Iliad symbolism

http://www.philaletheians.co.uk/Study%20notes/Hellenic%20and%20Hellenistic%20Papers/Taylor%20on%20the%20Wanderings%20of%20Ulysses.pdf
The neoplatonist Hermeas, explains the basic symbolism of the Iliad:
"By Ilion we must understand the generated material place, which is so denominated from mud and matter (para ten iloun kai ten oulen), and in which there are war and sedition. But the Trojans are material forms, and all the lives which subsist about bodies. Hence, also, the Trojans are called genuine (ithageneis). For all the lives which subsist about bodies, and irrational souls, are favourable and attentive to their proper matter. On the contrary, the Greeks are rational souls, coming from Greece, i.e. from the intelligible into matter. Hence, the Greeks are called foreigners (Epeiloudes) and vanquish the Trojans, as being of a superior order."

Longinus - On the Sublime

On the Sublime is an essential compedium of ancient literary esthetics. In Chapter 8, he gives the five sources of sublimity:
1- Ability to form grand conceptions
2- The stimulus of powerful and sublime emotions
3- Proper formation of figures of thought
4- Proper formation of figures of speech (noble diction - choice of words, use of imagery, elaboration of style)
5- Total effects resulting from dignity and grandeur

In chapter 13, he extolls the literary merit of Plato:
And it seems to me that there would not have been so fine a bloom of perfection on Plato's philosophical doctrines, and that he would not in many cases have found his way to poetical subject-matter and modes of expression, unless he had with all his heart and mind struggled with Homer for the primacy, entering the lists like a young champion matched against the man whom all admire, and showing perhaps too much love of contention and breaking a lance with him as it were, but deriving some profit from the contest none the less.

In Chapters 35 & 36, he develops a semi-platonic conception of esthetics:
This besides many other things, that Nature has appointed us men to be no base nor ignoble animals; but when she ushers us into life and into the vast universe as into some great assembly, to be as it were spectators of the mighty whole and the keenest aspirants for honour, forthwith she implants in our souls the unconquerable love of whatever is elevated and more divine than we.

36. In statues likeness to man is the quality required; in discourse we demand, as I said, that which transcends the human. 4. Nevertheless--and the counsel about to be given reverts to the beginning of our memoir--since freedom from failings is for the most part the successful result of art, and excellence (though it may be unevenly sustained) the result of sublimity, the employment of art is in every way a fitting aid to nature; for it is the conjunction of the two which tends to ensure perfection.

Longinus - On the Sublime

Longinus' "On the Sublime" is an interesting work on Classical Esthetics. His semi-Platonic literary theory sheds some interesting light on the classics of Ancient Greek Literature.

"Further, nature is the original and vital underlying principle in all cases, but system can define limits and fitting seasons, and can also contribute the safest rules for use and practice. Moreover, the expression of the sublime is more exposed to danger when it goes its own way without the guidance of knowledge,--when it is suffered to be unstable and unballasted,--when it is left at the mercy of mere momentum and ignorant audacity. It is true that it often needs the spur, but it is also true that it often needs the curb." (Chap. 2)

In Chapter 3, he discusses the three impediments to sublimity: 1- Tumidity - which a kind of pompous, overblown rhetoric; 2- Puerility, which is a kind of tawdriness and affectation; 3- Parenthyrsus  of false sentiment, which is a kind of exagerated emotionalism.

On the Cave of the Nymphs - Summary

A cavern at the top of a cliff
The universe, matter

A stream of water flowing through
Elements formed by matter

Marble beams where Naiads weave purple garments
Souls descending into generation and acquiring body.

Naiads
Related to human nature of incarnated souls
Marble Beams
Bones
Purple Garments
Flesh

Bowls and urns filled with honey provided by bees
Earth symbols - Nutritive, generative and preservative powers of nature.

A North gate for mankind
Tropic of Cancer -Summer,  Moon, North gate where the souls descend.

South gate for immortals
Tropic of Capricorn - Winter, Saturn,  South gate of ascent.

An olive tree
Related to Athena, Divine wisdom. Peace, Victory. The Intellectual Principle that governs nature.

Basically, theses images represent the process of the soul's descending incarnation from it's cosmic origin and it's experience in relation to natural process up to the point of disembodiment and return to it's cosmic origin. In general, Porphyry explains these symbols in relation to traditional Greek religious symbols and other mystical traditions such as Mithraism and Orphism. The symbols are all implictely related to the lesser mysteries in ancient traditions such the mysteries of Eleusis and Attis, related to processes of generation and fertility.

The Olive Tree

The Olive Tree is related to Athena and symbolises Divine wisdom. Because she was born from the Head of Zeus, she is related to the intelligible nature. The olive has a white part that is raised upward in the Summer and downwards in the Winter and is therefore similar to the movement of the soul through the two entrances, and symbolises the alternation between light and dark. It symbolises peace  and victory as the  fruits of labour in the Olympiad of the soul: "Thus, too, the world is governed by an intellectual nature, and is conducted by a wisdom eternal and ever-flourishing; by which the rewards of victory are conferred on the conquerors in the athletic race of life, as the reward of severe toil and patient perseverance" (17)
"For in summer the white leaves of the olive tend upwards, but in winter the whiter leaves are bent downward. On this account also in prayers and supplications, men extend the branches of an olive, nominating from this that they shall exchange the sorrowful darkness of danger for the fair light of security and peace. The olive, therefore being naturally ever-flourishing, bears fruit which is the auxiliary of labour (by being its reward , it is sacred to Minerva; supplies the victors in athletic labours with crowns and affords a friendly branch to the suppliant petitioner".(15)

 In this cave all things must be deposited in a process to purify the passions.  According to Plato in the Timaeus, Phorcys represents material nature. It is related that Numenius gives a general interpretation of the Odyssey: "On this account, too, a seat under the olive is proper to Ulysses, as to one who implores divinity and would appease his natal daemon with a suppliant branch. For it will not be simply, and in a concise way, possible for anyone to be liberated from this sensible life, who blinds this daemon, and renders his energies inefficacious; but he who dares to do this, will be pursued by the anger (note 25) of the marine and material Gods, whom it is first requisite to appease by sacrifices, labours, and patient endurance; at one time, indeed, contending with the passions, and at another employing enchantments and deceptions, and by these, transforming himself in an all-various manner; in order that, being at length divested of the torn garments (by which his true person was concealed) he may recover the ruined empire of his soul. Nor will he even then be liberated from labours; but this will be effected when he has entirely passed over the raging sea, and, though still living, becomes so ignorant of marine and material works (through deep attention to intelligible concern) as to mistake an oar for a corn-van" (17)

The Two Entrances

The Double entrance symbolises the Tropics of Cancer and Capricorn. The tropic of Cancer  is related to Summer and the  Moon and is the North gate where the souls descend ; The tropic of Capricorn is related to Winter and Saturn, and is South gate of ascent. Ascent is related to liberation, for example, the Roman Saturnalia festival is therefore related to the Southern Tropic and features elements of divesting of garments symbolising the return to pristine felicity, the fountain of life. The entrances are said be aligned with the North-South tropic rather than the East-West/Aries-Libra equinoctial axis because Sothis, the Dog-Star is near Cancer and related to the new moon, thus a symbol of generation.

Then he gives some rather specific astrological data related to Mithras: "Hence, a place near to the equinoctial circle was assigned to Mithra as an appropriate seat. And on this account he bears the sword of Aries, which is a martial sign. He is likewise carried in the Bull, which is the sign of Venus. For Mithra. as well as the Bull, is the Demiurgus and lord of generation (note 13). But he is placed near the equinoctial circle, having the northern parts on his right hand, and the southern on his left. They likewise arranged towards the south the southern hemisphere because it is hot; but the northern hemisphere towards the north, through the coldness of the north wind." (11)

Porphyry then goes on to examine various uses of cave entrance symbolism from various traditions. Caves were consecrated to gods. For example in Crete, the Curetes dedicated a cavern to Zeus. The month Januarius is said to derive from the word janua meaning gate, related therefore to Aquarius. There is a temple cave in Arcadia dedicated to the moon and one in Lyceum dedicated to Pan, as well as one in Naxos dedicated to Dionysos. Parmenides makes mention of the two celestial gates.

The north entrance is related to Boreas, the North wind, therefore the myth of the rape of Orythyia by Boreas who beget Zetis and Calais is related to this symbolic nexus of the descent and return of souls. He relates the ancient belief that disembodied souls reside in the milky way,( a passage that is linked to chapter twelve of the Commentary on "Scipio's Dream" by Macrobius, which further explains the descent of the soul through the seven planets):
"According to Pythagoras, also, the people of dreams (note 19). are the souls which are said to be collected in the galaxy, this circle being so called from the milk with which souls are nourished when they fall into generation. Hence, those who evocate departed souls, sacrifice to them by a libation of milk mingled with honey; because, through the allurements of sweetness they will proceed into generation: with the birth of man, milk being naturally produced"(13)

She nexts links the theme of the fruit-bearing tree to the notion of  mother earth as fruit-bearer with an image related to Eleusinian rites depicting Gaia rising from the earth holding a cornucopia from which emerges a child.

To reinforce the link between earth goddes and fruit tree, she points to a signet-ring from Mycenae.From the Acropolis treasure of Mycenae. Grave Circle A. 15th cent.BC. National Archaeological Museum of Athens.