At the beginning of the fifth century B.C., the Greek city states found themselves twice threatened by massive Persian armies. Part of their inspiration for valor in battle came from tales in Homer’s Iliad and Odyssey, stories that provided models of ideal Greek characteristics. Homer’s epics told of ancient Achaeans (aka Danaans, Argives, but not, as we identify them, as “Greeks”) of Mycenaean time and served as metaphors of bravery and ingenuity in Athens and Sparta. Just as the Homeric heroes overcame gods and warriors to conquer Troy, and return to their homelands, so the Greeks relied on that revitalized heritage to rally against the Persians. The Homeric metaphors helped to inspire the Greeks to victories at Marathon and Salamis. To be “Greek” was at least for a short while to be Homeric.
Metaphors change as cultures change as generation follows generation. The “historical/mythical” Trojan War would have been a Bronze Age battle. Its epic telling, however, had to wait for the Blind Poet centuries later in the Iron Age. In the interim, Mycenaean civilization collapsed, replaced by a Dark Age often ascribed to a Dorian, or Sea Peoples, Invasion. Probably in the mid-eighth century, Homer consolidated the long-lost tales and framed them as a metaphor for Greek life. His epics appear to have permeated Greek society between the mid-eighth century until well after those wars with the Persians. As a sign of their significance to Greek life in the first half of the fifth century, the builders of the Parthenon portrayed those epic characters on the metopes of the building’s north side. But Plato, born 53 years after Themistocles defeated the Persians at Salamis and a decade after the completion of the Parthenon and its statuary dedicated to the Homeric heroes, doesn’t appear to have been a big fan of Homeric symbolism as a metaphor of life. Plato’s attitude reveals that just when a metaphor reaches its peak of influence, one even carved in stone, it can suddenly collapse. We can see the process in action in the push to take down or destroy the South’s Civil War commemorative statues, in the name change from St. Petersburg to Leningrad and back to St. Petersburg in Russia, and in schools that altered their nicknames, as Indiana U. of PA did in renaming itself as “Crimson Hawks” to replace “Indians.” If we stick Greek, the metaphorical significance of Odysseus provides a great example of such change through generations and across cultures.
With the fall of Greek city states and the rise of the Roman Empire, Homeric heroes eventually gave way to those of Vergil. The Aeneid, recounting the journey of the Trojan Aeneas, replaced heroism of Greek character with that of the virtues of Roman character. As Robert Squillace writes in his introduction to The Odyssey, “The very qualities that made Odysseus so secure a guide to behavior in the Greek world of the eighth through the fifth centuries … rendered him a virtual outlaw in the regulated precincts of philosophical reason and Roman polity ….” (xxi) * Aeneas was more chivalrous than Odysseus who, in the Roman view, was a conman without compunction, a rascal not worthy of the designation “hero.” Suffice it to say the Romans didn’t see Odysseus the way Greeks saw him.
The fall of the Western Roman Empire ushered in a new Dark Age, this one in Europe. Homer’s and Vergil’s heroes were essentially lost for a millennium but were rediscovered during the Renaissance and the rise of a distinctive European culture. Even then, Dante adopted Vergil’s negative view of the Greek hero and confined Odysseus to the eighth level of the Inferno. But after Heinrich Schliemann’s excavation of Troy in the nineteenth century, the Greek version of Homeric metaphors of life and characters like Odysseus regained status as inspirational symbols. Odysseus, in particular, has since become a character of unparalleled ingenuity who is cool under duress, an early version of James Bond or MacGyver. Tennyson, speaking of his famous poem “Ulysses,” says Odysseus symbolizes the “need of going forward and braving the struggle of life,” as in the ending line “To strive, to seek, to find, and not to yield.” That’s definitely a different take from Vergil’s and Dante’s. Movie depictions also reflect the “heroic” aspect of Odysseus.
As usual, you are asking, “Where’s this headed?”
As usual, to questions for you: What metaphor lies behind your belief and behavior? Who are your symbolic characters, and what do they symbolize? Whose metaphors and symbols do you reject because they simply don’t fit into your worldview, a perspective that you believe to be as sound as the Greeks believed in the soundness of their heroes and their struggles with both mortals and immortals?
Are you the Plato of your age, looking for a manner to discover the nature of life and the world without reliance on ancient symbols and metaphors? Are you a Vergil, looking to replace an older metaphor with a newer version of the same, a version tweaked to justify your view of life? Are your metaphors as fickle as fashion or as enduring as marble statuary?
Need a kickstart? Think of the metaphors rejected or accepted by the proponents of political correctness, the thought police of society and government, and the philosophers and writers of your times. And note that every metaphor of life reveals itself eventually to be a refractive lens, a fishbowl where fish see only a view of the world outside that is distorted by glass and water—the world in a neighboring fishbowl. Now examine the metaphors of your times, the political, religious, and social metaphors that serve as bodies of water for fish incapable of seeing clearly or understanding why other fish in other bowls see the world differently.
We are limited in the number of metaphors we can apply to life and have a limited number of recurring archetypes that underlie our efforts to make sense of existence. Jung might have had a point that there are underlying metaphors we all share in general, but the specific is revealed in how we apply them. Recurring archetypes, metaphors, and symbols all appear in various guises. All of these are subject to variations. When you or someone else says the world is different now, think again. The world is as it used to be. Odysseus did what he did. His actions would be the same today. What you see as difference or how you evaluate those actions is matter of refraction.
*Homer, The Odyssey, Trans. by George Herbert Palmer.New York. Barnes & Noble Classics, 2003.