Aleksandra
Yevteyeva
[email protected]
1
Paper III:
Metaphor: Springs
Aleksandra Kalinina
Harvard University
CLAS E-116/W: Concepts of The Hero in Classical Greek Civilization
Professor Nagy, Professor McGrath
December 17, 2012
Aleksandra
Yevteyeva
[email protected]
2
Within
Homer’s
Iliad,
Euripides’
Hippolytus
and
Hesiod’s
Theogony,
the
word
spring(s)
is
a
metaphor
for
a
connection
or
disconnection
between
man
and
his
spiritual
awareness/
psukhe.
Connectively,
within
the
Iliad,
spring(s)
protrudes
at
momentous
times
of
highly
aggressive
animalistic
behavior
exhibited
by
the
warriors;
therefore,
affirming
the
disconnect
that
occurs
between
man
and
his
spiritual
awareness/
psukhe.
Additionally,
Homer
illustrates
vivid
imagery
through
language;
utilizing
spring(s)
in
connection
to
the
wild
force
and
presence
of
nature.
Hesiod
engages
ritualistic
motifs
in
relationship
to
spring(s)
in
Theogony,
further
supporting
the
figurative
connection/disconnection
between
man
and
his
psukhe.
Lastly,
within
Hippolytus,
Euripides
pointedly
speaks
upon
spring(s)
as
a
natural
force
that
may
punish
one
that
is
separated
from
his
psukhe.
Thus,
through
depicted
scenes
of
wild
animal
behavior
and
comparisons
between
man
and
these
animals,
ritualistic
sacrificial
motifs
and
through
the
presence
of
the
imagery
and
acts
of
nature,
spring(s)
prevails
as
either
a
connection
or
disconnection
between
man
and
his
spiritual
awareness/
psukhe.
Within
the
Iliad,
there
is
constant
comparison
of
the
warriors/
heroes
to
ferocious
aggressive
animals.
Hence,
the
Thracian
warriors
are
depicted
as,
“As
a
lion
springs
furiously
upon
a
flock
of
sheep
or
goats
when
he
finds
without
their
shepherd,
so
did
the
son
of
Tydeus
set
upon
the
Thracian
warriors
till
he
had
killed
twelve.
As
he
killed
them
resourceful
Odysseus
came.
(Il.
10.
485-‐489)
Thus,
springs
is
engaged
as
a
verb
that
is
provoking
and
resulting
in
an
aggressive
animalistic
attack
from
the
warriors.
Like
the
resurgence
from
natural
springs
in
nature,
the
animal
Aleksandra
Yev
[email protected]
3
awakes
with
the
instigation
of
a
powerful
force.
Thus,
it
is
not
possible
for
the
warriors
to
achieve
connection
to
their
psukhe
if
such
an
animal
force
is
dominant
upon
their
actions.
Therefore
there
is
a
disconnect
between
man
and
his
psukhe,
when
he
is
indulging
in
animalistic
action.
Particularly,
within
the
Iliad,
the
lion
reappears
again
as
a
figure
of
animalistic
action
and
attack.
Hence,
But
when
they
had
reached
the
Scaean
gates
and
the
oak
tree,
there
they
halted
and
waited
for
the
others
to
come
up.
Meanwhile
the
Trojans
kept
on
fleeing
over
the
middle
of
the
plain
like
a
herd
of
cows
maddened
with
fright
when
a
lion
has
attacked
them
in
the
dead
of
the
night-‐he
springs
on
one
of
them.
(Il.11.
170-‐174)
Therefore,
the
Trojans
are
being
compared
to
a
vulnerable
animal
that
is
under
attack
of
a
predator.
Thus,
there
is
the
prevailing
disconnect
between
man
and
his
psukhe
present
on
both
sides
of
the
battlefield.
Moreover,
the
imagery
of
a
cow
attacked
by
a
lion
is
furthermore
sacrificial
in
meaning
and
evocative
of
the
force
of
nature
that
is
overpowering
the
warriors
and
further
disconnecting
them
from
any
spiritual
awareness
or
psukhe.
Invariably,
there
is
an
overabundant
supply
of
hubris
within
the
actions
of
the
warriors
in
the
Iliad.
Further
incidents
of
simile
between
man
and
beast
occur,
As
a
dog
springs
on
a
fawn
which
a
hunter
has
hit
as
it
was
breaking
away
from
its
covert,
and
killed
it.
Even
so,
O
Melanippos,
did
stalwart
Antilokhos
spring
upon
you
to
strip
you
of
your
armor;
but
noble
Hector
marked
him,
and
came
running
up
to
him
through
the
thick
of
battle.
(Il.
15.
580-‐584)
Aleksandra
Yevteyeva
[email protected]
4
Thus,
springs
prevails
in
a
verb
form,
symbolizing
the
force
that
is
present
and
alive
within
man,
provoking
attack
and
destruction
and
further
disconnect
between
man
and
his
psukhe.
Again,
an
incident
with
Aretos
within
the
Iliad
reveals
As
when
some
sturdy
youth,
axe
in
hands,
deals
his
blow
behind
the
horns
of
an
ox
and
severs
the
tendons
at
the
back
of
its
neck
so
that
it
springs
forward
and
then
drops,
even
so
did
Aretos
give
one
bound
and
then
fall
on
his
back
the
spear
quivering
in
his
body
till
it
made
an
end
of
him.
(Il.
18.
29-‐524)
It
can
be
deduced
that
the
comparison
of
man
to
beast
is
most
decidedly
indicative
of
a
disconnect
between
man
and
his
spiritual
awareness,
as
springs
is
engaged
as
a
force
that
removes
the
head
from
the
body.
Thus,
man
is
essentially
inebriated
and
cannot
function
without
the
mobility
of
the
head,
which
contains
the
vital
responses
of
the
mind.
The
force
that
contributes
to
the
constant
disconnection
that
is
occurring
between
the
warriors
and
their
psukhe,
is
supported
by
lively
painterly
images
of
nature.
Thus,
Zeus
arrives,
By
the
hand
of
the
son
of
Atreus,
for
he
wielded
his
spear
with
fury.
But
when
he
was
just
about
to
reach
the
high
wall
and
the
city,
the
father
of
gods
and
men
came
down
from
the
sky
and
took
his
seat,
thunderbolt
in
hand,
upon
the
cred
of
Ida,
with
its
many
springs.
(Il.
11.
180-‐184)
Aleksandra
Yevteyeva
[email protected]
5
Thus,
Zeus
becomes
present
during
a
key
moment
within
the
Iliad
when
there
is
an
evident
killing
that
is
occurring.
When
Zeus
assumes
his
position
on
Mount
Ida,
“with
its
many
springs,”
there
is
obviously
something
relating
to
a
sacrificial
scene
that
is
occurring
and
springs
prevail
in
connotation
to
a
natural
force
that
governs
and
dominates
men
in
the
midst
of
their
plight
for
kleos.
Hence,
the
imagery
of
nature,
inclusive
of
the
word
springs
as
a
metaphor
for
man’s
disconnect
from
his
psukhe
is
alive
and
continually
incised
by
the
presence
of
the
Gods.
As,
While
Iris
and
Apollo
made
all
haste
on
their
way.
When
they
reached
Ida
with
its
many
springs,
mother
of
wild
beasts,
they
found
wide-‐seeing
Zeus
seated
on
topmost
Gargaros
with
a
fragrant
cloud
encircling
his
head
as
with
a
diadem.
They
stood
before
his
presence.
(Il.
15.
150-‐154)
It
can
be
construed
that
the
gods
are
present
and
dominating
upon
man
in
a
continual
way
and
therefore
encouraging
a
disconnect
between
man
and
his
psukhe.
Additionally,
there
is
an
agora
occurring
before
Zeus
upon
the
hieros
Mount
Ida;
indicative
of
a
sacrificial
scene.
Continually,
ritualistic
sacrificial
motifs
protrude
most
prominently
within
the
Iliad.
Thus,
it
is
announced,
For
the
man
had
fallen
close
be,
him;
so
he
aimed
at
Polydamas
as
he
has
retreating,
but
Polydamas
saved
himself
by
swerving
aside
and
the
spear
struck
Arkhelokhos
son
of
Antenor,
for
heaven
counseled
his
destruction;
it
struck
him
where
the
head
springs
form
the
neck
at
the
top
joint
of
the
spine,
Aleksandra
Yevteyeva
[email protected]
6
and
severed
both
the
tendons
at
the
back
of
the
head.
His
head,
mouth,
and
nostrils
reached
the
ground
long
before
his
legs
and
knees
could
do
so,
and
Ajax
shouted
to
Polydamas
saying..
(Il.
14.
460-‐469)
Therefore,
the
imagery
of
springs
is
utilized
in
the
most
precise
way;
pointedly
affirming
that
the
springs
connect
the
head
to
the
rest
of
the
body
and
that
when
faltering,
the
head
reaches
the
ground
before
the
body.
This
is
essentially
the
thematic
indication
of
man
being
eternally
separated
from
his
mind
and
spiritual
awareness,
and
losing
his
way
in
the
plight
of
his
life
or
within
the
face
of
eris.
Evidently,
man
will
lose
connection
between
his
mind
and
being,
most
instantaneously,
when
dealing
with
conflict
along
his
journey.
Furthermore,
it
is
shared
that
the
destruction
of
Arkhelokhos
is
administered
by
heaven.;
thus,
alluding
to
the
presence
of
the
gods
and
the
force
of
the
kosmos
upon
man.
Further
ritualistic
imagery
is
expressed
within
the
Iliad,
Nor
the
mighty
stream
of
the
deep-‐flowing
Okeanos,
from
whom
all
rivers
and
seas
with
all
springs
and
deep
wells
proceed;
even
Okeanos
fears
the
lightening
of
great
Zeus,
and
his
thunder
that
comes
crashing
out
of
heaven.
(Il.
21.
195-‐199)
Since
Okeanos
had
poured
rivers
of
tears
from
his
eyes
as
a
libation,
it
is
known
that
such
correlation
to
him
within
the
Iliad
is
conceptually
of
ritualistic
and
sacrificial
nature.
Furthermore,
it
is
revealed
that
springs
come
from
Okeanos,
therefore
exhibiting
a
force
that
is
alive
and
a
dike
that
is
present
within
the
Iliad.
Invariably,
the
inclusion
of
Zeus
affirms
that
this
is
a
sacrificial
scene
for
the
pleasing
of
the
Gods.
Aleksandra
Yevteyeva
[email protected]
7
As
well,
within
Hesiod’s
Theogony,
there
is
birth
and
death
that
occurs
at
the
springs
of
Okeanos,
“From
her
too,
when,
as
the
tale
is,
Perseus
had
cut
off
the
head,
up
sprang
huge
Khrysar
and
the
steed
Pegasus.”
(280)
Such
event
indicates
the
nature
of
life
and
the
force
that
governs
and
either
gives
life
or
takes
something
as
a
sacrifice.
Concluding
imagery
within
the
Iliad
reveals
a
moment
before
the
springs
at
the
river
Skamandros,
One
of
these
two
springs
is
warm,
and
steam
rises
from
it
as
smoke
from
a
burning
fire,
but
the
other
even
in
summer
is
as
cold
as
hail
or
snow,
or
the
ice
that
forms
on
water.
Here,
hard
by
the
springs,
are
the
goodly
washing-‐
throughs
of
stone,
where
in
the
time
of
peace
before
the
coming
of
the
Achaeans
the
wives
and
fair
daughters
of
the
Trojans
used
to
wash
their
clothes.
Past
these
did
they
flee,
the
one
in
front
and
the
other
giving
chase
behind
him;
good
was
the
man
that
fled,
but
better
far
was
he
that
followed
after,
and
swiftly
indeed
did
they
run,
for
the
prize
was
no
mere
beast
for
sacrifice
or
bullock’s
hide,
as
it
might
be
for
a
common
foot-‐race,
but
they
ran
for
the
life
(psukhe)
of
Hector.
(Il.
22.
145-‐160)
Therefore,
as
with
the
one
spring
that
is
warm
and
the
other
that
is
cold,
it
can
be
invariably
deduced
that
there
is
a
dualistic
nature
to
the
springs
that
is
reflective
to
the
ironic
nature
that
occurs
all
around
in
life
and
touches
upon
and
governs
man
most
inevitably.
Furthermore,
the
wives
and
daughters
of
the
Trojans
decide
to
flee
as
they
come
to
realize
that
there
is
only
a
sacrificial
death
awaiting
the
warriors
in
their
pursuit
of
kleo,
and
they
would
rather
be
arete
for
the
psukhe
of
Hector,
a
hero.
Aleksandra
Yevteyeva
[email protected]
8
Final
imagery
indicative
of
sacrificial
and
ritualistic
motifs
within
the
Iliad
is
of
Achilles
with
the
river
Sperkheios,
That
when
I
returned
home
to
my
loved
native
land
I
should
cut
off
this
lock
and
offer
you
a
holy
hetacomb;
fifty
she
goats
was
I
to
sacrifice
to
you
there
at
your
springs,
where
is
your
grove
and
your
altar
fragrant
with
burnt-‐offerings.
Thus
did
my
father
vow,
but
you
have
not
fulfilled
the
thinking
(noos)
of
his
prayer;
(Il.
23.
145-‐149)
Hence,
Achilles
admits
that
he
wishes
to
sacrifice
at
the
springs
of
the
river
in
relationship
to
his
potential
nostos,
but
choses
to
do
so
for
Patroklos.
Thus,
Achilles
as
a
hero
is
always
close
to
contact
with
some
sort
of
sacrificial
and
ritualistic
scene,
alluding
to
the
time
where
he
will
become
a
sacrifice
himself.
Thus,
it
is
within
Euripide’s
Hippolytus
that
the
philosophy
of
psukhe
is
more
assiduously
analyzed
and
illuminated
upon.
Nurse
remits,
“But
when
she
finds
someone
arrogant
and
proud,
she
takes
him
and
insults
him
unbelievably.
Her
path
is
in
the
sky
and
on
the
ocean’s
surges;
from
her
all
nature
springs.”
(445)
Therefore,
there
is
a
natural
action
and
punishing
that
occurs
from
the
daimones
upon
man
and
life.
Additionally,
the
nurse
encourages
Phaedra
to
“cease
having
hubris.”
(474)
Within
these
passages,
there
is
particular
discovery
that
the
plight
and
journey
of
mortals
differs
much
from
the
gods,
and
therefore
should
not
mirror
the
gods
nor
contain
excessive
hubris.
Intrinsically,
the
mortal
man
must
not
sway
from
his
psukhe
if
he
is
to
attain
happiness
and
fulfillment
and
if
he
is
not
be
taken
as
a
sacrifice
nor
be
punished
mercilessly
by
a
natural
force
of
the
kosmos.
