Telo od vode - simbolika Proteja u Vergilijevom delu

Abstract

Mnogoliki morski bog koji se prvi put javlja u Odiseji postaje jedna od najvažnijih simboličkih figura Vergilijevih Georgika. U epiliju koji zatvara ovu pseudodidaktičku poemu njegove metamorfoze nisu ograničene samo na živa bića, već zadiru do nivoa praelemenata. Najzad, njegovo telo se preobražava u telo od vode. Večna neuhvatljivost mora se tako kristalizuje u ovom božanstvu. Vergilija, međutim, ne zanima toliko Protej sam, koliko hvatanje ovog morskog starca, koje simbolizuje zauzdavanje rušilačkih snaga, snaga nereda u ljudskoj duši, u jeziku i u samoj poeziji. Složeni odnos povezuje Vergilijevog Proteja sa Tifonom, mnogoglavim čudovištem iz Hesiodove Teogonije, koje poseduje stotinu glasova i oslikava haotičnu stranu pesme same. Tifon je takođe jedna od imaginarnih figura kojima Platon i opisuje Sokrata i slika požudni deo duše - epitimikon. Zahvaljujući ovoj intertekstualnoj mreži protejska epizoda otkriva kako Vergilije, koristeći ovaj simbolički lik, ispituje problem akosmije - primordijalnog haosa koji još uvek preti usred uređenog sveta ljudske duše i ljudskog stvaralaštva.

Multiform sea-god that appears for the first time in the Odyssey is one of most important symbolical figures of Virgil's Georgica. In epyllion inclosing this pseudo-didactic poem, his metamorphosises are not limited to living creatures, but go far beyond that, to the level of elements - finally, he transforms his body into the body made of water. Ever-changing sea is thus crystallized in this divinity. However, Virgil is not interested in Proteus himself, but in catching of Proteus, which symbolizes restraining of disorderly forces in the human soul, in the language an in the poetry itself. A complex relation is connecting Virgil's Proteus with Tiphon from Hesiod's Theogony, the polycephalus monster that possesses hundred voices and is depicting the chaotic side of poem itself. Tiphon is also one of imaginary figures that Plato is using both to describe Socrates and to give a painting of lustful part of the soul - the epythimikon. Thanks to this intertextual net the Proteus episode is revealing how is Virgil, using this symbolical character, exploring the problem of acosmia - of primal disorder that is still threatening in the midst of organized world of human soul and human creation.