For some, Helen is like a goddess, for others a grief; she is never a mere woman but one exalted or sinister, beyond the ordinary, the real. Victor Turner claims that extremes meet in the scapegoat who is considered at once innocent and guilty: “innocent because the conflicts that have gone before are not the victim’s fault, but guilty because a scapegoat is required to atone for those conflicts.” Helen’s doubleness renders her the perfect scapegoat, for the counsellors believe the war would cease if she were to be banished from their midst.
—  Mihoko Suzuki, Metamorphoses of Helen, p. 35