Troy, also called Ilion, is a mythic city, precisely the theater of the Trojan War in the Iliad, however the Troy of the renowned epic poem is a symbolic city and it represents the burial mound, i.e. the realm of death.
Since ancient times the name “Troy” has been associated with labyrinths, and the prehistoric European symbol of the labyrinth is a figure that symbolizes the grave of the honourable ancestor. For example, several turf mazes, structures shaped like a labyrinth, in England were named “Troy”, “Troy Town”, “The City of Troy” or “The Walls of Troy”. Caerdroia (“City of Troy”) is the Welsh name for Troy and in medieval times a Caerdroia was a turf maze: several similar turf mazes in Scandinavia have names such as Trojaborg, Trojaburg, Trojborg, Tröborg and Trojienborg, which can all be translated as “City of Troy”.
It follows that the mythological Troy is closely connected to the prehistoric labyrinth, burial mound, realm of death.
Comparison between the representation of a Troy Town and a typical burial mound seen from above:
In the famous oenochoe of Tragliatella, an Etruscan jug, the image of the archaic labyrinth compares with the inscription “TRUIA”:
Therefore the Iliad describes the entry in the burial mound or realm of death, and the Achaeans fail to breach the walls of the city until they hide themselves inside the Trojan Horse; the horse symbolizes the placenta (which sustains the development and life of the fetus, like Yggdrasill [“Odin’s steed”] that sustains the nine worlds [i.e. the nine months of the symbolic pregnancy]), it is a chthonic animal and the dead were often buried with their best horse: the soldiers hidden inside the Trojan Horse represent the sum of our ancestors, the sum of their wisdom and knowledge, indeed the placenta is almost exclusively composed of the father’s genes. Therefore a horse would have surely gained access inside the burial mouns, i.e. Troy, and the Achaeans can pass through the gates of Troy only if “accompanied” by the Trojan Horse, equivalently to the Argonauts that could reach Colchis only by means of the ship Argo, that in terms of symbolic function is identical to the Trojan Horse, and similarly to Odin that can enter in Hel only if “accompanied” by Sleipnir, his steed: the ritual revealed through these myths is the one of the child that enters the prehistoric cave to accomplish the initiation ritual, and walks inside it “accompanied” – among other animals – by the horses portrayed in the cave paintings.
Prehistoric cave paintings portraying horses:
Inside Troy there are Helen, Andromache and Hecuba, which represent the three aspects of the sorceress or priestess that welcomed the initiate in the deeper area of the burial mound, they are the three Moirai (“moira” means “destiny, fate”) who preside over destiny and should be considered – respectively as girl, wife and old woman – as a tripartite manifestation of a single figure, similarly to the waxing moon, full moon and waning moon, three aspects of the same entity: together they symbolize the eternal cycles of death and rebirth that occur in all that exists in the Universe.
Helen of Troy:
In the poem the weapons and the armor are an essential part of the identity of a hero, and the fact that is recurrent the act of obtaining honour by taking possession of the weapons and armor of the defeated enemy – especially when they belong to a strong, glorious and honourable warrior – should be compared to the initiated child that inherits the weapons, along with other objects, of his honourable ancestor, at the conclusion of the initiatory ritual of rebirth inside the burial mound: under this point of view the Achaeans are the descendants, whereas the Trojans are the ancestors.
At a certain point of the poem, Achilles reveals the prophecy that hangs over him:
“My mother, Thetis with silver feet, speaks to me about two destinies that lead me to death: if I stay here to fight around the walls of Troy, I will never return but eternal will be my glory; if instead I return home, in the fatherland, for me there will be no glory, but I will have long life, it will not reach me soon the destiny of death”.
-Achilles to Odisseus in the Iliad
The meaning of this sort of prophecy is this: if Achilles (as previously understood, the heroes of the mythologies should almost always be seen as children) will not go inside the realm of the dead to face the initiation ritual, his current self will remain as it is, incomplete, formless and without a definite identity, until his natural death, and he will live without honour and glory, excluded from the cycle of reincarnations inside the ancestry; if instead Achilles will face the initiation ritual, then his current self will die soon after, when he will enter in the burial mound, since only the dead can access it, to later be reborn as one of his ancestors, through the surfacing of the memory of the blood, i.e. the memory of his previous lives, in this way obtaining the honour and glory of the ancestry.
The Trojan War lasts nine years and ends during the tenth: nine months of symbolic pregnancy and finally the rebirth at the end of the initiation ritual.
The triumph of Achilles after defeating Hector:
Perseus is one of the most important mythic heroes of the Greeks, famous for having beheaded Medusa the Gorgon (the word “gorgon” literally means “subterranean prison”, “tunnel” [i.e. the burial mound understood as matrix of rebirth]: it is significant that in the archaic iconography the Gorgons were portrayed with a mare’s body): to accomplish this feat he first sought out the three Graeae, old sisters that shared the possession of only one eye and one tooth, lived in a cave from which neither the Sun nor the Moon could be seen, i.e. the cave or burial mound, and were described as “virgins similar to swans”, i.e. dressed in white.
The Graeae and the Moirai of the Greeks are equivalent figures, as well as the Parcae of the Romans and the Norns of the Nordics: they are the sorceresses who welcomed the candidate to the initiation, and all are groups of three women who preside over destiny, in the sense that they contribute to decide what will be, on the metaphysical plane, the destiny of an individual.
They are associated with the color white and therefore with the swan: in addition to what we have already learned, in this context, about the Graeae, we know that the Moirai are described as “dressed in white”, while the Norns live near Urðarbrunnr (“well of Urðr”, “well of destiny”), where they establish the destinies of men; near this well live two swans from which has descended the race of birds who bear this name. The Sirens of the Greek mythology are another group of three women with the same characteristics: they are Parthenope (“the virgin”), Leucosia (“the white”) and Ligeia (“with a clear voice”). Again in the Norse mythology we find the Valkyries (“the ones who chose the fallen”) Svanhvit (“white as a swan”), which offers a sword to Ragnarr and urges him to accomplish great deeds, and Alvitr (“omniscient”), her sister, which spin the linen after having laid their “shape of swan”; another relevant Valkyrie in this context is Alruna (from Proto-Germanic *aliruna, composed by runa [“secret”] and the prefix -ali): omniscience, runes (i.e. secret metaphysical knowledge), spinning and white color are always specific attributes of these figures that we find in the European mythologies. The white color was related with the dead, because they were buried with white clothes, their dead bodies became quickly very pale, and their personality was purified by death (white being also the color of purity and purification): to get access and remain inside the burial mound the Graeae/Moirai/Parcae/Norns had to be dressed in white, as well as the dead and to be symbolically dead. The swan was seen as a chtonic and psychopomp animal, because it is completely white and lives in water (purifying and regenerator element that symbolizes the amniotic fluid), at times indicated in the European mythologies as portal or passage to reach the realm of death, and it is also a migratory bird, the migration being a periodic and regular movement linked to the alternation of the seasons and associated with the cycles of death and rebirth.
So Perseus steals the eye of the Graeae and, in exchange for it, forces them to reveal the way to kill Medusa and thus the location of the objects needed for that purpose, i.e. the personal objects with which was buried the honourable ancestor: the winged sandals (because Perseus is, exactly like Hermes, the child-bee that enters in the burial mound-beehive), the helm of invisibility (another object that allows access to the burial mound since invisibility is synonymous with death), the harpe sword, the mirrored shield and the leather sack to safely contain Medusa’s head.
We find a similar case in the Norse mythology, when Odin is forced to leave one of his eyes as a pledge in Mímisbrunnr (“well of memory”), in exchange for the possibility to drink the sacred liquid, mead according to the Völuspá, in it contained. We can better understand these mythological episodes by knowing that the candidates to the initiation could access the realm of death, the cave or burial mound, exclusively if they brought with them a key: the children had to possess and show a mistletoe, an evergreen plant symbol of immortality, the life force of the Sun throughout the cold season.
The eye of Odin and the eye of the Graeae stolen by Perseus conceal precisely this symbolism, because the Sun is the eye of the Sky (Homer describes the Sun as “the all-seeing eye of Zeus”, in the Egyptian mythology the Sun is the eye of Ra, in the Hindu mythology Surya [“the supreme light”] is the eye of Varuna, in the Persian mythology the Sun is the eye of Ahura Mazda, in the Japanese mythology Amaterasu – the goddess of the Sun – is born from the eye of Izanagi, the Sun is the eye of the Indo-Iranian god Mitra): both Odin and Perseus use a mistletoe bough to obtain a metaphysical wisdom through the remembrance of their previous lives, one by means of the vision of the personal objects he had owned, the other by means of the sacred liquid of memory.
In conclusion Perseus finds and beheads Medusa, avoiding her gaze that turned people to stone by looking at her reflection in the mirrored shield. Medusa’s head, with snakes instead of hairs and whose eyes had the power to petrify every living creature (an equivalent figure is the Basilisk, a legendary medieval snake with the ability to petrify what meets its gaze), symbolizes the placenta, which calcifies after a certain time, causing the death and calcification of the child, who literally becomes stone if he stays too long in the womb.
Medusa’s head and the placenta:
The beheading of Medusa symbolizes the sudden and violent severing of the bond between the reborn divine child and the maternal phase of existence, i.e. the severing of the placenta: at that point the initiate must get out as soon as possible from the burial mound (i.e. the womb of the earth), without looking back, fatal action that would compromise the whole initiatory and metaphysical process.
“Perseus with the head of Medusa”, masterpiece of Benvenuto Cellini: