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Son of Poseidon and Thoosa in Greek mythology

Polyphemus
Πολύφημος
Guido Reni - Polyphemus - Google Art Project.jpg

The blinded Polyphemus seeks vengeance on Odysseus: Guido Reni'southward painting in the Capitoline Museums.
Grouping Cyclopes

Polyphemus (; Greek: Πολύφημος , translit. Polyphēmos , Epic Greek: [polýpʰɛːmos]; Latin: Polyphēmus [pɔlʏˈpʰeːmʊs]) is the one-eyed behemothic son of Poseidon and Thoosa in Greek mythology, ane of the Cyclopes described in Homer's Odyssey. His name means "abounding in songs and legends".[one] Polyphemus offset appeared as a roughshod man-eating behemothic in the ninth volume of the Odyssey. The satyr play of Euripides is dependent on this episode apart from i detail; for comic effect, Polyphemus is made a pederast in the play. Later Classical writers presented him in their poems equally heterosexual and linked his name with the nymph Galatea. Oftentimes he was portrayed as unsuccessful in these, and equally unaware of his disproportionate size and musical failings.[2] In the work of fifty-fifty subsequently authors, withal, he is presented every bit both a successful lover and skilled musician. From the Renaissance on, art and literature reflect all of these interpretations of the giant.

Odysseus and Polyphemus [edit]

Ancient sources [edit]

In Homer'south epic, Odysseus lands on the island of the Cyclopes during his journeying abode from the Trojan State of war and, together with some of his men, enters a cave filled with provisions. When the behemothic Polyphemus returns home with his flocks, he blocks the entrance with a great stone and, scoffing at the usual custom of hospitality, eats two of the men. Next morning, the giant kills and eats ii more and leaves the cave to graze his sheep.

After the giant returns in the evening and eats two more than of the men, Odysseus offers Polyphemus some stiff and undiluted wine given to him before on his journey. Drunk and unwary, the giant asks Odysseus his name, promising him a invitee-gift if he answers. Odysseus tells him "Οὖτις", which means "nobody"[3] [4] and Polyphemus promises to eat this "Nobody" final of all. With that, he falls into a drunken sleep. Odysseus had meanwhile hardened a wooden pale in the fire and drives information technology into Polyphemus' eye. When Polyphemus shouts for help from his fellow giants, saying that "Nobody" has hurt him, they think Polyphemus is existence afflicted by divine power and recommend prayer every bit the answer.

In the morning, the blind Cyclops lets the sheep out to graze, feeling their backs to ensure that the men are not escaping. Nevertheless, Odysseus and his men have tied themselves to the undersides of the animals then get away. Every bit he sails off with his men, Odysseus boastfully reveals his real name, an act of hubris that was to cause problems for him later. Polyphemus prays to his male parent, Poseidon, for revenge and casts huge rocks towards the ship, which Odysseus barely escapes.

The story reappears in later Classical literature. In Cyclops, the fifth-century BC play past Euripides, a chorus of satyrs offers comic relief from the grisly story of how Polyphemus is punished for his impious behaviour in non respecting the rites of hospitality.[five] In his Latin ballsy, Virgil describes how Aeneas observes blind Polyphemus as he leads his flocks down to the sea. They have encountered Achaemenides, who re-tells the story of how Odysseus and his men escaped, leaving him backside. The behemothic is described as descending to the shore, using a "lopped pine tree" as a walking staff. In one case Polyphemus reaches the ocean, he washes his oozing, encarmine middle socket and groans painfully. Achaemenides is taken aboard Aeneas' vessel and they cast off with Polyphemus in hunt. His swell roar of frustration brings the rest of the Cyclopes downwardly to the shore as Aeneas draws abroad in fear.[6]

Creative representations [edit]

Amphora painting of Odysseus and his men blinding Polyphemus (Eleusis museum)

The vivid nature of the Polyphemus episode made it a favorite theme of ancient Greek painted pottery, on which the scenes most often illustrated are the blinding of the Cyclops and the ruse past which Odysseus and his men escape.[seven] One such episode, on a vase featuring the hero carried below a sheep, was used on a 27 drachma Greek postage stamp stamp in 1983.

The blinding was depicted in life-size sculpture, including a giant Polyphemus, in the Sperlonga sculptures probably made for the Emperor Tiberius. This may be an interpretation of an existing composition, and was obviously repeated in variations in later Imperial palaces by Claudius, Nero and at Hadrian's Villa.[8]

Of the European painters of the subject, the Flemish Jacob Jordaens depicted Odysseus escaping from the cavern of Polyphemus in 1635 (see gallery below) and others chose the dramatic scene of the giant casting boulders at the escaping transport. In Guido Reni's painting of 1639/40 (see below), the furious giant is tugging a boulder from the cliff equally Odysseus and his men row out to the ship far below. Polyphemus is portrayed, every bit it often happens, with 2 empty eye sockets and his damaged middle located in the middle on his forehead. This convention goes back to Greek bronze and painting,[ix] and is reproduced in Johann Heinrich Wilhelm Tischbein's 1802 head and shoulders portrait of the behemothic (see below).

Arnold Böcklin pictures the giant as continuing on rocks onshore and swinging one of them back as the men row desperately over a surging wave (come across beneath), while Polyphemus is continuing at the tiptop of a cliff in Jean-Léon Gérôme's painting of 1902. He stands poised, having already thrown i rock, which barely misses the ship. The reason for his rage is depicted in J. M. W. Turner's painting, Ulysses Deriding Polyphemus (1829). Here the send sails forward as the sun breaks free of clouds depression on the horizon. The giant himself is an indistinct shape barely distinguished from the woods and smoky atmosphere high above.

Possible origins [edit]

Folktales similar to that of Homer'due south Polyphemus are a widespread miracle throughout the aboriginal world.[10] In 1857, Wilhelm Grimm collected versions in Serbian, Romanaian, Estonian, Finnish, Russian, German, and others; versions in Basque, Lappish, Lithuanian, Gascon, Syriac, and Celtic are also known.[eleven] More than than two hundred different versions have been identified,[10] from around xx five nations, covering a geographic region extending from Republic of iceland, Ireland, England, Portugal and Africa to Arabia, Turkey, Russia, and Korea.[12] [nb 1] The consensus of electric current modernistic scholarship is that these "Polyphemus legends" preserve traditions predating Homer.[14] [15] [sixteen] [17] [18] [xix]

An case of a such a story is 1 from Georgia, in the Caucasus, which describes several brothers held prisoner by a giant i-eyed shepherd called "One-heart".[20] Afterward all but two of the brothers are roasted on a spit and eaten, the remaining two take the spit, heat information technology red hot, and stab information technology into the giant's eye. As One-eye permit his flock out of their pen, he felt each sheep equally it passed between his legs, just the ii brothers were able to escape by covering themselves with a sheepskin.

Polyphemus and Galatea [edit]

Detail of a 1st-century BC wall painting from a bedroom in the villa of Agrippa Postumus at Boscotrecase showing a landscape with Galatea and Polyphemus with some of his flock.

Ancient sources [edit]

Philoxenus of Cythera [edit]

Writing more three centuries later on the Odyssey is thought to accept been composed, Philoxenus of Cythera took upwards the myth of Polyphemus in his poem Cyclops or Galatea. The poem was written to exist performed as a dithyramb, of which simply fragments take survived, and was perhaps the outset to provide a female love interest for the Cyclops.[nb two] The object of Polyphemus' romantic desire is a sea nymph named Galatea.[22] In the poem, Polyphemus is not a cave dwelling, monstrous beast, as in the Odyssey, but instead he is rather like Odysseus himself in his vision of the world: He has weaknesses, he is adept at literary criticism, and he understands people.[23]

The date of limerick for the Cyclops is non precisely known, but information technology must be prior to 388 BC, when Aristophanes parodied it in his comedy Plutus (Wealth); and probably after 406 BC, when Dionysius I became tyrant of Syracuse.[24] [25] Philoxenus lived in that city and was the courtroom poet of Dionysius I.[26] According to aboriginal commentators, either considering of his frankness regarding Dionysius' poetry, or considering of a conflict with the tyrant over a female aulos actor named Galatea, Philoxenus was imprisoned in the quarries and had there equanimous his Cyclops in the fashion of a Roman à clef, where the poem'due south characters, Polyphemus, Odysseus and Galatea, were meant to stand for Dionysius, Philoxenus, and the aulos-histrion.[27] [28] Philoxenus had his Polyphemus perform on the cithara, a professional lyre requiring peachy skill. The Cyclops playing such a sophisticated and fashionable musical instrument would accept been quite a surprising juxtaposition for Philoxenus' audience.

Philoxenus' Cyclops is also referred to in Aristotle'south Poetics in a section that discusses representations of people in tragedy and one-act, citing every bit comedic examples the Cyclops of both Timotheus and Philoxenus.[29] [30] [31]

Aristophanes [edit]

The text of Aristophanes' last extant play Plutus (Wealth) has survived with near all of its choral odes missing.[32] What remains shows Aristophanes (equally he does to some extent in all his plays) parodying a contemporary literary piece of work — in this case Philoxenus' Cyclops.[32] [33] [25] While making fun of literary aspects of Philoxenus' dithyramb, Aristophanes is at the same time commenting on musical developments occurring in the fourth century BC, developing themes that run through the whole play.[34] It also contains lines and phrases taken directly from the Cyclops.[35]

The slave Cario, tells the chorus that his master has brought abode with him the god Wealth, and because of this they volition all at present be rich. The chorus wants to trip the light fantastic toe for joy,[36] so Cario takes the lead by parodying Philoxenus' Cyclops.[37] [38] As a solo performer leading a chorus that sings and dances, Cario recreates the form of a dithyramb. He first casts himself in the role of Polyphemus while assigning to the chorus the roles of sheep and goats, at the same fourth dimension imitating the sound of a lyre: "And now I wish — threttanello! — to imitate the Cyclops and, swinging my anxiety to and fro similar this, to lead you in the trip the light fantastic toe. Just come on, children, shout and shout again the songs of bleating sheep and smelly goats."[31] [39] The chorus, however, does not want to play sheep and goats, they would rather be Odysseus and his men, and they threaten to blind Cario (every bit had Odysseus the drunken Cyclops) with a wooden stake.[34]

Hellenistic pastoral poets [edit]

The romantic chemical element, originated by Philoxenus, was revived past later Hellenistic poets, including Theocritus, Callimachus, Hermesianax,[forty] and Bion of Smyrna.[41]

Theocritus is credited with creating the genre of pastoral poesy.[42] His works are titled Idylls and of these Idyll XI tells the story of the Cyclops' love for Galatea.[43] Though the graphic symbol of Polyphemus derives from Homer, at that place are notable differences. Where Homer's Cyclops was beastly and wicked, Theocritus' is absurd, lovesick and comic. Polyphemus loves the sea nymph Galatea, just she rejects him because of his ugliness.[44] [45] However, in a borrowing from Philoxenus' verse form, Polyphemus has discovered that music will heal lovesickness,[46] and and so he plays the panpipes and sings of his woes, for "I am skilled in pipe as no other Cyclops here".[47] His longing is to overcome the antithetic elements that divide them, he of earth and she of h2o:[47]

Ah me, would that my mother at my nativity had given me gills, That and so I might take dived down to your side and kissed your paw, If your lips you would non permit me…

Jean-Baptiste van Loo's depiction of "The Triumph of Galatea"; Polyphemus plays the pan-pipes on the right

The dearest of the mismatched pair was later taken up past other pastoral poets. The aforementioned trope of music being the cure for love was introduced past Callimachus in his Epigram 47: "How excellent was the charm that Polyphemus discovered for the lover. Past Earth, the Cyclops was no fool!"[48] A fragment of a lost idyll by Bion also portrays Polyphemus declaring his undying love for Galatea.[49] Referring back to this, an elegy on Bion's death that was once attributed to Moschus takes the theme farther in a piece of hyperbole. Where Polyphemus had failed, the poet declares, Bion's greater artistry had won Galatea's heart, cartoon her from the sea to tend his herds.[50] This reflected the situation in Idyll VI of Theocritus. At that place two herdsmen appoint in a musical competition, i of them playing the part of Polyphemus, who asserts that since he has adopted the ruse of ignoring Galatea, she has at present become the one who pursues him.[51]

Latin poets [edit]

The successful outcome of Polyphemus' dearest was also alluded to in the form of a 1st-century BC dearest elegy on the power of music past the Latin poet Propertius. Listed among the examples he mentions is that "Even Galatea, it'southward true, beneath wild Etna, wheeled her alkali-moisture horses, Polyphemus, to your songs."[52] The division of contrary elements between the land-based monster and the sea nymph, lamented in Theocritus' Idyll 11, is brought into harmony by this ways.

While Ovid's treatment of the story that he introduced into the Metamorphoses [53] is reliant on the idylls of Theocritus,[nb iii] information technology is complicated by the introduction of Acis, who has now go the focus of Galatea's dearest.

While I pursued him with a constant dear,
the Cyclops followed me as constantly.
And, should y'all inquire me, I could not declare
whether my hatred of him, or my love
of Acis was the stronger. —They were equal.[1]

There is also a reversion to the Homeric vision of the hulking monster, whose attempt to play the tender shepherd singing love songs is fabricated a source of sense of humour by Galatea:

Now, Polyphemus, wretched Cyclops, you lot
are careful of appearance, and you effort
the art of pleasing. You have fifty-fifty combed
your stiffened hair with rakes: it pleases you
to trim your shaggy beard with a reaping hook.[55]

In his own character, too, Polyphemus mentions the transgression of heavenly laws that once characterised his actions and is now overcome by Galatea: "I, who scorn Jove and his heaven and his piercing lightning bolt, submit to y'all alone."[56]

Galatea listens to the honey song of Polyphemus while she and Acis lie hidden by a stone.[57] In his song, Polyphemus scolds her for not loving him in return, offers her rustic gifts and points out what he considers his best feature — the single heart that is, he boasts, the size of a dandy shield.[58] Simply when Polyphemus discovers the hiding place of the lovers, he becomes enraged with jealousy. Galatea, terrified, dives into the ocean, while the Cyclops wrenches off a slice of the mount and crushes Acis with it.[59] But on her render, Galatea changes her dead lover into the spirit of the Sicilian river Acis.[60]

Polyphemus receives a love-letter from Galatea, a 1st-century AD fresco from Pompeii

Offset-century AD art [edit]

That the story sometimes had a more successful outcome for Polyphemus is besides attested in the arts. In one of the murals rescued from the site of Pompeii, Polyphemus is pictured seated on a stone with a cithara (rather than a syrinx) by his side, property out a hand to receive a beloved letter from Galatea, which is carried by a winged Cupid riding on a dolphin.

In another fresco, besides dating from the 1st century Advert, the 2 stand locked in a naked embrace (encounter below). From their wedlock came the ancestors of various wild and war-similar races. According to some accounts, the Celts (Galati in Latin, Γάλλοi in Greek) were descended from their son Galatos,[61] while Appian credited them with iii children, Celtus, Illyrius and Galas, from whom descend the Celts, the Illyrians and the Gauls respectively.[62]

Lucian [edit]

Offspring of Polyphemus and Galatea

In that location are indications that Polyphemus' courting likewise had a more successful result in one of the dialogues of Lucian of Samosata. There Doris, one of Galatea'due south sisters, spitefully congratulates her on her love conquest and she defends Polyphemus. From the conversation, ane understands that Doris is chiefly jealous that her sister has a lover. Galatea admits that she does not love Polyphemus just is pleased to have been chosen by him in preference to all her companions.[63]

Nonnus [edit]

That their conjunction was fruitful is likewise implied in a afterwards Greek ballsy from the plough of the 5th century Advertisement. In the course of his Dionysiaca, Nonnus gives an account of the wedding of Poseidon and Beroe, at which the Nereid "Galatea twangled a spousal relationship trip the light fantastic and restlessly twirled in capering pace, and she sang the marriage verses, for she had learnt well how to sing, being taught by Polyphemos with a shepherd'south syrinx."[64]

Later European interpretations [edit]

Literature and music [edit]

During Renaissance and Bizarre times Ovid's story emerged again as a pop theme. In Kingdom of spain Luis de Góngora y Argote wrote the much admired narrative poem, Fábula de Polifemo y Galatea, published in 1627. It is particularly noted for its depiction of landscape and for the sensual clarification of the dearest of Acis and Galatea.[65] It was written in homage to an earlier and rather shorter narrative with the same title by Luis Carillo y Sotomayor (1611).[nb iv] The story was likewise given operatic treatment in the very popular zarzuela of Antoni Lliteres Carrió (1708). The atmosphere here is lighter and enlivened by the inclusion of the clowns Momo and Tisbe.

In France the story was condensed to the xiv lines of Tristan Fifty'Hermite's sonnet Polyphème en furie (1641). In it the behemothic expresses his fury upon viewing the loving couple, ultimately throwing the huge rock that kills Acis and fifty-fifty injures Galatea.[66] Later on in the century, Jean-Baptiste Lully equanimous his opera Acis et Galatée (1686) on the theme.[nb five]

Polyphemus discovers Galatea and Acis, statues by Auguste Ottin in the Jardin du Luxembourg's Médici Fountain, 1866

In Italy Giovanni Bononcini equanimous the one-act opera Polifemo (1703). Shortly later on George Frideric Handel worked in that land and composed the cantata Aci, Galatea e Polifemo (1708), laying as much emphasis on the part of Polifemo as on the lovers. Written in Italian, Polifemo's deep bass solo Fra fifty'ombre east gl'orrori (From horrid shades) establishes his graphic symbol from the start. After Handel's move to England, he gave the story a new treatment in his pastoral opera Acis and Galatea with an English language libretto provided past John Gay.[nb 6] Initially composed in 1718, the work went through many revisions and was after to be given updated orchestrations past both Mozart and Mendelssohn.* [68] Equally a pastoral piece of work information technology is suffused with Theocritan atmosphere but largely centres on the two lovers. When Polyphemus declares his love in the lyric "O ruddier than the crimson", the consequence is well-nigh comic.[69] [nb vii] Handel'southward rival for a while on the London scene, Nicola Porpora, as well fabricated the story the subject of his opera Polifemo (1735).

Later in the century Joseph Haydn composed Acide e Galatea (1763) equally his start opera while in Vienna.[nb 8] Designed for an imperial wedding, it was given a happy ending centred on the transformation scene subsequently the murder of Acis equally the pair declare their undying love.[70] Johann Gottlieb Naumann was to plow the story into a comic opera, Aci e Galatea, with the subtitle i ciclopi amanti (the amorous cyclops). The work was outset performed in Dresden in 1801 and its plot was fabricated more complicated by giving Polifemo a companion, Orgonte. There were also two other lovers, Dorinda and Lisia, with Orgonte Lisia's rival for Dorinda's love.[71] [nb ix]

After John Gay'due south libretto in Britain, information technology was non until the 19th century that the subject was given farther poetical handling. In 1819 appeared "The Death of Acis" past Bryan Procter, writing nether the proper name of Barry Cornwall.[72] A bare verse narrative with lyric episodes, it celebrates the musicianship of Polyphemus, which draws the lovers to expose themselves from their hiding place in a cave and thus brings nigh the death of Acis. At the other end of the century, there was Alfred Austin'southward dramatic poem "Polyphemus", which is set after the murder and transformation of the herdsman. The giant is tortured past hearing the happy voices of Galatea and Acis as they pursue their honey duet.[73] Shortly afterwards Albert Samain wrote the two-human activity verse drama Polyphème with the additional character of Lycas, Galatea'southward younger brother. In this the giant is humanised; sparing the lovers when he discovers them, he blinds himself and wades to his expiry in the body of water. The play was outset performed posthumously in 1904 with incidental music past Raymond Bonheur.[74] On this the French composer Jean Cras based his operatic 'lyric tragedy', composed in 1914 and outset performed in 1922. Cras took Samain's text almost unchanged, subdividing the play's 2 acts into 4 and cut a few lines from Polyphemus' final oral communication.[74]

There accept also been ii Spanish musical items that reference Polyphemus' name. Reginald Smith Brindle's four fragments for guitar, El Polifemo de Oro (1956), takes its championship from Federico García Lorca's poem, "The riddle of the guitar". That speaks of six dancing maidens (the guitar strings) entranced by 'a golden Polyphemus' (the one-eyed sound-hole).[75] The Castilian composer Andres Valero Castells takes the inspiration for his Polifemo i Galatea from Gongora's work. Originally written for brass ring in 2001, he rescored information technology for orchestra in 2006.[76]

Painting and sculpture [edit]

Paintings that include Polyphemus in the story of Acis and Galatea tin can be grouped according to their themes. Most notably the story takes place within a pastoral landscape in which the figures are almost incidental. This is especially and then in Nicolas Poussin'south 1649 "Landscape with Polyphemus" (run into gallery below) in which the lovers play a minor part in the foreground.[77] To the right, Polyphemus merges with a afar mountain summit on which he plays his pipes. In an earlier painting by Poussin from 1630 (now housed at the Dublin National Gallery) the couple are among several embracing figures in the foreground, shielded from view of Polyphemus, who is playing his flute higher upward the slope. Another variation on the theme was painted by Pietro Dandini during this period.

An earlier fresco by Giulio Romano from 1528 seats Polyphemus against a rocky foreground with a lyre in his raised right hand. The lovers tin can just exist viewed through a gap in the rock that gives onto the sea at the lower correct. Corneille Van Clève [fr] (1681) represents a seated Polyphemus in his sculpture, except that in his version it is pipes that the giant holds in his lowered hand. Otherwise he has a massive social club held beyond his body and turns to the left to look over his shoulder.

Other paintings take upwardly the Theocritan theme of the pair divided by the elements with which they are identified, country and water. There are a series of paintings, frequently titled "The Triumph of Galatea", in which the nymph is carried through the sea past her Nereid sisters, while a minor figure of Polyphemus serenades her from the land. Typical examples of this were painted by François Perrier, Giovanni Lanfranco and Jean-Baptiste van Loo.

A whole serial of paintings past Gustave Moreau make the same indicate in a variety of subtle means.[78] The giant spies on Galatea through the wall of a sea grotto or emerges from a cliff to admire her sleeping figure (see below). Again, Polyphemus merges with the cliff where he meditates in the same way that Galatea merges with her element within the grotto in the painting at Musée d'Orsay. The visionary estimation of the story besides finds its echo in Odilon Redon's 1913 painting The Cyclops in which the giant towers over the slope on which Galatea sleeps.[79]

French sculptors have too been responsible for some memorable versions. Auguste Ottin'southward dissever figures are brought together in an 1866 fountain in the Luxembourg Garden. In a higher place is crouched the figure of Polyphemus in weathered bronze, peering down at the white marble group of Acis and Galatea embracing below (see above). A little later on Auguste Rodin made a series of statues, centred on Polyphemus. Originally modelled in clay effectually 1888 and later cast in bronze, they may have been inspired by Ottin's work.[lxxx]

A final theme is the rage that succeeds the moment of discovery. That is portrayed in earlier paintings of Polyphemus casting a stone at the fleeing lovers, such equally those by Annibale Carracci, Lucas Auger and Carle van Loo. Jean-Francois de Troy's 18th-century version combines discovery with aftermath every bit the giant perched above the lovers turns to wrench up a rock.

Artistic depictions of Polyphemus [edit]

Polyphemus and Odysseus

  • The blinding, Laconian black-effigy cup, 565–560 BC

  • Flemish Jacob Jordaens' delineation of Odysseus escaping from the cave of Polyphemus, 1635.

  • Arnold Bocklin, Polyphemus attempts to beat the boat of the escaping Odysseus,

Polyphemus equally lover

  • Polyphemus hears of the arrival of Galatea, Fourth Manner, 45–79 Advertisement

  • Polyphemus and Galatea, Roman mosaic from 2nd century AD.

  • A 1st-century fresco depicting Polyphemus and Galatea in a naked embrace.

  • Nicolas Poussin, Acis and Galatea concealed from the flute-playing Polyphemus, 1630.

Other uses [edit]

Polyphemus is mentioned in the "Apprentice" chapter of Albert Pike's Morals and Dogma (1871), equally, within Scottish Rite Freemasonry, Polyphemus is regarded as a symbol for a civilisation that harms itself using ill directed blind force.[81]

The Polyphemus moth is so named because of the large eyespots in the centre of the hind wings.[82]

A species of burrowing tortoise, Gopherus polyphemus, is named after Polyphemus because of their both using subterranean retreats.[83]

A number of ships and English steam locomotives take also been named after the giant.

The Polyphemus episode was featured in the 1905 short motion-picture show Ulysses and the Giant Polyphemus by Georges Méliès. This combines with the Calypso episode and employs special effects. Other films that include information technology accept been the 1911 Odissea and the 1955 Ulysses (run into external links beneath).

In folkloristics, the episode of the blinding of Polyphemus is also known every bit Polyphemsage and classified in the Aarne-Thompson-Uther Alphabetize every bit ATU 1137, "The Ogre Blinded (Polyphemus)".[84]

Come across as well [edit]

  • Telemus
  • Cyclopean Isles

Notes [edit]

  1. ^ For examples of the story from the Caucasus, see "Legends About Shepherds, Including Cyclops Legends".[13]
  2. ^ That Polyphemus' dearest for Galatea is "possibly" a Philoxenus innovation.[21]
  3. ^ Alan Griffin calls Ovid's treatment "an extended paraphrase of Theocritus' ii idylls."[54]
  4. ^ Spanish text online Archived 12 May 2013 at the Wayback Machine
  5. ^ Excerpts from Jean-Baptiste Lully's 1686 opera, Acis et Galatée at PrestoClassical
  6. ^ The text is on the Stanford University site.[67]
  7. ^ At that place is a performance of Acis and Galatea- Polyphemus: 'O ruddier than the cherry' past Thousand.F. Handel on YouTube.
  8. ^ Brief excerpts at Classical Archives
  9. ^ There is a performance of Polifemo'due south aria Fulmine che dal Cielo on YouTube

References [edit]

Citations [edit]

  1. ^ πολύ-φημος . Liddell, Henry George; Scott, Robert; A Greek–English Dictionary at the Perseus Projection
  2. ^ Creese 2009.
  3. ^ Autenrieth, Georg (1876). "οὔτις, οὔτι". A Homeric Dictionary (in Greek). Translated by Keep, Robert P. New York, NY: Harper & Brothers, Publishers. Retrieved 11 March 2020.
  4. ^ οὔτις and Οὖτις, Georg Autenrieth, A Homeric Lexicon, on Perseus
  5. ^ Euripides. "The Cyclops by Euripides". The Cyberspace Classics Annal. Translated by E. P. Coleridge. MIT. Retrieved 2 March 2020.
  6. ^ Virgil 2002, lines 588–691.
  7. ^ Junker 2012, p. 80.
  8. ^ Carey 2002, pp. 44–61.
  9. ^ Roman & Roman 2010, p. 416.
  10. ^ a b Heubeck & Hoekstra 1990, p.19 on lines 105–556.
  11. ^ Pausanias 1898, p. 344 on 22.vii.
  12. ^ Glenn 1971, p. 134.
  13. ^ Hunt 2012, pp. 201–229, Chapter Seven.
  14. ^ Fowler 2013, p. 55: "The one-eyed cannibalistic monster from whom the clever hero escapes is an extremely widespread folktale which Homer or a predecessor has worked into the Odyssey"
  15. ^ Heubeck & Hoekstra 1990, p.nineteen on lines 105–556 "Analysis of the folk-tale material shows that the poet was using two originally unconnected stories, the offset most a hero blinding a man-eating behemothic. Consequent features of this story are the hero'south apply of an creature, usually a sheep, or at least an animal skin, to event an escape and the behemothic's attempt to bring the hero back with the help of a magical object. The 2nd story concerns a hero outwitting a monster by giving a false proper noun, usually 'I myself'. The fusion of these two stories is surely the work of the poet himself.".
  16. ^ Mondi 1983, p. 17.
  17. ^ Glenn 1978, p. 141.
  18. ^ Glenn 1971, pp. 135–136.
  19. ^ d'Huy, Julien (20 January 2013). "Julien d'Huy - Polyphemus (Aa. Th. 1137) - NMC". Nouvelle Mythologie Comparée (in French). Retrieved 11 March 2020.
  20. ^ Hunt 2012, pp. 281–222.
  21. ^ Creese 2009, 563 with n.v.
  22. ^ Brooks 1896, pp. 163–164.
  23. ^ LeVen 2014, p. 237.
  24. ^ Rosen 2007, p. 155.
  25. ^ a b Hordern 1999, p. 445.
  26. ^ Hordern 1999, p. 446, with n. 4 giving numerous ancient sources
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  39. ^ Aristophanes 1896, p. 72.
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  46. ^ Faulkner 2011, p. 178.
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  51. ^ Theocritus 2004, Idyll Vi.
  52. ^ Propertius 2008, Book Three.2.
  53. ^ Ovid 1922, thirteen.740–897.
  54. ^ Newlands 2015, p. 77.
  55. ^ Ovid 1922, 13.764–766.
  56. ^ Ovid 2000b, lines 860ff.
  57. ^ Ovid 1922, thirteen.778–788.
  58. ^ Ovid 1922, 13.789–869.
  59. ^ Ovid 1922, 13.870–884.
  60. ^ Ovid 1922, thirteen.885–897.
  61. ^ Rankin 2012, p. 22.
  62. ^ Appian (4 May 2019). "The Illyrian Wars 1". Livius. Translated past White, Horace. Retrieved eleven March 2020.
  63. ^ Lucian of Samosata 1820, pp. 338–xl.
  64. ^ Nonnus of Panopolis 1940, 43.390–393.
  65. ^ de Góngora 2008, pp. 173.
  66. ^ "François Tristan 50'HERMITE - Poète - "Polyphème en furie"". Balades comtoises (in French). 24 May 2013.
  67. ^ Gay, John; Pope, Alexander; Hughes, John (c. 1718). Georg Friedrich Händel'due south Acis and Galatea . Retrieved 5 Apr 2020.
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  70. ^ Greenish 1997, pp. 167–68.
  71. ^ Levine, Robert. "Naumann: Aci e Galatea/Bernius/Stuttgart". Classics Today . Retrieved 11 March 2020.
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  73. ^ Austin, Alfred (July 1901). "Polyphemus". N American Review. DXXXVI . Retrieved 2 March 2020.
  74. ^ a b Bempéchat, Paul-André (2009). Jean Cras, Polymath of Music and Messages. Ashgate Publishing, Ltd. pp. 279–283. ISBN978-0-7546-0683-iii . Retrieved 11 March 2020.
  75. ^ "Gilded Polyphemus (Brindle) and Riddle of the guitar (Lorca) - Generation of '27 – Part 5". Kazu Suwa | Classical Guitarist. 18 May 2013. Retrieved two March 2020.
  76. ^ Hernández Arce, José Antonio (x August 2019). "A Brusk Story by Oscar". Dialogue of the Dogs . Retrieved 12 March 2020.
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  81. ^ Pike 1871, p. 1.
  82. ^ Hall, Donald Westward. (September 2015). "polyphemus moth - Antheraea polyphemus (Cramer)". University of Florida . Retrieved xiii March 2020.
  83. ^ Beolens, Bo; Watkins, Michael; Grayson, Michael (2011). "Polyphemus". The Eponym Dictionary of Reptiles. Baltimore: Johns Hopkins University Printing. p. 209. ISBN978-1-4214-0135-5.
  84. ^ Thompson, Stith (1977). The Folktale. University of California Printing. p. 181. ISBN 0-520-03537-two

Works cited [edit]

  • Aristophanes (1896). Quinn, M. T. (ed.). Plutus. London: George Bell and Sons. Retrieved two March 2020.
  • Bion; Moschus; Theocritus (1870). The Idylls of Theocritus, Bion, and Moschus: And The Warsongs of Tyrtæus. Translated by Banks, J. London: W. Clowes and Sons. Retrieved 11 March 2020.
  • Van Eck, Caroline; Bussels, Stijn; Delbeke, Maarten; Pieters, Jürgen (2012). Translations of the Sublime: The Early on Modern Reception and Dissemination of Longinus' Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre. BRILL. ISBN978-90-04-22955-6 . Retrieved 12 March 2020.
  • Carey, Sorcha (2002). "A Tradition of Adventures in the Purple Grotto". Greece & Rome. 49 (1): 44–61. doi:ten.1093/gr/49.i.44. JSTOR 826881.
  • Brooks, Francis (1896). Greek Lyric Poets. D. Nutt. Retrieved two March 2020.
  • Cornwall, Barry (1820). A Sicilian Story: With Diego De Montilla, And Other Poems. London. Retrieved 12 March 2020.
  • Creese, David (2009). "Erogenous Organs: The Metamorphosis of Polyphemus' "Syrinx" in Ovid, "Metamorphoses" 13.784". The Classical Quarterly. 59 (2): 562–577. doi:x.1017/S0009838809990188. ISSN 0009-8388. JSTOR 20616706. S2CID 161519889.
  • Dugaw, Dianne (2001). "Deep Play": John Gay and the Invention of Modernity. University of Delaware Press. ISBN978-0-87413-731-6 . Retrieved 11 March 2020.
  • Elsen, Albert E.; Haas, Walter A.; Frankel Jamison, Rosalyn (2003). Barryte, Bernard; Haas, Walter A.; Gerald, Iris; Gerald, B. (eds.). Rodin's art : the Rodin collection of the Iris & B. Gerald Cantor Centre for Visual Arts at Stanford University. Oxford University Press. ISBN9780198030614.
  • Farmer, Matthew C. (2017). Tragedy on the Comic Phase. Oxford University Press. ISBN978-0-19-049207-6.
  • Faulkner, Andrew (2011). "Callimachus' "epigram" 46 and Plato: The Literary Persona of the Doc". The Classical Quarterly. 61 (i): 178–185. doi:10.1017/S000983881000039X. ISSN 0009-8388. JSTOR 41301523. S2CID 170522606.
  • Fowler, R. L. (2013). Early Greek Mythography: Volume two: Commentary. Oxford Academy Printing. ISBN978-0198147411.
  • Glenn, Justin (1971). "The Polyphemus Folktale and Homer'south Kyklôpeia". Transactions and Proceedings of the American Philological Association. 102: 133–181. doi:10.2307/2935942. ISSN 0065-9711. JSTOR 2935942.
  • Glenn, Justin (1978). "The Polyphemus Myth: Its Origin and Interpretation". Greece & Rome. 25 (ii): 141–155. doi:ten.1017/S0017383500020246. ISSN 0017-3835. JSTOR 642285.
  • de Góngora, Luis (2008). Dent-Young, John (ed.). Selected Poems of Luis de Góngora: A Bilingual Edition. University of Chicago Press. ISBN978-0-226-14062-9 . Retrieved 2 March 2020.
  • Green, Rebecca (1997). Sisman, Elaine R. (ed.). "Representing the Aristocracy: The Operatic Hadyn and Le pescatrici". Haydn and His World. Princeton University Press: 167–68. ISBN978-0-691-05799-6 . Retrieved 2 March 2020.
  • Griffin, Alan H. F. (1983). "Unrequited Love: Polyphemus and Galatea in Ovid'due south "Metamorphoses"". Hellenic republic & Rome. thirty (2): 190–197. doi:10.1017/S0017383500027145. ISSN 0017-3835. JSTOR 642570.
  • Heubeck, Alfred; Hoekstra, Arie (1990). A Commentary on Homer'southward Odyssey. Oxford University Press. ISBN0-19-872144-7.
  • Hordern, J. H. (1999). "The Cyclops of Philoxenus". The Classical Quarterly. 49 (ii): 445–455. doi:10.1093/cq/49.ii.445. ISSN 0009-8388. JSTOR 639870.
  • Chase, David (2012). Legends of the Caucasus. Saqi. ISBN978-0-86356-823-vii.
  • Jackson, Lucy C. Thou. K. (2019). The Chorus of Drama in the 4th Century BCE: Presence and Representation. Oxford University Printing. ISBN9780192582881.
  • Junker, Klaus (2012). Interpreting the Images of Greek Myths: An Introduction. Cambridge University Press. ISBN978-0-521-89582-eight.
  • Kleiner, Fred Due south. (2008). "Odilon Redon". Gardner'south Art through the Ages: The Western Perspective. Boston: Cengage Learning. ISBN978-0-495-57355-five . Retrieved 12 March 2020.
  • Lucian of Samosata (1820). Lucian of Samosata. Translated by Tooke, William. London: Longman, Hurst, Rees, Orme, and Brown. Retrieved ii March 2020.
  • LeVen, Pauline A. (2014). The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge University Press. ISBN978-one-107-01853-2.
  • Mondi, Robert (1983). "The Homeric Cyclopes: Folktale, Tradition, and Theme". Transactions of the American Philological Association. 113: 17–38. doi:10.2307/284000. ISSN 0360-5949. JSTOR 284000.
  • Newlands, Carole East. (2015). Ovid. Bloomsbury Publishing. ISBN978-0-85772-660-v . Retrieved 2 March 2020.
  • Nonnus of Panopolis (1940). Frye, Northrop Marginalia; Rose, Herbert Jennings; Lind, Levi Robert (eds.). "Dionysiaca". Translated by Rouse, William Henry Denham. Cambridge, Mass.: Harvard University Press. Retrieved iii March 2020.
  • Ovid (1922). Metamorphoses. Translated past More, Brookes. Boston: Cornhill Publishing Co. Retrieved 2 March 2020.
  • Ovid (2000). Dyck, Andrew R.; Hopkinson, Neil; Easterling, P. E. (eds.). Metamorphoses Book XIII. Cambridge University Press. ISBN9780521554213.
  • Ovid (2000b). "Metamorphoses". University of Virginia Library. Translated by Kline, A.South. Retrieved 12 March 2020.
  • Pausanias (1898). Clarification of Hellenic republic. Translated past Frazer, James George. New York: The Macmillan Company. Retrieved xi March 2020.
  • Pike (1871). Pike, Albert (ed.). Morals and dogma of the Aboriginal and accustomed Scottish rite of freemasonry. Prepared for the Supreme quango of the thirty-third degree, for the Southern jurisdiction of the Us, and published by its authority. Charleston. ISBN9781592328154 . Retrieved 13 March 2020.
  • Propertius (2008). "The Elegies: Book III". Poetry in Translation. Translated by Kline, A. Southward. Retrieved 11 March 2020.
  • Rankin, David (2012). Green, Miranda (ed.). The Celtic World. Routledge. ISBN978-1135632434.
  • Roman, Luke; Roman, Monica (2010). Encyclopedia of Greek and Roman Mythology. New York, NY: Infobase Publishing. ISBN978-1-4381-2639-5 . Retrieved 11 March 2020.
  • Rosen, Ralph (2007). Making Mockery: The Poetics of Ancient Satire. Oxford University Press. ISBN978-0-19-804234-1.
  • Theocritus (1947). A Translation of the Idylls of Theocritus. Translated by Trevelyan, R. C. Cambridge University Printing. ISBN978-one-107-43219-two.
  • Theocritus (2004). "Theocritus". Projection Gutenberg. Translated by Calverley, C.Southward. Retrieved xi March 2020.
  • Virgil (2002). Aeneid: III. Translated past Kline, A. S. Retrieved eleven March 2020.

Full general references [edit]

  • Aristophanes; Cinesias; Melanippides; Phrynis; Philoxenus; Timotheus (1993). Greek Lyric, Volume V: The New School of Poetry and Anonymous Songs and Hymns. Translated by Campbell, David A. Cambridge, Massachusetts: Harvard University Press. ISBN978-0-674-99559-eight . Retrieved 11 March 2020.
  • Aristotle, Poetics in Aristotle in 23 Volumes, Vol. 23, translated by Due west.H. Fyfe. Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1932. Online version at the Perseus Digital Library.
  • Bion; Moschus; Theocritus (1889). The Idylls of Theocritus, Bion, and Moschus: And The Warsongs of Tyrtæus. Translated by Lang, Andrew. Retrieved 2 March 2020.
  • Bion; Moschus; Theocritus (2015). The Idylls of Theocritus, Bion, and Moschus: And The Warsongs of Tyrtæus. Translated by Hopkinson, Neil. Cambridge, Massachusetts: Harvard University Press. ISBN978-0-674-99644-ane.
  • Euripides (1994). Euripides. Cyclops. Alcestis. Medea (Loeb Classical Library No. 12). Translated by Kovaks, David. Harvard University Press. ISBN9780674995604.
  • Grimm, Wilhelm (1857). Die sage von Polyphem (in German). Berlin: Abhandlungen der Königlichen Akademie der Wissenschaften zu Berlin. pp. 1–thirty. Retrieved 12 March 2020.
  • Hackman, O. Die Polyphemsage in der Volksüberlieferung. Herlsingfors: Frenckellska tryckeri-aktiebolaget, 1904. Retrieved xiv March 2022.

Farther reading [edit]

  • Brown, Calvin South. "Odysseus and Polyphemus: The Name and the Curse". In: Comparative Literature 18, no. 3 (1966): 193–202. https://doi.org/ten.2307/1770048.
  • Comhaire, Jean Fifty. "Oriental Versions of Polyphem's Myth". In: Anthropological Quarterly 31, no. 1 (1958): 21–28. https://doi.org/10.2307/3316559.
  • Conrad, Jo Ann. "Polyphemus and Tepegöz Revisited A Comparison of the Tales of the Blinding of the One-eyed Ogre in Western and Turkish Traditions". In: Fabula twoscore, no. 3-four (1999): 278-297. https://doi.org/ten.1515/fabl.1999.xl.three-four.278
  • DAVIES, MALCOLM. "The Folk-Tale Origins of the Iliad and Odyssey". In: Wiener Studien 115 (2002): 5–43. http://www.jstor.org/stable/24751364.
  • d'Huy, Julien. "Le conte-type de Polyphème: essai de reconstitution phylogénétique". In: Mythologie française, SMF, 2012, pp. 47-59. ffhalshs-00734458f
  • d'Huy, Julien (2015). "Polyphemus, a Palaeolithic Tale?" In: The Retrospective Methods Network Newsletter. Winter 2014–2015, 9: 43–64.
  • d'Huy, Julien (2017). "Polyphème en Amérique". In: Mythologie française 269: ix-eleven.
  • d'Huy, Julien (2019). "Du nouveau sur Polyphème". In: Mythologie française, 277: 15-18.
  • Mundy, C. S. "Polyphemus and Tepegöz." Bulletin of the School of Oriental and African Studies, University of London 18, no. 2 (1956): 279–302. http://www.jstor.org/stable/609984.
  • Peretti, Daniel. "The Ogre Blinded and 'The Lord of the Rings'." In: Mythlore 25, no. iii/4 (97/98) (2007): 133–43. http://world wide web.jstor.org/stable/26814613.
  • Röhrich, Lutz. "Die mittelalterlichen Redaktionen des Polyphem-Märchens (AT 1137) und ihr Verhältnis zur außerhomerischen Tradition". In: Fabula five, no. Jahresband (1962): 48-71. https://doi.org/10.1515/fabl.1962.5.one.48

External links [edit]

  • Polyphemus and Galatea depicted in statues with a gold harpsichord by Michele Todini, Rome, 1675 at The Metropolitan Museum of Fine art

Specific artworks discussed above

  • Polyphemus standing at the acme of a cliff, Jean-Léon Gérôme, 1902, at Wikipaintings
  • "Odysseus Deriding Polyphemus", J.G.W. Turner, 1829, at Wikipaintings
  • Galatea Acis eastward Polifemo, Pietro Dandini, c. 1630, at Fine art Value
  • fresco, Giulio Romano, 1528, at Webalice
  • Polyphemus with a massive club, Corneille Van Clève, 1681, at Web Gallery of Art
  • "The Triumph of Galatea", Francois Perrier, at Web Gallery of Art
  • "The Triumph of Galatea", Giovanni Lanfranco, Art Clon
  • The giant spies on Galatea, Gustave Moreau, at Muian
  • Polyphemus meditates, at French Authorities culture site
  • statue of Polyphemus, Auguste Rodin, 1888, at French Government civilization site
  • A wrathful Polyphemus, Annibale Carracci, at Spider web Gallery of Art
  • A wrathful Polyphemus, Lucas Auger, at French Authorities culture site
  • A wrathful Polyphemus, Carle van Loo, at First Fine art Gallery
  • A wrathful Polyphemus, Jean-Francois de Troy, 18th-century, at Tribes

Specific opera and filmworks discussed to a higher place

  • A reenactment of Giovanni Bononcini'due south 1703 one-act opera, Polifemo at YouTube
  • A operation of Polifemo's solo, Fra 50'ombre due east gl'orrori from Bononcini's Polifemo at Yous tube
  • Ulysses and the Behemothic Polyphemus (1905) at YouTube
  • Odissea (1911) at YouTube
  • Ulysses (1955) at YouTube

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Source: https://en.wikipedia.org/wiki/Polyphemus

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