a Nereid Psamathe. In keeping with one of his themes in Helen, Euripides mentions in passing Eido ("image"), a daughter of the king and therefore sister of Theoclymenus who underwent a name-change after her adolescence and became "Theonoë," "god-minded," since she was as it turned out capable of foreseeing the future—as such, she is a prophet who appears as a crucial character in the play. The play's king Proteus is already dead at the start of the action, and his tomb is present onstage. It appears that he is only marginally related to the "Old Man of the Sea" and should not be confused with the sea god Proteus, although it is tempting to see Euripides as playing a complex literary game with the sea god's history—both Proteuses, for example, are protectors of the house of Menelaus, both are connected with the sea, both dwell in Egypt, and both are "grandfatherly" or "ancient" figures. At Pharos a king of Egypt named Proteus welcomed the young god Dionysus in his wanderings. In Hellenistic times, Pharos was the site of the Lighthouse of Alexandria, one of the seven wonders of the ancient world. Cultural references In alchemy and psychology The German mystical alchemist Heinrich Khunrath wrote of the shape-changing sea-god who, because of his relationship to the sea, is both a symbol of the unconscious as well as the perfection of the art. Alluding to the scintilla, the spark from ‘the light of nature’ and symbol of the anima mundi, Khunrath in Gnostic vein stated of the Protean element Mercury: In modern times, the Swiss psychologist Carl Jung defined the mythological figure of Proteus as a personification of the unconscious, who, because of his gift of prophecy and shape-changing, has much in common with the central but elusive figure of alchemy, Mercurius. In literature The poet John Milton, aware of the association of Proteus with the Hermetic art of alchemy, wrote in Paradise Lost of alchemists who sought the philosopher's stone: In his 1658 discourse The Garden of Cyrus, Sir Thomas Browne, pursuing the figure of the quincunx, queried: "Why Proteus in Homer the Symbole of the first matter, before he settled himself in the midst of his Sea-Monsters, doth place them out by fives?" Shakespeare uses the image of Proteus to establish the character of his great royal villain Richard III in the play Henry VI, Part Three, in which the