar or undesirable behaviours even if they couldn’t explain them in a modern scientific way. Narcissists certainly existed before Narcissus; otherwise, Ovid and the Greek Pausanias before him would not have been able to describe the phenomenon.

First, Apollo would have had to painstakingly spell his way through Ovid’s tale to find out what happened and then read about why it happened—the explanation for his personality. The books in the chiffonier, particularly those on Apollo and Narcissus, would have played a crucial role in this self-discovery. What a drama that would have been!

One day, the beautiful Echo encountered the young Narcissus. As he searched for his companions, he called out, "Come," and Echo answered in return. They continued like this until Echo ran towards him, her arms open for an embrace. However, the vain Narcissus rejected her, and from that moment on, she lived in mountain caves. After her death, nothing remained of her but her voice, which echoes words called out.

Echo, a lovely nymph, met a tragic fate due to her incessant talking. Her need for the last word in any conversation led to her downfall. One day, while Hera was searching for Zeus, she encountered Echo. The nymph's constant chatter delayed the queen of the gods in her pursuit, allowing the other nymphs to escape. When Hera realised this, she cursed Echo. From that moment on, Echo could only have the last word but could never initiate a conversation—only able to repeat what others had said. This curse, a cruel twist of fate, turned Echo's once charming trait into a source of eternal loneliness.

As for Narcissus, he was cursed to fall in love with his reflection in the water. After his death, his body was transformed into a flower, purple at the centre with white petals, which came to bear his name.

In the versions of the story told by the classical authors Ovid and Pausanias, Narcissus dies beside a pool while staring at the reflection he has fallen in love with. He is entirely oblivious to his surroundings, neither eating nor sleeping, and takes his last breath alone, dying by the image he desperately desires but can never possess.

Due to the scarcity of earlier tales about Narcissus and Echo, many scholars believe this myth and its characters originated with Ovid. According to Gildenhard and Zissos, the story of Narcissus disrupts the poetic pattern within ‘Metamorphoses’, indicating that it may have been added as an afterthought to confirm the prophecy of Tiresias. The story explains the origin of the flower and the existence of echoes. It also serves as a tale of divine retribution: Juno punishes Echo for distracting her so that the nymphs could escape Jupiter’s embrace, and Narcissus is punished for cruelly treating those who loved him.

The language of the original Ovidian tale discourages readers from feeling sympathy for Narcissus, emphasising that he deserved his fate because of his scornful rejection of those who loved him, particularly Echo.

Interestingly, in Pausanias' version, Ovid's story is deemed foolish. In this rationalised version, where Narcissus has a twin, Echo and the influence of the gods are entirely omitted, stripping away what seemed to be the core elements of the story. Pausanias even suggested that the flower existed long before Narcissus. This shifts the myth from exploring the origins of the flower and echoes, and the divine-human relationship to a tale told simply for entertainment.

Narcissus takes his last breath alone, dying beside the image he longs for but can never attain. He is entirely focused on himself, oblivious to anything else. He dies in utter solitude, devoid of love. Ovid and Pausanias demonstrate that self-absorption leads to isolation, much like Narcissus, who dies by a pool with only his reflection for company.

The English artist John William Waterhouse created a famous painting titled ‘Echo and Narcissus’. The painting is set in a serene, wooded landscape beside a stream with rocky edges. The young Narcissus lies prone, his head hanging over the water, mesmerised by his reflection. He is draped in a red robe, symbolising his burning self-love. Nearby, across the stream, sits the nymph Echo, clutching a tree with her right hand and gazing at Narcissus in despair. Symbolically, she is separated from Narcissus, who does not turn back to look at her. Her cramped posture reflects her unrequited love. She wears a pink robe, fallen off one shoulder to reveal a breast; the softer pink of her robe represents her gentler, smouldering love for Narcissus. Yellow flowers, irises, and ‘Iris pseudacorus’ grow near her, and she has a red poppy in her auburn hair. Some white narcissi have sprouted from the grass by Narcissus's foot, and a yellow water lily, ‘Nuphar lutea’, floats in the water.

In psychology, narcissists are often categorised alongside psychopaths.

Reverse narcissism occurs when something is loved to the point of destruction, for nothing can thrive when loved too much. Think of a childhood teddy bear that becomes increasingly threadbare and greasy, loses an eye, and unravels its nose until it eventually falls apart from all the hugs.

This problem can be applied to Hydra and many other tourist destinations that are being loved to the point of ruin. On one hand, tourism is essential for the town's survival; on the other, it suffocates under the weight of all that love.

Even beautiful images become worn out when constantly repeated and spread across the internet on blogs, Facebook, Instagram, TikTok, tourism sites, and image search results. They are repeated so often that they eventually become mere noise, and the uniqueness is drowned in a flood of other beautiful places. The uniqueness of Hydra—its history and its people—is overshadowed by stone facades and blooming bougainvillaea, breathtaking sunsets, and the blue sea.

Even a self-absorbed cat like Apollo has likely noticed the crowds on Hydra during the summer, where several cats have had their legs trampled. The dark side of modern mass tourism has become a hot topic in media and public debate, mainly as the phenomenon grows and impacts destinations worldwide. The role of media and public debate in raising awareness about the negative impacts of mass tourism cannot be overstated. While tourism is often hailed as a vital economic lifeline for many regions, providing jobs and fostering cultural exchange, the relentless tide of visitors has also exposed severe drawbacks that demand immediate attention.

The urgency of the issue of over-tourism cannot be overstated. It's a pressing concern where the sheer number of tourists overwhelms the capacity of a destination, leading to environmental degradation. Popular tourist spots, from Venice to the Great Barrier Reef, have seen their natural landscapes damaged by excessive foot traffic, pollution, and the strain on local resources. The influx of tourists often exceeds the infrastructure's capacity, leading to issues like water shortages, waste management problems, and the destruction of fragile ecosystems. In Venice, for example, the continuous arrival of cruise ships has caused significant erosion of the city's foundations, while in other places, coral reefs bleach due to the combination of climate change and physical damage from tourists.

Mass tourism can also lead to the ‘erosion of local culture’ and the loss of authenticity. As destinations cater more to tourists, there is often a shift towards commodification, where cultural practices, traditions, and even daily life become performances for visitors rather than genuine expressions of local heritage. This can lead to a homogenisation of experiences, where unique cultural identities are diluted to favour what is commercially viable. Traditional crafts, languages, and ways of life may be replaced with souvenirs, generic entertainment, and English-speaking services, all designed to meet the expectations of the global tourist.

The economic benefits of tourism are often unevenly distributed, leading to ‘economic inequality’ within local communities. Large multinational corporations, rather than local businesses, usually capture the bulk of tourism revenues, with profits often flowing out of the region. This can exacerbate existing inequalities, with residents facing rising living costs, especially in housing, as properties are converted into holiday rentals and prices skyrocket. In cities like Barcelona and Lisbon, locals have protested against converting residential neighbourhoods into tourist zones, where the influx of short-term rentals pushes out long-term residents. Every cat on Hydra would recognise this situation. Empty apartments like Apollo’s were becoming increasingly rare because it was so lucrative to rent them out.

Moreover, the constant presence of tourists can strain communities' social fabric. Residents may feel like strangers in their towns, their daily lives disrupted by crowds, noise, and the constant catering to visitor needs. The loss of privacy, the commercialisation of public spaces, and the feeling of being outnumbered can lead to a sense of alienation and resentment toward tourists, often referred to as “tourismophobia.”

While the economic benefits of tourism are significant, the ‘environmental and cultural costs’ are often not fully accounted for. Focusing on short-term gains can lead to long-term damage that is difficult or impossible to reverse. The debate frequently centres around finding a balance between tourism and sustainability. Concepts like ‘responsible tourism’, ‘eco-tourism’, and ‘sustainable tourism’ have emerged as alternatives that aim to minimise the negative impacts of tourism while maximising its benefits. These approaches advocate for travel practices that respect local cultures, conserve the environment, and ensure that tourism's economic benefits are shared equitably.

Media coverage has highlighted various case studies where the negative impacts of mass tourism have become particularly evident. For instance, the Philippine island of Boracay was closed to tourists for six months in 2018 to address severe environmental degradation caused by unregulated tourism. Similarly, Thailand temporarily closed several of its most famous beaches to allow ecosystems to recover from the damage inflicted by years of mass tourism. These actions underscore the urgent need for more sustainable tourism practices as destinations grapple with the consequences of their popularity.

Also, cats should be meowing for regulation and change. There is a growing call for better tourism regulation in response to these challenges. Measures such as ‘tourist caps’, ‘entry fees’, and ‘controlled access’ to sensitive areas are being considered or implemented in various destinations. Cities like Amsterdam and Venice have introduced taxes on tourists and limited the number of new hotels and short-term rentals to curb the harmful effects of over-tourism. These actions demonstrate that change is possible and that a more sustainable future for tourism is within reach.

The public debate also emphasises the need for tourists to take responsibility by making more conscious choices about where, when, and how they travel. The rise of slow travel, where tourists spend more time in fewer places, seeking more profound engagement with local cultures and lessening their environmental footprint, reflects a shift in mindset among some travellers. This shift towards responsible tourism is not just a trend but a crucial step towards preserving the beauty and authenticity of our destinations.

In summary, while tourism continues to be a global economic driver, the ‘downsides of mass tourism’—environmental degradation, cultural erosion, economic inequality, and social disruption—are becoming increasingly apparent. The media and public debate play a crucial role in advocating for more sustainable, responsible approaches to tourism. They are pushing for changes that will protect both the destinations and the communities that enrich travel.

While Apollo and Hydra wait for change, he will continue to love himself and fill walls and closets with his creations. Michael's passing has been a setback in the supply of art materials. Still, more than anything, Apollo misses the routine of strolling over to Kamini and Michael’s studio, a place that was once a second home to him. He misses the gentle pats and how Michael affirmed that Apollo was the world's best, most beautiful, and most brilliant cat.