16 Oak

橡樹

Quercus Aegilops

 Quercus ithaburensis

Quercus macrolepis

Iliad 5.689-698

ὣς φάτο, τὸν δ᾽ οὔ τι προσέφη κορυθαίολος Ἕκτωρ,

ἀλλὰ παρήϊξεν λελιημένος ὄφρα τάχιστα

ὤσαιτ᾽ Ἀργείους, πολέων δ᾽ ἀπὸ θυμὸν ἕλοιτο.

οἳ μὲν ἄρ᾽ ἀντίθεον Σαρπηδόνα δῖοι ἑταῖροι

εἷσαν ὑπ᾽ αἰγιόχοιο Διὸς περικαλλέϊ φηγῷ:

ἐκ δ᾽ ἄρα οἱ μηροῦ δόρυ μείλινον ὦσε θύραζε

ἴφθιμος Πελάγων, ὅς οἱ φίλος ἦεν ἑταῖρος.

τὸν δ᾽ ἔλιπε ψυχή, κατὰ δ᾽ ὀφθαλμῶν κέχυτ᾽ ἀχλύς:

αὖτις δ᾽ ἐμπνύνθη, περὶ δὲ πνοιὴ Βορέαο

ζώγρει ἐπιπνείουσα κακῶς κεκαφηότα θυμόν.

英譯: (參考Loeb版本）

 So he spoke, but Hector of the flashing helmet spoke no word in answer,

but dashed by, eager quickly to thrust back the Argives

and take the lives of many. Then his noble comrades had godlike Sarpedon

sit beneath a beautiful oak of Zeus who bears the aegis,

 and out from his thigh mighty Pelagon, who was his dear comrade,

thrust the spear of ash; and his breath left him, and down over his eyes

a mist was shed. But he caught his breath again, and the breath of

the North Wind as it blew on him made him live again

after he had painfully breathed out his spirit.

中譯: http://www.millionbook.net/wg/h/hema/ylyt/005.htm (下面中文翻譯不盡理想)

但是，頭盔閃亮的赫克托耳沒有回答他的懇求，

　　而是大步沖走，急如星火，一心想著

　　打退阿耳吉維人的進攻，殺死成群的戰勇。

　　然而，薩耳裴冬卓越的夥伴們把神一樣的勇士

　　放躺在一棵枝葉茂密的橡樹下，帶埃吉斯的宙斯的聖物；

　　強有力的裴拉工，他的親密伴友，

　　用力頂出梣木槍，從他腿上的傷口。

　　命息離他而去，迷霧封住了他的眼睛，

　　但他複又開始呼吸，強勁的北風

　　吹回了他在劇痛中喘吐出去的生命。

l  動作神速，短短11行，出現三位英雄，Hector神勇奮戰，Sarpedon受傷，Pelagont也出來解圍。Hector知道戰況激烈，根本不理會那些唇槍舌戰，只管奮勇殺敵。

l  Sarpedon是如神一般 (ἀντίθεος, equal to the gods, godlike)，在宙斯的橡樹下養傷，恰如其分。

l  αἰγίοχος, aegis-bearing宙斯的專有詞。

l  在戰場中出現極美的橡樹，強調宙斯的保護。περικαλλής, very beautiful。宙斯的橡樹，在Iliad出現七次，這是第一次，之後出現在Iliad 6.237; 9.354; 11.170; 7.22; 7.60; 21.594。宙斯橡樹的所在地是the Scaean gate (Iliad 3.145)。

l   Sarpedon在垂死邊緣，幾乎斷氣，或已經斷氣，但一陣北風，他在痛苦掙扎中，起死回生。並沒有提到人工呼吸、其他的急救或是醫療處理，Sarpedon在橡樹的庇護下，在北風之神的助力下，神奇地活過來。

l  φηγός, Valonia oak, Quercus Aegilops，請參考LSJ基本說明:

= δρῦς ἀγρία, Valonia oak, Quercus Aegilops, Thphr.HP3.3.1, 3.8.2, etc.: freq. in Il.(not in Od.), “Διὸς περικαλλέϊ φηγῷ” Il.5.693; “φηγῷ ἐφ᾽ ὑψηλῆ . . Διός” 7.60; ἡ παλαιὰ φ., of the oak of Dodona, S.Tr.171, cf. Hes.Frr.134.7, 212 (but “δρῦς” S.Tr.1168).  LSJ

l  下面圖片出處: http://royalbotanicgarden.org/plants/quercus-aegilops-deciduous-oak

(=Quercus ithaburensis)

下面圖片出處: http://www.flowersinisrael.com/Quercusithaburensis_page.htm

 

**

Iliad 5.835-845

ὣς φαμένη Σθένελον μὲν ἀφ᾽ ἵππων ὦσε χαμᾶζε,

χειρὶ πάλιν ἐρύσασ᾽, ὃ δ᾽ ἄρ᾽ ἐμμαπέως ἀπόρουσεν:

ἣ δ᾽ ἐς δίφρον ἔβαινε παραὶ Διομήδεα δῖον

ἐμμεμαυῖα θεά: μέγα δ᾽ ἔβραχε φήγινος ἄξων

βριθοσύνῃ: δεινὴν γὰρ ἄγεν θεὸν ἄνδρά τ᾽ ἄριστον.

840λάζετο δὲ μάστιγα καὶ ἡνία Παλλὰς Ἀθήνη:

αὐτίκ᾽ ἐπ᾽ Ἄρηϊ πρώτῳ ἔχε μώνυχας ἵππους.

ἤτοι ὃ μὲν Περίφαντα πελώριον ἐξενάριζεν

Αἰτωλῶν ὄχ᾽ ἄριστον Ὀχησίου ἀγλαὸν υἱόν:

τὸν μὲν Ἄρης ἐνάριζε μιαιφόνος: αὐτὰρ Ἀθήνη

δῦν᾽ Ἄϊδος κυνέην, μή μιν ἴδοι ὄβριμος Ἄρης.

英譯: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0134%3Abook%3D5%3Acard%3D835

So saying, with her hand she drew back Sthenelus,

and thrust him from the car to earth, and he speedily leapt down;

and she stepped upon the car beside goodly Diomedes,

a goddess eager for battle. Loudly did the oaken axle creak beneath its burden, for it bare a dread goddess and a peerless warrior. Then Pallas Athene grasped the lash and the reins,

and against Ares first she speedily drave the single-hooved horses.

He was stripping of his armour huge Periphas that was far the best of the Aetolians,

the glorious son of Ochesius. Him was blood-stained Ares stripping;

but Athene put on the cap of Hades, to the end that mighty Ares should not see her.

中譯: http://www.millionbook.net/wg/h/hema/ylyt/005.htm

言罷，她一把將塞奈洛斯從車後

　　撂撥到地上，後者趕忙跳下戰車；

　　女神怒不可遏，舉步登車，站在

　　卓著的狄俄墨得斯身邊；橡木的車軸承受著重壓，

　　發出吱吱嘎嘎的聲響，載著一位可怕的女神和一位驃健的

　　戰將。帕拉絲·雅典娜抓起鞭子和韁繩，

　　策趕風快的馭馬，首先對著阿瑞斯撲沖。

　　其時，戰神正彎身剝奪高大的裴裡法斯的鎧甲，

　　俄開西俄斯高貴的兒子，埃托利亞人中最好的精壯。

　　血跡斑斑的阿瑞斯正忙著剝卸他的鎧甲，而雅典娜，

　　為了不讓粗莽的阿瑞斯看見，戴上了哀地斯的帽盔。

l  Iliad 5.835-909這一大段描述雅典娜(Athene)助狄俄墨得斯(Diomedes)一臂之力，傷了戰神Ares。Ares受了重傷，痛苦嘶喊，飛奔天庭(Olympus)，對宙斯抱怨連連，宙斯內心不悅，但還是想法子找醫生醫治Ares。

l  Iliad 5.538提到，狄俄墨得斯(Diomedes)的戰車有橡木車軸，承載女戰神和希臘的悍將。荷馬史詩細細描述戰況的細節，強調橡木的車軸，是強調宙斯的同在? 還是特意強調這是高檔的戰車?

l  φήγινος oaken

l  ἄξων axle

l  古希臘很早就有木製家俱，至少古典時期就有使用，甚至有木雕神像，Pausanias提到很多例子，常見的木材有: cypress, juniper, oak and yew等等。古希臘船隻也常常用橡木做船體(hull)。

l  現代教堂外的花園常種橡樹(Quercus macrolepis)，古希臘的廟宇外面也是常種植橡樹。Baumann書中插圖 (p.49)。"The oak, the most majestic of all tress, was sacred to all-powerful Zeus. Zeus was consulted at Dodona beneath a sacred oak. When the prayers of the believers were heard, the leaves rustled and bird song burst forth from the branches, whereby Zeus made his presence known." (p. 48)

l  Baumann書中插圖Quercus frainetto (p.17): "Galls on the oak. Theophrastus distinguished two kinds, one white, the other black (actually reddish brown) caused by different insects. For Pliny these galls were a caprice of Nature and intended to cure wounds or ulcerations.

下面圖片出處與資料: http://www.forestryimages.org/browse/detail.cfm?imgnum=1379024

Italian oak

Quercus frainetto

Descriptor: Plant(s)

Description: 1. Branchlet with young shoots, male catkins (a - d) and female inflorescences (e). - 2. Mature leafy shoot with ripe fruits. Fruits are almost sessile in small groups up to five; the lower half of the acorns are enclosed by the cup. - 3. Ripe acorn. - 4. Empty cup. - 5. Winter-branchlet. After Hempel & Wilhelm, 1889. Photos and explanations from the book: Zelimir Borzan. "Tree and Shrub Names in Latin, Croatian, English, and German, with synonyms", University of Zagreb, 2001.

Image type: Illustration

Image location: , Croatia

l  Baumann書中插圖 (p. 308) "The gall of the kermes oak (Quercus coccifera) after the larvae of the kermes gall-insect have left it." gall: 蟲癭。Theophrastus (11.7.3)提過這可以做染料。

 

Quercus coccifera http://en.wikipedia.org/wiki/File:Quercus_coccifera.jpg

Iliad 6.237-262

Ἕκτωρ δ᾽ ὡς Σκαιάς τε πύλας καὶ φηγὸν ἵκανεν, ἀμφ᾽ ἄρα μιν Τρώων ἄλοχοι θέον ἠδὲ θύγατρες εἰρόμεναι παῖδάς τε κασιγνήτους τε ἔτας τε καὶ πόσιας: ὃ δ᾽ ἔπειτα θεοῖς εὔχεσθαι ἀνώγει πάσας ἑξείης: πολλῇσι δὲ κήδε᾽ ἐφῆπτο. ἀλλ᾽ ὅτε δὴ Πριάμοιο δόμον περικαλλέ᾽ ἵκανε ξεστῇς αἰθούσῃσι τετυγμένον: αὐτὰρ ἐν αὐτῷ πεντήκοντ᾽ ἔνεσαν θάλαμοι ξεστοῖο λίθοιο πλησίον ἀλλήλων δεδμημένοι, ἔνθα δὲ παῖδες κοιμῶντο Πριάμοιο παρὰ μνηστῇς ἀλόχοισι, κουράων δ᾽ ἑτέρωθεν ἐναντίοι ἔνδοθεν αὐλῆς δώδεκ᾽ ἔσαν τέγεοι θάλαμοι ξεστοῖο λίθοιο πλησίον ἀλλήλων δεδμημένοι, ἔνθα δὲ γαμβροὶ κοιμῶντο Πριάμοιο παρ᾽ αἰδοίῃς ἀλόχοισιν: ἔνθά οἱ ἠπιόδωρος ἐναντίη ἤλυθε μήτηρ Λαοδίκην ἐσάγουσα θυγατρῶν εἶδος ἀρίστην: ἔν τ᾽ ἄρα οἱ φῦ χειρὶ ἔπος τ᾽ ἔφατ᾽ ἔκ τ᾽ ὀνόμαζε: τέκνον τίπτε λιπὼν πόλεμον θρασὺν εἰλήλουθας; ἦ μάλα δὴ τείρουσι δυσώνυμοι υἷες Ἀχαιῶν μαρνάμενοι περὶ ἄστυ: σὲ δ᾽ ἐνθάδε θυμὸς ἀνῆκεν ἐλθόντ᾽ ἐξ ἄκρης πόλιος Διὶ χεῖρας ἀνασχεῖν. ἀλλὰ μέν᾽ ὄφρά κέ τοι μελιηδέα οἶνον ἐνείκω, ὡς σπείσῃς Διὶ πατρὶ καὶ ἄλλοις ἀθανάτοισι πρῶτον, ἔπειτα δὲ καὐτὸς ὀνήσεαι αἴ κε πίῃσθα. ἀνδρὶ δὲ κεκμηῶτι μένος μέγα οἶνος ἀέξει, ὡς τύνη κέκμηκας ἀμύνων σοῖσιν ἔτῃσι. ’

But when Hector came to the Scaean gates and the oak tree, Round about him came running the wives and daughters of the Trojans Asking about their sons and brothers and friends and husbands. But he then commanded all of them in turn to make prayer to the gods; Over many were sorrows hung. But when he came to the beautiful house of Priam adorned with polished colonnades-- And in it were fifty chambers of polished stone, built close to one another; In them the sons of Priam slept beside their wedded wives; And for his daughters on the other side opposite inside the court were Twelve roofed chambers of polished stone, built close to one another; In them Priam's sons-in-law slept beside their respected wives--there his mother of Kindly gifts came to meet him, leading in Laodice, fairest of her daughters; And she clasped him by the hand and spoke and addresses him: "My child, why have you left the fierce battle and come here? It must be that the sons of the Achaeans of evil name, Are pressing hard on you as they fight our city, and your heart has set you On to come here and lift up your hands to Zeus from the citadel. But stay till I have brought you honey-sweet wine so that You may pour libation to Zeus and the other immortals first, And then you shall yourself have benefit of it also if you will drink. When a man is weary with toil, wine greatly increases his force, Just as you are weary with defending your fellows."

l   Hector 最後一次和家人相聚，大家依依不捨，特別是母親，死亡的陰影籠罩，在城門的橡樹，風蕭蕭，葉子狂嘯中，壯士一去不復返。

l  φηγός: Valonia oak, Quercus Aegilops

l   the Scaean gates 三度和橡樹一起出現(Iliad 5.692-93)，城門外就可見戰場(Iliad 4.145)，離情悲壯!

l 這裡提到Priam宮殿中有五十間石室，也證實傳說中Priam有五十個庶出的兒子。另外十二間長屋頂的房間是女兒居住。

• 母親第一句話就問兒子怎麼突然離開險惡的戰場(πόλεμον θρασὺν)來探視母親?而那些希臘軍，在Hector的母親心理，就是有不祥的名字(δυσώνυμος bearing an ill name)。 氣氛詭譎，悲與哀深沉地流動著。

Iliad 9.346-355

Achilles與Hector橡樹之戰

希臘文本引用出處:

http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0133%3Abook%3D9%3Acard%3D328

ἀλλ᾽ Ὀδυσεῦ σὺν σοί τε καὶ ἄλλοισιν βασιλεῦσι

φραζέσθω νήεσσιν ἀλεξέμεναι δήϊον πῦρ.

ἦ μὲν δὴ μάλα πολλὰ πονήσατο νόσφιν ἐμεῖο,

καὶ δὴ τεῖχος ἔδειμε, καὶ ἤλασε τάφρον ἐπ᾽ αὐτῷ

εὐρεῖαν μεγάλην, ἐν δὲ σκόλοπας κατέπηξεν:

ἀλλ᾽ οὐδ᾽ ὧς δύναται σθένος Ἕκτορος ἀνδροφόνοιο

ἴσχειν: ὄφρα δ᾽ ἐγὼ μετ᾽ Ἀχαιοῖσιν πολέμιζον

οὐκ ἐθέλεσκε μάχην ἀπὸ τείχεος ὀρνύμεν Ἕκτωρ,

ἀλλ᾽ ὅσον ἐς Σκαιάς τε πύλας καὶ φηγὸν ἵκανεν:

ἔνθά ποτ᾽ οἶον ἔμιμνε, μόγις δέ μευ ἔκφυγεν ὁρμήν.

英文翻譯引用出處: http://records.viu.ca/~johnstoi/homer/iliad9.htm

But, Odysseus, let him rely on you

and other kings as well to save his ships

from fiery destruction. He has done much

without me already. He’s built a wall,

constructed a large wide ditch around it,  
 and fixed stakes inside. But for all these things,

he’s not been able to check the power

of man-killing Hector. When I fought

beside Achaeans, Hector wasn’t eager

to push the battle far from his own walls.

He came out only to the Scaean Gates

and to the oak tree. Once he met me there

alone. He barely got away from my attack.

Achilles，自大。雖然他說他直接了當，但是，這兒顯出他的自大，沒錯，他很強，特洛伊人都怕他，在橄欖樹城門旁，他的戰績彪炳。所以呢?

   這裡的城牆與Iliad 7.436-41呼應。

_____________________

Odyssey 14. 5-54

Odysseus 總算回到故鄉，但是，離鄉二十年，家裡應該有不少變化吧?經過雅典娜的提醒，Odysseus假裝成衣衫襤褸的老乞丐，先走進家裡的養豬場，第一個遇見的人是老管家 Eumaios，但是第一個認出Odysseus是老狗 (Odyssey 14. 29-36)。

Odysseus看到這養豬場，往事滾滾而出。這地方，是他和父親 Laertes 親手打造，有巨石當基底，周邊用橡木做成樁，圍起來的籬笆:

σταυροὺς δ᾽ ἐκτὸς ἔλασσε διαμπερὲς ἔνθα καὶ ἔνθα,

πυκνοὺς καὶ θαμέας, τὸ μέλαν δρυὸς ἀμφικεάσσας:

ἔντοσθεν δ᾽ αὐλῆς συφεοὺς δυοκαίδεκα ποίει

πλησίον ἀλλήλων, εὐνὰς συσίν: ἐν δὲ ἑκάστῳ

15πεντήκοντα σύες χαμαιευνάδες ἐρχατόωντο,

θήλειαι τοκάδες: τοὶ δ᾽ ἄρσενες ἐκτὸς ἴαυον,

πολλὸν παυρότεροι: (Odyssey14. 11-16)

英文翻譯出處:http://records.viu.ca/~johnstoi/homer/odyssey14.htm

He'd made it from huge stones, with a thorn hedge on top and surrounded on the outside with close-set stakes facing both ways, made by splitting oaks apart to leave the dark heart of the wood. Inside the yard,to house the pigs, he'd packed twelve sties together. In each one fifty wallowing swine were penned,sows for breeding. (Odyssey14. 11-16)

當初Odysseus設計十二區豬圈，每區五十頭豬，所以有600頭豬，還有母豬繁殖小豬；但是因為家裡出現一群人霸佔房子，還天天大吃大喝，目前只剩360頭豬。

Eumaios沒有認出主人回來了，當Odysseus是一陌生訪客(stranger) ，親切招待這位遠到的客人，這是「善待他人」(ξένος )的典範。 古希臘人的習俗，要招待任何出門在外的異鄉人或是客人，因為這些人，看似沒有城邦或是家庭的保護，卻受到天神宙斯的保護。而客人也要遵守回報的規範。 ξένος，一般英文翻譯成hospitality或是guest-friendship，在蔡秀枝老師的文章標題中，用stranger’s friendship，更貼切表達古希臘的特別的俗，不只是招待來訪的熟人，更是善待陌生的過客。
________________

Odyssey 14.321-389

《奧德賽》故事架構很複雜，古代人真的很會說故事，這裡像是奧德修斯千層派，故事一層一層著: 史詩中的男主角是奧德修斯 (第一層)，他假扮老乞丐講故事(第二層)，故事中提到他聽到一個關於奧德修斯的故事 (第三層)....，每一層都真真假假，故事嘛! 有趣的是故事之間又有互相影射與互相衝突之處，這就是大說謊家的功力!

化裝成乞丐老頭的奧德修斯，除了編一套故事說明自己的身世坎坷，還要編一套故事證明他知道奧德修斯的下落，是幽默，也是反諷；是要說服眼前這位傻傻又悲觀的老僕人，但是又以為我們讀者或觀眾不知道他的把戲，想瞞天過海，欺騙大家。 化裝成乞丐老頭的奧德修斯說一個假奧德修斯的故事，因為乞丐老頭說他在傳說中Thesprotia這地方，聽到奧德修斯的下落，那兒的國王曾經接待奧德修斯，他還把自己掙來的銅，金與鐵等寶物存放在國王的宮裡，這些寶物的價值是越來越高喔! 和現代不一樣，史詩年代剛發現鐵可以製作武器，所以鐵的價值比黃金高。別忘了，奧德修斯真的有一堆寶，在雅典娜的幫忙，先藏在仙女那兒 (Odyssey 13. 456-64)。

奧德修斯去哪? 原來去Dodona，大橡樹底下聆聽宙斯的啟示，求回家的路。最有趣的是，老乞丐還強調奧德修斯問宙斯，是要光明正大走進家門，還是偷偷摸摸比較好。

http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0135%3Abook%3D14%3Acard%3D321

τὸν δ᾽ ἐς Δωδώνην φάτο βήμεναι, ὄφρα θεοῖο

ἐκ δρυὸς ὑψικόμοιο Διὸς βουλὴν ἐπακούσαι,

ὅππως νοστήσει᾽ Ἰθάκης ἐς πίονα δῆμον

330ἤδη δὴν ἀπεών, ἢ ἀμφαδὸν ἦε κρυφηδόν.

ὤμοσε δὲ πρὸς ἔμ᾽ αὐτόν, ἀποσπένδων ἐνὶ οἴκῳ,

νῆα κατειρύσθαι καὶ ἐπαρτέας ἔμμεν ἑταίρους,

οἳ δή μιν πέμψουσι φίλην ἐς πατρίδα γαῖαν. (Odyssey 14.327-333)

英文翻譯出處: http://records.viu.ca/~johnstoi/homer/odyssey14.htm

Odysseus, he said, had gone to Dodona,

to hear from the massive towering oak tree,

sacred to the god, what Zeus had willed

about his own return to that rich land

of Ithaca, after being away so long—

whether he should do so openly or not.

As he poured libations in his house,

he swore to me a ship had been hauled down

and a crew prepared to take Odysseus

to his native land. (Odyssey 14.327-333)

這段文字提到宙斯的聖樹: 橡樹。古希臘人也許真的相信宙斯就在橡樹上。有專家認為橡樹可能是從北方傳到此。此外，必須考慮 Dodona其實是在當時邁錫尼文明重鎮之外。

維基百科資料: 多多納 （多立克希臘語 Δωδώνα, 愛奧尼亞希臘語: Δωδώνη, Dòdònè）是位於希臘 西北部伊庇魯斯的一個神諭處。雖然多多納最早的銘文歷史只能追溯至約公元前550-560年，但當地延續逾一世紀的考古發掘則出土了早至邁錫尼時代的文物。這些文物部分被存放於雅典國家考古博物館，部分則存放於約阿尼納附近的考古博物館。 多多納的考古遺址亦發現了公元前7世紀伊利里亞人的奉獻和物品。直至約公元前650年，此處一直是北方部落的宗教和神諭中心。 多多納被用於奉獻給母神狄俄涅（在其他遺址稱為瑞亞或蓋亞），而在信史時期，此處亦用作奉獻給宙斯。宙斯在青銅器時期取代了母神的地位，並生下愛神阿佛洛狄忒。多多納的聖地被希羅多德認為是最古老的希臘神諭。直至羅馬帝國後期基督教崛起為止，多多納一直都是希臘一處重要的宗教聖殿。 公元391-392年，狄奧多西一世關閉了所有古希臘宗教建築物，禁制了所有古希臘的傳統宗教活動，並斬去了宙斯神廟的古橡樹，多多納自此成為了廢墟。

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台灣的橡樹/櫟(麻櫟屬Quercus)

參考_ http://tw-fagaceae.blogspot.tw/2012/11/blog-post.html_____________________

青剛櫟(Quercus glauca)

圓果青剛櫟(Quercus globosa)

森氏櫟(Quercus morii)

毽子櫟(Quercus sessilifolia)

赤皮(Quercus gilva)

嶺南青剛櫟(Quercus championii)

波葉櫟(Quercus repandifolia)

錐果櫟(Quercus longinux)

捲斗櫟(Quercus pachyloma)

白背櫟(Quercus salicina)

狹葉櫟(Quercus stenophylloides)

灰背櫟(Quercus hypophaea)

太魯閣櫟(Quercus tarokoensis)

塔塔加櫟(Quercus tatakaensis)

高山櫟(Quercus spinosa)

短柄枹櫟(Quercus serrata var. brevipetiolata)

栓皮櫟(Quercus variabilis)

槲樹(Quercus dentata)

槲櫟(Quercus aliena)



青剛櫟(Quercus glauca)

Quercus tatakaensis   答答卡高山櫟 

太魯閣櫟

Oak Tree, Troy, and Iliad

Introduction

All heroes are always in need of a sensible connection with the natural world for a sustainable living. An urgent business afoot is up to how they live and how their life is defined by its convergence on the large-scale nature. In this article, I will set out to explore the concept of contemplative ecology. This has five components: the delicacy of spiritual practice bound to particular places; an understanding of both interior and exterior life; a route for how healing work may chart possibilities for both people and places; a commitment to social and political transformation; and most importantly, a focus on paying attention. Contemplative ecology is an effort to find the language and practice that grounds responses to an increasingly degraded natural world in more than utilitarian terms. Christie has many insights on the need for both a greening of religion and a spiritual ecology, by which spiritual thought and practice is enriched by situations in the natural world, and ecological understanding is given added depth by including traditions of spiritual thought and practice. We already know well that natural places are good for mental well-being and health. Here, then, is the scoping of how mind meets land.

1.       In Indo-European myth, the oak is closely connected with the god of thunder. . . all strike with their fire oak trees, which are sacred to them and are called Perum’s oak.

1.1.      Given this mythological contest on the one hand, and on the other the strong Indo-European link between the oak, rocks, and the thunderbolt, who in Greek tradition was assimilated to the sky-god Zeus. . .In Greek tradition, where the Indo-European thunder-god appeared as the supreme sky-god Zeus, the oak tree acquired a close association with him as well.

1.2.      A system of immobile signposts on the battlefield (the oak trees and fig trees, the hill of Kallikolone, the rivers Simoesis and Skamandros, and the Wall of Heracles) but also uses mobile shifters such as other warriors or the troops

1.3.      The plain of Troy is presented as both a dynamic martial space, where most of the fighting takes place, and as a static space containing either certain micro-settings where martial activity is replaced by activities (like assemblies) or specific locus-images (such as the oak tree of Zeus and the fig tree)

2.       Both the fig tree and the oak tree become emblems of Troy and promise safety within its walls.

2.1.      Its metonymic force as a sign. . . why is the oak tree specifically connected with the Trojans, why does it symbolizes protection, and why does it have a special foreboding for Hector?

2.2.      Hence the oak tree stands by the Scaean Gate, that is close to the Trojan walls and is associated with safety for the Trojan troops, but also with a foreboding of death for Hector.

2.3.      In Iliad 21, Apollo prevents Achilles from sacking Troy by placing Agenor in his way, while he himself “leaned on an oak tree with close mist huddled about him. . .This crucial delay gives the Trojans time to retreat inside the city.

2.4.      In Iliad 9.170, the Trojans find safety when they reach the oak tree, which Agamemnon will never reach, as he is wounded and forced to retreat.

2.5.      We can form the following tentative hypothesis: the function of the oak tree, which in its most traditional and formulaic attestation is connected to the Scaean Gate represents a Hellenized version of the power inherent in the sacred tree of Zeus.

2.6.      In Iliad 7.55, . . .Hector and the sitting down of the Achaean army, as well as the two gods—in the guise of vultures on Zeus’ lofty oak tree (6.60?)

2.7.      In Iliad 5.693-95, after the wounded Sparpedon has begged Hector not to let him die on the plain, the Trojan here pushes back the Achaeans and thus allows Sparpedon comrades to carry him under the oak tree and remove the spear from his thigh.

2.8.      In Iliad 7.22, Apollo and Athena meet next to the oak tree, where he convinces her that a duel should be organized between Hector and one of the Achaean leaders.

2.9.      In Iliad 7.59-60, the two gods, having taken the form of vultures sit on the tall oak tree of father Zeus who bears the aegis. . . and watch with pleasure the preparations for the duel.