They seem to be mostly interested in each other (Kore is looking at Triptolemus and Demeter's gaze is most likely meeting that of Triptolemus), wrapped up in a world of their own, quite distinct from the human votaries.
But the differences between the Triptolemus relief and that of the hierophant from Hagnous are remarkable.
In Clintons (2003, 88-90) most intricate reconstruction, every sacred official has a different role: the two hierophantides would be impersonating the two goddesses, the hierophant would play the role of Triptolemus, and the dadouch would impersonate Eubouleus.
Demeter also alludes to her nursing and curing of sick infants to the amazement of their own mortal mothers (55-57), recalling both her nursing of Demophoon in the Homeric Hymn and of Triptolemus
in Ovid's Fasti.
Day noted in 1980 that Triptolemus 'was employed as a symbol of Athens' civilizing mission.
According to Isabelle and Antony Raubitschek in a essay written in 1982 'after the Persian Wars representations of the mission of Triptolemus on vases became frequent', and were perhaps an 'acknowledgment of the aid given by the Eleusinian deities to Athens at Marathon and Salamis', as well as a display of 'gratitude for Demeter's gifts to Athens, and through Athens, to the world'.
Milton's identification with Triptolemus as a culture hero whose gifts would take root at other times and in other places is an important one, and one that predicted his own place in history.
In gratitude for Eleusinian hospitality, Demeter gave a bag of seeds to Celeus ' son Triptolemus
and sent him in a chariot by winged dragons throughout the world to plant grain and teach its culture.
In its climax, which takes place in late summer or early autumn, the title character becomes a grieving Demeter, Cocoa the resurrected Persephone, and George the divine Triptolemus