Polyphemus - Knowledge

315: 1445: 465: 1499: 1469: 1429: 994: 1407: 1484: 770:. 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 time imitating the sound of a lyre: "And now I wish — threttanello! — to imitate the Cyclops and, swinging my feet to and fro like this, to lead you in the dance. But come on, children, shout and shout again the songs of bleating sheep and smelly goats." 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 (as had Odysseus the drunken Cyclops) with a wooden stake. 1457: 613: 2036: 274: 53: 1520: 922: 1364: 2045:, p.19 on lines 105–556 "Analysis of the folk-tale material shows that the poet was using two originally unconnected stories, the first about a hero blinding a man-eating giant. Consistent features of this story are the hero's use of an animal, usually a sheep, or at least an animal skin, to effect an escape and the giant's attempt to bring the hero back with the help of a magical object. The second story concerns a hero outwitting a monster by giving a false name, usually 'I myself'. The fusion of these two stories is surely the work of the poet himself.". 1376: 828: 1392: 1100: 407: 398:, who re-tells the story of how Odysseus and his men escaped, leaving him behind. The giant is described as descending to the shore, using a "lopped pine tree" as a walking staff. Once Polyphemus reaches the sea, he washes his oozing, bloody eye socket and groans painfully. Achaemenides is taken aboard Aeneas' vessel and they cast off with Polyphemus in chase. His great roar of frustration brings the rest of the Cyclopes down to the shore as Aeneas draws away in fear. 1261: 426:, almost half being that of the blinding of the Cyclops and the ruse by which Odysseus and his men escape. One such episode, on a vase featuring the hero carried beneath a sheep, was used on a 27 drachma Greek postage stamp in 1983. This was a steep drop (to the point of being "insignificant") from the volume of pan-Hellenic pottery discovered from the fifth and sixth centuries, which largely depicted ancient Greek mythology: scenes from the 598:, which describes several brothers held prisoner by a giant one-eyed shepherd called "One-eye". After all but two of the brothers are roasted on a spit and eaten, the remaining two take the spit, heat it red hot, and stab it into the giant's eye. As One-eye let his flock out of their pen, he felt each sheep as it passed between his legs, but the two brothers were able to escape by covering themselves with a sheepskin. 335:", which means "nobody" and Polyphemus promises to eat this "Nobody" last of all. With that, he falls into a drunken sleep. Odysseus had meanwhile hardened a wooden stake in the fire and drives it into Polyphemus' eye. When Polyphemus shouts for help from his fellow giants, saying that "Nobody" has hurt him, they think Polyphemus is being afflicted by divine power and recommend prayer as the answer. 494:'s painting of 1639/40 (see above), the furious giant is tugging a boulder from the cliff as Odysseus and his men row out to the ship far below. Polyphemus is portrayed, as it often happens, with two empty eye sockets and his damaged eye located in the middle on his forehead. This convention goes back to Greek statuary and painting, and is reproduced in 1069:, published in 1627. It is particularly noted for its depiction of landscape and for the sensual description of the love of Acis and Galatea. It was written in homage to an earlier and rather shorter narrative with the same title by Luis Carillo y Sotomayor (1611). The story was also given operatic treatment in the very popular 864:. Listed among the examples he mentions is that "Even Galatea, it's true, below wild Etna, wheeled her brine-wet horses, Polyphemus, to your songs." 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 means. 918:

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 piece of the mountain and crushes Acis with it. But on her return, Galatea changes her dead lover into the spirit of the Sicilian river Acis.

838:

The love of the mismatched pair was later taken up by other pastoral poets. The same trope of music being the cure for love was introduced by Callimachus in his Epigram 47: "How excellent was the charm that Polyphemus discovered for the lover. By Earth, the Cyclops was no fool!" A fragment of a lost

917:

Galatea listens to the love song of Polyphemus while she and Acis lie hidden by a rock. 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 eye that is, he boasts, the size of a great shield. But when

812:

tells the story of the Cyclops' love for Galatea. Though the character of Polyphemus derives from Homer, there are notable differences. Where Homer's Cyclops was beastly and wicked, Theocritus' is absurd, lovesick and comic. Polyphemus loves the sea nymph Galatea, but she rejects him because of his

338:

In the morning, the blind Cyclops lets the sheep out to graze, feeling their backs to ensure that the men are not escaping. However, Odysseus and his men have tied themselves to the undersides of the animals and so get away. As he sails off with his men, Odysseus boastfully reveals his real name, an

1005:

of Samosata. There Doris, one of Galatea's sisters, spitefully congratulates her on her love conquest and she defends Polyphemus. From the conversation, one understands that Doris is chiefly jealous that her sister has a lover. Galatea admits that she does not love Polyphemus but is pleased to have

1207:

with the additional character of Lycas, Galatea's younger brother. In this the giant is humanised; sparing the lovers when he discovers them, he blinds himself and wades to his death in the sea. The play was first performed posthumously in 1904 with incidental music by Raymond Bonheur. On this the

586:

are also known. More than two hundred different versions have been identified, from around twenty five nations, covering a geographic region extending from Iceland, Ireland, England, Portugal and Africa to Arabia, Turkey, Russia, and Korea. The consensus of current modern scholarship is that these

1195:, writing under the name of Barry Cornwall. A blank 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 about the death of Acis. At the other end of the century, there was 1283:

Other paintings take up the Theocritan theme of the pair divided by the elements with which they are identified, land and water. There are a series of paintings, often titled "The Triumph of Galatea", in which the nymph is carried through the sea by her Nereid sisters, while a minor figure of

383:". The scene is infused with low comedy, specifically from the chorus, and Polyphemus is made to look silly: he is drunk when he explains his sexual desire, Silenus is too old to play the part of the young lover, and he himself will be subjected to penetration—with the wooden spike. 758:. 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. It also contains lines and phrases taken directly from the 1155:.* As a pastoral work it is suffused with Theocritan atmosphere but largely centres on the two lovers. When Polyphemus declares his love in the lyric "O ruddier than the cherry", the effect is almost comic. Handel's rival for a while on the London scene, 1188:(the amorous cyclops). The work was first performed in Dresden in 1801 and its plot was made 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. 1240:

Paintings that include Polyphemus in the story of Acis and Galatea 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 particularly so in

1280:(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 club held across his body and turns to the left to look over his shoulder. 913:

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 you alone."

261:. Often he was portrayed as unsuccessful in these, and as unaware of his disproportionate size and musical failings. In the work of even later authors, however, he is presented as both a successful lover and skilled musician. From the 1307:). 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 interpretation of the story also finds its echo in 326:

After the giant returns in the evening and eats two more of the men, Odysseus offers Polyphemus some strong and undiluted wine given to him earlier on his journey. Drunk and unwary, the giant asks Odysseus his name, promising him a

1228:'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). The Spanish composer Andres Valero Castells takes the inspiration for his 851:

of Theocritus. There two herdsmen engage in a musical competition, one of them playing the part of Polyphemus, who asserts that since he has adopted the ruse of ignoring Galatea, she has now become the one who pursues him.

765:

The slave Cario, tells the chorus that his master has brought home with him the god Wealth, and because of this they will all now be rich. The chorus wants to dance for joy, so Cario takes the lead by parodying Philoxenus'

691:. Philoxenus lived in that city and was the court poet of Dionysius I. According to ancient commentators, either because of his frankness regarding Dionysius' poetry, or because of a conflict with the tyrant over a female 1212:

based his operatic 'lyric tragedy', composed in 1914 and first performed in 1922. Cras took Samain's text almost unchanged, subdividing the play's two acts into four and cutting a few lines from Polyphemus' final speech.

1199:'s dramatic poem "Polyphemus", which is set after the murder and transformation of the herdsman. The giant is tortured by hearing the happy voices of Galatea and Acis as they pursue their love duet. Shortly afterwards 1249:) in which the lovers play a minor part in the foreground. To the right, Polyphemus merges with a distant mountain top on which he plays his pipes. In an earlier painting by Poussin from 1630 (now housed at the 4206:

Morals and dogma of the Ancient and accepted Scottish rite of freemasonry. Prepared for the Supreme council of the thirty-third degree, for the Southern jurisdiction of the United States, and published by its

4650:. Edited by Rolf Wilhelm Brednich, Heidrun Alzheimer, Hermann Bausinger, Wolfgang Brückner, Daniel Drascek, Helge Gerndt, Ines Köhler-Zülch, Klaus Roth and Hans-Jörg Uther. Berlin, Boston: De Gruyter, 2016 . 1444: 1176:(1763) as his first opera while in Vienna. Designed for an imperial wedding, it was given a happy ending centred on the transformation scene after the murder of Acis as the pair declare their undying love. 360:, a chorus of satyrs offers comic relief from the grisly story of how Polyphemus is punished for his impious behaviour in not respecting the rites of hospitality. In this play, Polyphemus claims to be a 754:) has survived with almost all of its choral odes missing. What remains shows Aristophanes (as he does to some extent in all his plays) parodying a contemporary literary work — in this case Philoxenus' 1669: 1468: 526:(1829). Here the ship sails forward as the sun breaks free of clouds low on the horizon. The giant himself is an indistinct shape barely distinguished from the woods and smoky atmosphere high above. 4722:. Proceedings of the International Symposium in Beirut, June 25–30, 1996. Edited by Angelika Neuwirth, Birgit Embaló, Sebastian Günther, Maher Jarrar. Stuttgart : Steiner , 1999. pp. 437–466. 1253:) the couple are among several embracing figures in the foreground, shielded from view of Polyphemus, who is playing his flute higher up the slope. Another variation on the theme was painted by 1276:

from 1528 seats Polyphemus against a rocky foreground with a lyre in his raised right hand. The lovers can just be viewed through a gap in the rock that gives onto the sea at the lower right.

1032:"Galatea twangled a marriage dance and restlessly twirled in capering step, and she sang the marriage verses, for she had learnt well how to sing, being taught by Polyphemos with a shepherd's 303:

and, together with some of his men, enters a cave filled with provisions. When the giant Polyphemus returns home with his flocks, he blocks the entrance with a great stone and, scorning the

4918: 1406: 4891: 4825: 654:, of which only fragments have survived, and was perhaps the first to provide a female love interest for the Cyclops. The object of Polyphemus' romantic desire is a sea nymph named 1483: 1498: 1428: 705:, where the poem's characters, Polyphemus, Odysseus and Galatea, were meant to represent Dionysius, Philoxenus, and the aulos-player. Philoxenus had his Polyphemus perform on the 1456: 817:

and sings of his woes, for "I am skilled in piping as no other Cyclops here". His longing is to overcome the antithetic elements that divide them, he of earth and she of water:

847:. Where Polyphemus had failed, the poet declares, Bion's greater artistry had won Galatea's heart, drawing her from the sea to tend his herds. This reflected the situation in 1335:

A final theme is the rage that succeeds the moment of discovery. That is portrayed in earlier paintings of Polyphemus casting a rock at the fleeing lovers, such as those by

1088:(1641). In it the giant expresses his fury upon viewing the loving couple, ultimately throwing the huge rock that kills Acis and even injures Galatea. Later in the century, 4679: 895:

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

1375: 2029:, 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 1328:. Above 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 1303:

make the same point in a variety of subtle ways. The giant spies on Galatea through the wall of a sea grotto or emerges from a cliff to adore her sleeping figure (see

1191:

After John Gay's libretto in Britain, it was not until the 19th century that the subject was given further poetical treatment. In 1819 appeared "The Death of Acis" by

713:

requiring great skill. The Cyclops playing such a sophisticated and fashionable instrument would have been quite a surprising juxtaposition for Philoxenus' audience.

822:

Ah me, would that my mother at my birth had given me gills, That so I might have dived down to your side and kissed your hand, If your lips you would not let me...

241:. His name means "abounding in songs and legends", "many-voiced" or "very famous". Polyphemus first appeared as a savage man-eating giant in the ninth book of the 4911: 1332:

made a series of statues, centred on Polyphemus. Originally modelled in clay around 1888 and later cast in bronze, they may have been inspired by Ottin's work.

662:, 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. 3643:

Translations of the Sublime: The Early Modern Reception and Dissemination of Longinus' Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre

1666: 2836: 839:

idyll by Bion also portrays Polyphemus declaring his undying love for Galatea. Referring back to this, an elegy on Bion's death that was once attributed to

1391: 2602: 5036: 4904: 4837: 1546:(1871), as, within Scottish Rite Freemasonry, Polyphemus is regarded as a symbol for a civilization that harms itself using ill directed blind force. 3197: 4817: 860:

The successful outcome of Polyphemus' love was also alluded to in the course of a 1st-century BC love elegy on the power of music by the Latin poet

282: 3001: 2678: 2618: 934:

That the story sometimes had a more successful outcome for Polyphemus is also attested in the arts. In one of the murals rescued from the site of

1363: 4238: 2092: 4758:

Röhrich, Lutz (1962). "Die mittelalterlichen Redaktionen des Polyphem-Märchens (AT 1137) und ihr Verhältnis zur außerhomerischen Tradition".

516:'s painting of 1902. He stands poised, having already thrown one stone, which barely misses the ship. The reason for his rage is depicted in 4822: 4704: 2797: 2726: 2710: 2694: 2646: 813:

ugliness. However, in a borrowing from Philoxenus' poem, Polyphemus has discovered that music will heal lovesickness, and so he plays the

314: 3452:

Elsen, Albert E.; Haas, Walter A.; Frankel Jamison, Rosalyn (2003). Barryte, Bernard; Haas, Walter A.; Gerald, Iris; Gerald, B. (eds.).

3171: 1133:(From horrid shades) establishes his character from the start. After Handel's move to England, he gave the story a new treatment in his 877:

is reliant on the idylls of Theocritus, it is complicated by the introduction of Acis, who has now become the focus of Galatea's love.

4886: 3742: 2933: 1980: 1849: 2762: 1845: 1820: 1014:

That their conjunction was fruitful is also implied in a later Greek epic from the turn of the 5th century AD. In the course of his

5589: 449:. This may be an interpretation of an existing composition, and was apparently repeated in variations in later Imperial palaces by 4049: 1899: 1519: 508:

pictures the giant as standing on rocks onshore and swinging one of them back as the men row desperately over a surging wave (see

5029: 3921: 2781: 4812: 4464: 3942: 464: 3641: 3266: 2688: 2628: 2586: 1871: 4501: 4463:, Vol. 23, translated by W.H. Fyfe. Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1932. 4434: 4387: 4345: 4324: 4303: 4087: 4059: 4001: 3954: 3931: 3889: 3758: 3724: 3651: 3529: 3435: 3276: 3255: 2579: 2551: 4247: 2612: 1147:. Initially composed in 1718, the work went through many revisions and was later to be given updated orchestrations by both 2736: 2720: 2704: 2656: 1773: 1347:'s 18th-century version combines discovery with aftermath as the giant perched above the lovers turns to wrench up a rock. 942:(rather than a syrinx) by his side, holding out a hand to receive a love letter from Galatea, which is carried by a winged 4398: 2662: 993: 3454:

Rodin's art : the Rodin collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University

1129:(1708), laying as much emphasis on the part of Polifemo as on the lovers. Written in Italian, Polifemo's deep bass solo 5604: 5574: 5418: 5022: 4276: 3593: 3501: 4861: 2365: 4215: 4153: 3910: 3831: 3480: 3461: 3379:

Creese, David (2009). "Erogenous Organs: The Metamorphosis of Polyphemus' "Syrinx" in Ovid, "Metamorphoses" 13.784".

2813: 2349: 1397: 495: 257:

in the play. Later Classical writers presented him in their poems as heterosexual and linked his name with the nymph

1591: 534:

Folktales similar to that of Homer's Polyphemus are a widespread phenomenon throughout the ancient world. In 1857,

5594: 2381: 476: 2294: 2260: 4800: 4715: 3148: 1001:

There are indications that Polyphemus' courtship also had a more successful outcome in one of the dialogues of

468: 311:, eats two of the men. Next morning, the giant kills and eats two more and leaves the cave to graze his sheep. 4616:

Revisited: A Comparison of the Tales of the Blinding of the One-eyed Ogre in Western and Turkish Traditions".

3046: 2405: 5584: 5458: 5274: 4881: 4866: 4048:

Montemorra Martin, Roberta (2006). "Handel's Acis and Galatea". In Cowgill, Rachel; Rushton, Julian (eds.).

1285: 730:

in a section that discusses representations of people in tragedy and comedy, citing as comedic examples the

5518: 5089: 4983: 4834: 4521: 4185: 953:). From their union came the ancestors of various wild and war-like races. According to some accounts, the 607: 258: 4720:

Myths, historical archetypes and symbolic figures in Arabic literature: towards a new hermeneutic approach

4122: 2943: 4896: 4871: 4538: 4515: 4104:

Nonnus of Panopolis (1940). Frye, Northrop Marginalia; Rose, Herbert Jennings; Lind, Levi Robert (eds.).

3118: 1790: 522: 361: 254: 31: 3361: 1058: 612: 5045: 3714: 1785: 1746: 1715: 1574: 17: 2957: 1232:

from Gongora's work. Originally written for brass band in 2001, he rescored it for orchestra in 2006.

4856: 1909: 1139: 949:

In another fresco, also dating from the 1st century AD, the two stand locked in a naked embrace (see

277: 4356: 3640:

Langdon, Helen (2012). Van Eck, Caroline; Bussels, Stijn; Delbeke, Maarten; Pieters, Jürgen (eds.).

3539:

Faulkner, Andrew (2011). "Callimachus' "epigram" 46 and Plato: The Literary Persona of the Doctor".

2807: 2596: 1077:(1708). The atmosphere here is lighter and enlivened by the inclusion of the clowns Momo and Tisbe. 1074: 4958: 4105: 1881: 273: 4797:

Polyphemus and Galatea depicted in statues with a golden harpsichord by Michele Todini, Rome, 1675

1990: 1344: 1225: 778:

The romantic element, originated by Philoxenus, was revived by later Hellenistic poets, including

513: 5279: 5219: 4876: 3775:

Griffin, Alan H. F. (1983). "Unrequited Love: Polyphemus and Galatea in Ovid's "Metamorphoses"".

1273: 1250: 1177: 1125: 684: 364:, revealing to Odysseus that he takes more pleasure in boys than in women, and tries to take the 5599: 5483: 5229: 4651: 2791: 2672: 1217: 1120: 921: 52: 4377: 4287: 3158: 3056: 2823: 2375: 2359: 2304: 2273: 1435: 1277: 5329: 3821: 2391: 1293: 831: 639: 571: 490:) and others chose the dramatic scene of the giant casting boulders at the escaping ship. In 178: 2561: 1970: 1968: 5131: 4491: 4424: 3028: 3002:"Golden Polyphemus (Brindle) and Riddle of the guitar (Lorca) - Generation of '27 – Part 5" 1550: 1104: 1081: 735: 695:

player named Galatea, Philoxenus was imprisoned in the quarries and had there composed his

442: 380: 319: 1684: 8: 5569: 5360: 5305: 5101: 4472: 4164: 1965: 1827:(in Greek). Translated by Keep, Robert P. New York, NY: Harper & Brothers, Publishers 1597: 1558: 1529: 1313: 1089: 1033: 726: 655: 547: 543: 394:

observes blind Polyphemus as he leads his flocks down to the sea. They have encountered

5383: 5350: 5205: 5195: 5137: 4777: 4746: 4667: 4635: 4600: 4571: 4429:. Translated by Campbell, David A. Cambridge, Massachusetts: Harvard University Press. 4232: 4108:. Translated by Rouse, William Henry Denham. Cambridge, Mass.: Harvard University Press 4036: 3866: 3808: 3800: 3701: 3693: 3628: 3572: 3564: 3412: 3404: 3329: 1656:

Alan Griffin calls Ovid's treatment "an extended paraphrase of Theocritus' two idylls."

1289: 1112: 787: 555: 551: 539: 458: 441:

The blinding was depicted in life-size sculpture, including a giant Polyphemus, in the

64: 1093: 5579: 5538: 5189: 5143: 5003: 4978: 4781: 4639: 4497: 4496:. Translated by Hopkinson, Neil. Cambridge, Massachusetts: Harvard University Press. 4430: 4383: 4341: 4320: 4299: 4272: 4211: 4149: 4083: 4055: 4028: 3997: 3950: 3927: 3906: 3885: 3858: 3827: 3812: 3792: 3754: 3720: 3705: 3685: 3647: 3620: 3589: 3576: 3556: 3525: 3497: 3476: 3457: 3431: 3416: 3396: 3272: 3251: 1336: 1325: 834:'s depiction of "The Triumph of Galatea"; Polyphemus plays the pan-pipes on the right 591: 575: 563: 559: 4796: 3342: 2915: 1728: 1412: 925:

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

505: 347:, for revenge and casts huge rocks towards the ship, which Odysseus barely escapes. 5107: 4973: 4941: 4846: 4813:

Polyphemus standing at the top of a cliff, Jean-Léon Gérôme, 1902, at Wikipaintings

4769: 4760: 4627: 4618: 4592: 4563: 4141: 4020: 3993:

The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry

3850: 3784: 3677: 3612: 3548: 3388: 3321: 2207:"Review of: Philoxeni Cytherii Testimonia et Fragmenta. Dithyrambographi Graeci, 1" 1161: 1099: 688: 583: 418:

During the seventh century, the potters gave preference to scenes from both epics,

125: 4542:. Herlsingfors: Frenckellska tryckeri-aktiebolaget, 1904. Retrieved 14 March 2022. 2532: 2442: 4841: 4829: 4631: 4335: 4314: 4204: 4077: 3991: 3972: 3900: 3879: 3519: 3491: 3425: 3294: 3228: 2855: 1795: 1673: 1615: 1489: 1474: 1284:

Polyphemus serenades her from the land. Typical examples of this were painted by

1242: 801: 579: 517: 224: 101: 4847:

Polyphemus with a massive club, Corneille Van Clève, 1681, at Web Gallery of Art

2206: 1216:

There have also been two Spanish musical items that reference Polyphemus' name.

957:(Galati in Latin, Γάλλοi in Greek) were descended from their son Galatos, while 701: 5508: 5493: 5431: 5179: 4851: 3172:"In 'Percy Jackson: Sea of Monsters', Our Hero Recovers the Future, PopMatters" 1562:, is named after Polyphemus because of their both using subterranean retreats. 1504: 1382: 1300: 1265: 1254: 1156: 791: 483: 352: 211: 203: 198: 167: 4011:

Mondi, Robert (1983). "The Homeric Cyclopes: Folktale, Tradition, and Theme".

3788: 3681: 3552: 3392: 3198:"Teen demigod's latest perils in 'Percy Jackson: Sea of Monsters'" 1740: 1709: 1450:

Polyphemus and Galatea, Roman mosaic from the 2nd century AD. Córdoba (Spain).

567: 5563: 5243: 4773: 4511: 4426:

Greek Lyric, Volume V: The New School of Poetry and Anonymous Songs and Hymns

4423:

Aristophanes; Cinesias; Melanippides; Phrynis; Philoxenus; Timotheus (1993).

4032: 3977:. Translated by Tooke, William. London: Longman, Hurst, Rees, Orme, and Brown 3862: 3796: 3689: 3624: 3560: 3400: 1936: 1781: 1566: 1340: 1329: 1321: 1200: 1196: 1192: 873: 827: 675: 658:. In the poem, Polyphemus is not a cave dwelling, monstrous brute, as in the 535: 328: 304: 5014: 4872:

statue of Polyphemus, Auguste Rodin, 1888, at French Government culture site

4554:

Brown, Calvin S. (1966). "Odysseus and Polyphemus: The Name and the Curse".

3668:

Glenn, Justin (1978). "The Polyphemus Myth: Its Origin and Interpretation".

486:

depicted Odysseus escaping from the cave of Polyphemus in 1635 (see gallery

5548: 5393: 4947: 1586: 1553:

is so named because of the large eyespots in the middle of the hind wings.

1525: 1462:

Polyphemus and Galatea in a naked embrace. Fresco. From Pompeii 1st century

1308: 1169: 670: 617: 395: 4926: 4658:

Davies, Malcolm (2002). "The Folk-Tale Origins of the Iliad and Odyssey".

3902:

The Chorus of Drama in the Fourth Century BCE: Presence and Representation

3854: 3312:

Carey, Sorcha (2002). "A Tradition of Adventures in the Imperial Grotto".

3086: 620:. Metropolitan Museum of Art, New York. last decade of the 1st century BCE 406: 343:

that was to cause problems for him later. Polyphemus prays to his father,

265:

on, art and literature reflect all of these interpretations of the giant.

5488: 5149: 3325: 1320:

French sculptors have also been responsible for some memorable versions.

1152: 1050: 783: 308: 286:. Late 5th to early 4th century BC, Boeotia. Museum of Fine Arts, Boston. 262: 253:

is dependent on this episode apart from one detail; Polyphemus is made a

4750: 4737:

Peretti, Daniel (2007). "The Ogre Blinded and 'The Lord of the Rings'".

4671: 4493:

The Idylls of Theocritus, Bion, and Moschus: And The Warsongs of Tyrtæus

4474:

The Idylls of Theocritus, Bion, and Moschus: And The Warsongs of Tyrtæus

3568: 3408: 3296:

The Idylls of Theocritus, Bion, and Moschus: And The Warsongs of Tyrtæus

1711:

Acis and Galatea- Polyphemus: 'O ruddier than the cherry' by G.F. Handel

1647:

That Polyphemus' love for Galatea is "possibly" a Philoxenus innovation.

5398: 5378: 5373: 5224: 5175: 5125: 5071: 4716:

Al-Sindibād and Polyphemus. Reflections on the Genesis of an Archetype"

4604: 4575: 4422: 3632: 3603:

Glenn, Justin (1971). "The Polyphemus Folktale and Homer's Kyklôpeia".

1103:

Polyphemus discovers Galatea and Acis, statues by Auguste Ottin in the

1016: 861: 797: 779: 491: 427: 372: 300: 246: 192: 60: 4613: 4040: 3870: 3804: 3697: 3333: 3246:

Beolens, Bo; Watkins, Michael; Grayson, Michael (2011). "Polyphemus".

1260: 5533: 5523: 5513: 5473: 5408: 5388: 5325: 5269: 5260: 5214: 5095: 4988: 4963: 4892:

A wrathful Polyphemus, Jean-Francois de Troy, 18th-century, at Tribes

4882:

A wrathful Polyphemus, Lucas Auger, at French Government culture site

4818:"Odysseus Deriding Polyphemus", J.M.W. Turner, 1829, at Wikipaintings 4730: 4450: 4190:. Translated by Frazer, James George. New York: The Macmillan Company 3605:

Transactions and Proceedings of the American Philological Association

1542:

Polyphemus is mentioned in the "Apprentice" chapter of Albert Pike's

1477:, Acis and Galatea concealed from the flute-playing Polyphemus, 1630. 1209: 978: 844: 721: 651: 357: 299:

lands on the island of the Cyclopes during his journey home from the

250: 183: 4596: 4567: 3616: 3136: 1324:'s separate figures are brought together in an 1866 fountain in the 5543: 5478: 5446: 5441: 5436: 5426: 5335: 5255: 5249: 5234: 5166: 5083: 5065: 5057: 4024: 3473:

Euripides. Cyclops. Alcestis. Medea (Loeb Classical Library No. 12)

1635: 1385:' depiction of Odysseus escaping from the cave of Polyphemus, 1635. 1144: 1134: 1070: 1064: 1025: 966: 848: 814: 809: 595: 450: 446: 431: 344: 296: 228: 216: 86: 76: 4680:

Le conte-type de Polyphème: essai de reconstitution phylogénétique

4583:

Comhaire, Jean L. (1958). "Oriental Versions of Polyphem's Myth".

4522:

Abhandlungen der Königlichen Akademie der Wissenschaften zu Berlin

2008: 1317:

in which the giant towers over the slope on which Galatea sleeps.

5503: 5498: 5468: 5368: 5345: 5264: 5200: 5170: 5119: 5113: 5077: 4998: 4927: 4852:"The Triumph of Galatea", Francois Perrier, at Web Gallery of Art 4455: 4051:

Europe, Empire, and Spectacle in Nineteenth-century British Music

1610: 1415:, Polyphemus attempts to crush the boat of the escaping Odysseus, 1054: 939: 935: 840: 706: 635: 435: 411: 368: 237: 2871: 5528: 5463: 5403: 5320: 5315: 5300: 5295: 5238: 5184: 4993: 4877:

A wrathful Polyphemus, Annibale Carracci, at Web Gallery of Art

2984: 2982: 1148: 1029: 1021: 1002: 962: 958: 391: 387: 376: 340: 220: 111: 90: 4823:

Galatea Acis e Polifemo, Pietro Dandini, c. 1630, at Art Value

2473: 2123: 1057:

times Ovid's story emerged again as a popular theme. In Spain

410:

Amphora painting of Odysseus and his men blinding Polyphemus (

149: 5310: 5209: 4968: 4689:

d'Huy, Julien (2015). "Polyphemus, a Palaeolithic Tale?" In:

4340:. Translated by Trevelyan, R. C. Cambridge University Press. 4127:. Translated by More, Brookes. Boston: Cornhill Publishing Co 1774: 1569:, the episode of the blinding of Polyphemus is also known as 982: 974: 970: 954: 943: 692: 669:

is not precisely known, but it must be prior to 388 BC, when

365: 332: 232: 171: 42: 4652:

https://www.degruyter.com/database/EMO/entry/emo.10.221/html

2979: 5340: 2837:"François Tristan L'HERMITE - Poète - "Polyphème en furie"" 2514: 2512: 1638:, see "Legends About Shepherds, Including Cyclops Legends". 1080:

In France the story was condensed to the fourteen lines of

868: 710: 454: 155: 140: 4887:

A wrathful Polyphemus, Carle van Loo, at First Art Gallery

2337: 2248: 2224: 587:"Polyphemus legends" preserve traditions predating Homer. 134: 3475:. Translated by Kovacs, David. Harvard University Press. 3363:

A Sicilian Story: With Diego De Montilla, And Other Poems

3062: 2567: 2315: 2313: 2284: 2282: 2176: 2174: 2135: 1953: 512:), while Polyphemus is standing at the top of a cliff in 3451: 3092: 2509: 2423: 2195:, p. 446, with n. 4 giving numerous ancient sources 2072: 1887: 1006:

been chosen by him in preference to all her companions.

4867:

Polyphemus meditates, at French Government culture site

3947:

Gardner's Art through the Ages: The Western Perspective

3923:

Interpreting the Images of Greek Myths: An Introduction

2895: 2497: 2111: 1595:

and serves as an antagonist in the second installment,

4857:"The Triumph of Galatea", Giovanni Lanfranco, Art Clon 4727:

Bulletin of the School of Oriental and African Studies

3743:"Representing the Aristocracy: The Operatic Hadyn and 3716:

Selected Poems of Luis de Góngora: A Bilingual Edition

3074: 2634: 2325: 2310: 2279: 2186: 2171: 1941: 1920: 1918: 1304: 1246: 950: 871:'s treatment of the story that he introduced into the 509: 499: 498:'s 1802 head and shoulders portrait of the giant (see 487: 350:

The story reappears in later Classical literature. In

318:

The blinding of Polyphemus, a reconstruction from the

4489: 4470: 4013:

Transactions of the American Philological Association

3292: 3245: 3142: 2557: 2461: 2265: 2263: 482:

Of the European painters of the subject, the Flemish

158: 146: 128: 4862:

The giant spies on Galatea, Gustave Moreau, at Muian

3841:

Hordern, J. H. (1999). "The Cyclops of Philoxenus".

3427:"Deep Play": John Gay and the Invention of Modernity 3299:. Translated by Banks, J. London: W. Clowes and Sons 2883: 2854:

Gay, John; Pope, Alexander; Hughes, John (c. 1718).

2742: 2485: 2236: 2159: 2147: 2060: 2020: 1996: 1859: 1350: 137: 131: 59:

The blinded Polyphemus seeks vengeance on Odysseus:

4696:d'Huy, Julien (2017). "Polyphème en Amérique". In: 4103: 2803: 2048: 1915: 1369:

The blinding, Laconian black-figure cup, 565–560 BC

152: 143: 4729:, University of London 18, no. 2 (1956): 279–302. 3970: 2787: 371:, who he kept together with his sons as slaves on 4047: 3713:de Góngora, Luis (2008). Dent-Young, John (ed.). 3119:"polyphemus moth - Antheraea polyphemus (Cramer)" 3098: 2877: 1800: 1245:'s 1649 "Landscape with Polyphemus" (see gallery 1039: 938:, Polyphemus is pictured seated on a rock with a 5561: 4646:Conrad, JoAnn. "Polyphem (AaTh 1135–1137)". In: 3741:Green, Rebecca (1997). Sisman, Elaine R. (ed.). 2853: 2093:"Julien d'Huy - Polyphemus (Aa. Th. 1137) - NMC" 1685:Excerpts from Jean-Baptiste Lully's 1686 opera, 1400:'s 1802 head and shoulders portrait of the giant 1123:worked in that country and composed the cantata 283:Polyphemos reclining and holding a drinking bowl 4686:, SMF, 2012, pp. 47–59. ffhalshs-00734458f 4140:Ovid (2000). Dyck, Andrew R.; Hopkinson, Neil; 3819: 3027:Hernández Arce, José Antonio (10 August 2019). 2449:. Encyclopædia Britannica, Inc. 5 February 2020 2042: 1974: 1159:, also made the story the subject of his opera 908:to trim your shaggy beard with a reaping hook. 3026: 1577:as ATU 1137, "The Ogre Blinded (Polyphemus)". 1492:'s pastoral "Landscape with Polyphemus", 1649. 906:your stiffened hair with rakes: it pleases you 5044: 5030: 4912: 4465:Online version at the Perseus Digital Library 4316:Making Mockery: The Poetics of Ancient Satire 3586:Early Greek Mythography: Volume 2: Commentary 3250:. Baltimore: Johns Hopkins University Press. 2578:sfn error: no target: CITEREFTheocritus1889 ( 773: 27:Son of Poseidon and Thoosa in Greek mythology 4691:The Retrospective Methods Network Newsletter 4267:Rankin, David (2012). Green, Miranda (ed.). 3226: 2387: 2343: 1699:The text is on the Stanford University site. 1434:Polyphemus hears of the arrival of Galatea, 890:of Acis was the stronger. —They were equal. 650:. The poem was written to be performed as a 634:Writing more than three centuries after the 51: 4725:Mundy, C. S. "Polyphemus and Tepegöz". In: 4298:. New York, NY: Infobase. pp. 123–27. 2530: 886:And, should you ask me, I could not declare 746:The text of Aristophanes' last extant play 642:took up the myth of Polyphemus in his poem 401: 5037: 5023: 4919: 4905: 4539:Die Polyphemsage in der Volksüberlieferung 4354: 4333: 4285: 4245: 4237:: CS1 maint: location missing publisher ( 3712: 3490:Euripides (2020). Coleridge, E. P. (ed.). 3068: 2916:"Naumann: Aci e Galatea/Bernius/Stuttgart" 2819: 2608: 2592: 2573: 2518: 2479: 1959: 1893: 1818: 1739:There is a performance of Polifemo's aria 1507:, Polyphemus adores the sleeping Galatea, 1355: 1264:Polyphemus spies on the sleeping Galatea, 1180:was to turn the story into a comic opera, 268: 4337:A Translation of the Idylls of Theocritus 4296:Encyclopedia of Greek and Roman Mythology 4286:Roman, Luke; Roman, Monica, eds. (2010). 4183: 3489: 3470: 3264: 3227:Aristophanes (1896). Quinn, M. T. (ed.). 2988: 2857:Georg Friedrich Händel's Acis and Galatea 2090: 2084: 1986: 1877: 1865: 1235: 904:the art of pleasing. You have even combed 882:While I pursued him with a constant love, 601: 4835:fresco, Giulio Romano, 1528, at Webalice 4582: 4375: 4075: 3820:Heubeck, Alfred; Hoekstra, Arie (1990). 3538: 3359: 3268:Jean Cras, Polymath of Music and Letters 3154: 2939: 2640: 2524: 2503: 2397: 1259: 1098: 992: 920: 826: 629: 611: 463: 405: 313: 272: 4757: 4736: 4612:Conrad, Jo Ann (1999). "Polyphemus and 3940: 3898: 3840: 3774: 3639: 3080: 3052: 2371: 2331: 2319: 2288: 2254: 2230: 2192: 2180: 1061:wrote the much admired narrative poem, 1044: 929: 800:is credited with creating the genre of 616:Detail of Galatea and Polyphemus. From 590:An example of such a story is one from 14: 5562: 4928:Places visited by Odysseus in Homer's 4657: 4611: 4396: 4266: 3919: 3583: 3517: 3378: 3340: 3093:Elsen, Haas & Frankel Jamison 2003 2955: 2907: 2760: 2748: 2355: 2300: 2269: 2141: 2129: 2026: 1924: 1905: 1806: 1420: 902:are careful of appearance, and you try 900:Now, Polyphemus, wretched Cyclops, you 884:the Cyclops followed me as constantly. 843:takes the theme further in a piece of 473:Ulysses Fleeing the Cave of Polyphemus 197: 5018: 4900: 4553: 4510: 4416: 4312: 4162: 4010: 3989: 3740: 3667: 3602: 3423: 3311: 2901: 2889: 2668: 2491: 2429: 2242: 2204: 2165: 2153: 2078: 2066: 2054: 2002: 1947: 1580: 1143:with an English libretto provided by 210: 4202: 4139: 4120: 3877: 3116: 3110: 3104: 2732: 2716: 2700: 2684: 2652: 2624: 2467: 2403: 2117: 2014: 888:whether my hatred of him, or my love 624: 3143:Beolens, Watkins & Grayson 2011 2847: 2558:Bion, Moschus & Theocritus 1870 1634:For examples of the story from the 1024:gives an account of the wedding of 997:Offspring of Polyphemus and Galatea 961:credited them with three children, 683:); and probably after 406 BC, when 529: 331:if he answers. Odysseus tells him " 24: 4731:http://www.jstor.org/stable/609984 4546: 4490:Bion; Moschus; Theocritus (2015). 4471:Bion; Moschus; Theocritus (1889). 4382:. University of California Press. 3293:Bion; Moschus; Theocritus (1870). 3117:Hall, Donald W. (September 2015). 2913: 1589:'s Greek mythology fantasy series 638:is thought to have been composed, 290: 25: 5616: 4807:Specific artworks discussed above 4790: 4203:Pike (1871). Pike, Albert (ed.). 3248:The Eponym Dictionary of Reptiles 2091:d'Huy, Julien (20 January 2013). 1592:Percy Jackson & the Olympians 1556:A species of burrowing tortoise, 1398:Johann Heinrich Wilhelm Tischbein 1351:Artistic depictions of Polyphemus 496:Johann Heinrich Wilhelm Tischbein 4648:Enzyklopädie des Märchens Online 3430:. University of Delaware Press. 2017:, pp. 201–229, Chapter VII. 1518: 1497: 1482: 1467: 1455: 1443: 1427: 1405: 1390: 1374: 1362: 665:The date of composition for the 124: 5590:LGBTQ themes in Greek mythology 3899:Jackson, Lucy C. M. M. (2019). 3823:A Commentary on Homer's Odyssey 3719:. University of Chicago Press. 3190: 3164: 3020: 3006:Kazu Suwa | Classical Guitarist 2994: 2949: 2829: 2754: 2435: 2198: 1930: 1733: 1721: 1702: 1693: 1678: 1659: 1650: 1641: 1628: 1299:A whole series of paintings by 741: 477:Princeton University Art Museum 215:) is the one-eyed giant son of 4801:The Metropolitan Museum of Art 4363:. Translated by Calverley, C.S 4169:University of Virginia Library 4148:. Cambridge University Press. 3996:. Cambridge University Press. 3926:. Cambridge University Press. 3753:. Princeton University Press. 3265:Bempéchat, Paul-André (2009). 3233:. London: George Bell and Sons 3220: 1839: 1812: 1767: 1220:'s four fragments for guitar, 1040:Later European interpretations 855: 469:Christoffer Wilhelm Eckersberg 445:probably made for the Emperor 320:villa of Tiberius at Sperlonga 13: 1: 4693:. Winter 2014–2015, 9: 43–64. 2769:. Translated by White, Horace 2205:Rocha, Roosevelt (May 2015). 1977:, p.19 on lines 105–556. 1755: 1537: 1508: 1224:(1956), takes its title from 356:, the 5th-century BC play by 5090:Laertes (father of Odysseus) 4632:10.1515/fabl.1999.40.3-4.278 4477:. Translated by Lang, Andrew 4076:Newlands, Carole E. (2015). 3949:. Boston: Cengage Learning. 2956:Austin, Alfred (July 1901). 2097:Nouvelle Mythologie Comparée 1760: 1203:wrote the 2-act verse drama 608:Acis and Galatea (mythology) 184: 7: 4403:. Translated by Kline, A. S 4319:. Oxford University Press. 4254:. Translated by Kline, A. S 4054:. Ashgate Publishing, Ltd. 3971:Lucian of Samosata (1820). 3905:. Oxford University Press. 3826:. Oxford University Press. 3588:. Oxford University Press. 3524:. Oxford University Press. 3518:Farmer, Matthew C. (2017). 3456:. Oxford University Press. 3271:. Ashgate Publishing, Ltd. 2043:Heubeck & Hoekstra 1990 1975:Heubeck & Hoekstra 1990 1604: 1119:(1703). Shortly afterwards 1115:composed the one-act opera 523:Ulysses Deriding Polyphemus 32:Polyphemus (disambiguation) 10: 5621: 4171:. Translated by Kline, A.S 3990:LeVen, Pauline A. (2014). 3521:Tragedy on the Comic Stage 2539:. Translated by Mair, A. W 2404:Williams, Frederick John. 2211:Bryn Mawr Classical Review 1819:Autenrieth, Georg (1876). 1775: 1708:There is a performance of 1575:Aarne-Thompson-Uther Index 774:Hellenistic pastoral poets 673:parodied it in his comedy 605: 562:, and others; versions in 172: 43: 29: 5605:Mythological blind people 5575:Characters in the Odyssey 5417: 5359: 5288: 5160:Other monarchs and royals 5159: 5055: 4937: 4705:Du nouveau sur Polyphème" 4585:Anthropological Quarterly 4082:. Bloomsbury Publishing. 3941:Kleiner, Fred S. (2008). 3789:10.1017/S0017383500027145 3682:10.1017/S0017383500020246 3553:10.1017/S000983881000039X 3393:10.1017/S0009838809990188 2843:(in French). 24 May 2013. 2443:"Theocritus | Greek poet" 1009: 988: 278:Greek terracotta figurine 107: 97: 82: 72: 50: 4774:10.1515/fabl.1962.5.1.48 4376:Thompson, Stith (1977). 3360:Cornwall, Barry (1820). 3341:Brooks, Francis (1896). 3029:"A Short Story by Oscar" 2804:Nonnus of Panopolis 1940 1621: 1107:'s Médici Fountain, 1866 1059:Luis de Góngora y Argote 1028:and Beroe, at which the 973:, from whom descend the 402:Artistic representations 4840:1 February 2014 at the 4828:2 February 2014 at the 4745:(3/4 (97/98)): 133–43. 4703:d'Huy, Julien (2019). " 4461:Aristotle in 23 Volumes 4248:"The Elegies: Book III" 4146:Metamorphoses Book XIII 3881:Legends of the Caucasus 3843:The Classical Quarterly 3541:The Classical Quarterly 3381:The Classical Quarterly 2788:Lucian of Samosata 1820 2533:"Callimachus: Epigrams" 2447:Encyclopedia Britannica 1791:A Greek–English Lexicon 1585:Polyphemus features in 1356:Polyphemus and Odysseus 1251:Dublin National Gallery 1178:Johann Gottlieb Naumann 1131:Fra l'ombre e gl'orrori 1126:Aci, Galatea e Polifemo 804:. His works are titled 720:is also referred to in 269:Odysseus and Polyphemus 5595:Mythological Sicilians 4556:Comparative Literature 3920:Junker, Klaus (2012). 3584:Fowler, R. L. (2013). 3424:Dugaw, Dianne (2001). 3069:Roman & Roman 2010 2878:Montemorra Martin 2006 1960:Roman & Roman 2010 1894:Roman & Roman 2010 1573:and classified in the 1269: 1236:Painting and sculpture 1218:Reginald Smith Brindle 1121:George Frideric Handel 1108: 1075:Antoni Lliteres Carrió 998: 926: 911: 893: 835: 825: 621: 602:Polyphemus and Galatea 538:collected versions in 479: 415: 323: 287: 212:[pɔlʏˈpʰeːmʊs] 207: 56: 4520:(in German). Berlin: 4517:Die sage von Polyphem 4313:Rosen, Ralph (2007). 4252:Poetry in Translation 4187:Description of Greece 3123:University of Florida 2962:North American Review 2763:"The Illyrian Wars 1" 2761:Appian (4 May 2019). 1782:Liddell, Henry George 1742:Fulmine che dal Cielo 1345:Jean-François de Troy 1294:Jean-Baptiste van Loo 1272:An earlier fresco by 1263: 1226:Federico García Lorca 1168:Later in the century 1102: 1096:(1686) on the theme. 996: 946:riding on a dolphin. 924: 897: 879: 832:Jean-Baptiste van Loo 830: 819: 640:Philoxenus of Cythera 630:Philoxenus of Cythera 615: 467: 409: 317: 276: 199:[polypʰɛːmos] 55: 5585:Children of Poseidon 4984:Scylla and Charybdis 4709:Mythologie française 4698:Mythologie française 4684:Mythologie française 3878:Hunt, David (2012). 3033:Dialogue of the Dogs 2531:Callimachus (1921). 1854:A Homeric Dictionary 1852:, Georg Autenrieth, 1825:A Homeric Dictionary 1257:during this period. 1184:, with the subtitle 1105:Jardin du Luxembourg 1045:Literature and music 930:First-century AD art 443:Sperlonga sculptures 30:For other uses, see 4714:Montgomery, J. E. " 4355:Theocritus (2004). 4334:Theocritus (1947). 4246:Propertius (2008). 3855:10.1093/cq/49.2.445 3751:Haydn and His World 2991:, pp. 279–283. 2482:, p. 11.30–33. 2432:, pp. 234–234. 2257:, pp. 448–450. 2144:, pp. 163–164. 2120:, pp. 218–222. 2081:, pp. 135–136. 1672:12 May 2013 at the 1598:The Sea of Monsters 1559:Gopherus polyphemus 1421:Polyphemus as lover 1278:Corneille Van Clève 1092:composed his opera 1090:Jean-Baptiste Lully 699:in the manner of a 386:In his Latin epic, 63:'s painting in the 47: 5351:Old Man of the Sea 5196:Deucalion of Crete 5046:Characters in the 4417:General references 4184:Pausanias (1898). 3974:Lucian of Samosata 3471:Euripides (1994). 3326:10.1093/gr/49.1.44 3176:www.popmatters.com 3095:, pp. 275–76. 2904:, pp. 167–68. 2233:, p. 445–446. 1729:Classical Archives 1727:Brief excerpts at 1689:at PrestoClassical 1581:In popular culture 1339:, Lucas Auger and 1290:Giovanni Lanfranco 1270: 1230:Polifemo i Galatea 1222:El Polifemo de Oro 1113:Giovanni Bononcini 1109: 1086:Polyphème en furie 999: 927: 836: 622: 480: 416: 379:, calling him "my 324: 288: 65:Capitoline Museums 57: 39: 5557: 5556: 5012: 5011: 4503:978-0-674-99644-1 4436:978-0-674-99559-8 4389:978-0-520-03537-9 4361:Project Gutenberg 4347:978-1-107-43219-2 4326:978-0-19-804234-1 4305:978-1-4381-2639-5 4142:Easterling, P. E. 4089:978-0-85772-660-5 4061:978-0-7546-5208-3 4003:978-1-107-01853-2 3956:978-0-495-57355-5 3933:978-0-521-89582-8 3891:978-0-86356-823-7 3777:Greece & Rome 3760:978-0-691-05799-6 3726:978-0-226-14062-9 3670:Greece & Rome 3653:978-90-04-22955-6 3531:978-0-19-049207-6 3437:978-0-87413-731-6 3344:Greek Lyric Poets 3314:Greece & Rome 3278:978-0-7546-0683-3 3257:978-1-4214-0135-5 2841:Balades comtoises 2470:, pp. 36–37. 2388:Aristophanes 1896 2344:Aristophanes 1896 1950:, pp. 44–61. 1337:Annibale Carracci 1326:Luxembourg Garden 1311:'s 1913 painting 1082:Tristan L'Hermite 709:, a professional 687:became tyrant of 295:In Homer's epic, 181: 117: 116: 16:(Redirected from 5612: 5039: 5032: 5025: 5016: 5015: 4921: 4914: 4907: 4898: 4897: 4785: 4754: 4678:d'Huy, Julien. " 4675: 4643: 4626:(3–4): 278–297. 4608: 4579: 4533: 4531: 4529: 4507: 4486: 4484: 4482: 4447: 4445: 4443: 4412: 4410: 4408: 4393: 4372: 4370: 4368: 4351: 4330: 4309: 4282: 4269:The Celtic World 4263: 4261: 4259: 4242: 4236: 4228: 4226: 4224: 4199: 4197: 4195: 4180: 4178: 4176: 4159: 4136: 4134: 4132: 4117: 4115: 4113: 4100: 4098: 4096: 4072: 4070: 4068: 4044: 4007: 3986: 3984: 3982: 3967: 3965: 3963: 3937: 3916: 3895: 3874: 3837: 3816: 3771: 3769: 3767: 3737: 3735: 3733: 3709: 3664: 3662: 3660: 3636: 3599: 3580: 3535: 3514: 3512: 3510: 3486: 3467: 3448: 3446: 3444: 3420: 3375: 3373: 3371: 3356: 3354: 3352: 3337: 3308: 3306: 3304: 3289: 3287: 3285: 3261: 3242: 3240: 3238: 3214: 3213: 3211: 3209: 3202:www.philstar.com 3194: 3188: 3187: 3185: 3183: 3168: 3162: 3152: 3146: 3140: 3134: 3133: 3131: 3129: 3114: 3108: 3102: 3096: 3090: 3084: 3078: 3072: 3066: 3060: 3050: 3044: 3043: 3041: 3039: 3024: 3018: 3017: 3015: 3013: 2998: 2992: 2986: 2977: 2976: 2974: 2972: 2953: 2947: 2937: 2931: 2930: 2928: 2926: 2914:Levine, Robert. 2911: 2905: 2899: 2893: 2887: 2881: 2875: 2869: 2868: 2866: 2864: 2851: 2845: 2844: 2833: 2827: 2817: 2811: 2801: 2795: 2785: 2779: 2778: 2776: 2774: 2758: 2752: 2746: 2740: 2730: 2724: 2714: 2708: 2698: 2692: 2682: 2676: 2666: 2660: 2650: 2644: 2638: 2632: 2622: 2616: 2606: 2600: 2590: 2584: 2583: 2571: 2565: 2555: 2549: 2548: 2546: 2544: 2528: 2522: 2516: 2507: 2501: 2495: 2489: 2483: 2477: 2471: 2465: 2459: 2458: 2456: 2454: 2439: 2433: 2427: 2421: 2420: 2418: 2416: 2410:Oxford Reference 2401: 2395: 2385: 2379: 2369: 2363: 2353: 2347: 2341: 2335: 2329: 2323: 2317: 2308: 2298: 2292: 2286: 2277: 2267: 2258: 2252: 2246: 2240: 2234: 2228: 2222: 2221: 2219: 2217: 2202: 2196: 2190: 2184: 2178: 2169: 2163: 2157: 2151: 2145: 2139: 2133: 2127: 2121: 2115: 2109: 2108: 2106: 2104: 2088: 2082: 2076: 2070: 2064: 2058: 2052: 2046: 2040: 2034: 2024: 2018: 2012: 2006: 2000: 1994: 1984: 1978: 1972: 1963: 1957: 1951: 1945: 1939: 1934: 1928: 1922: 1913: 1903: 1897: 1891: 1885: 1875: 1869: 1863: 1857: 1843: 1837: 1836: 1834: 1832: 1816: 1810: 1804: 1798: 1778: 1777: 1771: 1749: 1743: 1737: 1731: 1725: 1719: 1712: 1706: 1700: 1697: 1691: 1682: 1676: 1663: 1657: 1654: 1648: 1645: 1639: 1632: 1544:Morals and Dogma 1522: 1513: 1510: 1501: 1486: 1471: 1459: 1447: 1431: 1409: 1394: 1378: 1366: 1286:François Perrier 1208:French composer 1186:i ciclopi amanti 1140:Acis and Galatea 738:and Philoxenus. 530:Possible origins 514:Jean-Léon Gérôme 322:, 1st century AD 214: 201: 196: 189: 177: 175: 174: 165: 164: 161: 160: 157: 154: 151: 148: 145: 142: 139: 136: 133: 130: 48: 46: 45: 38: 21: 5620: 5619: 5615: 5614: 5613: 5611: 5610: 5609: 5560: 5559: 5558: 5553: 5413: 5355: 5284: 5155: 5104:(chief servant) 5051: 5043: 5013: 5008: 4933: 4925: 4842:Wayback Machine 4830:Wayback Machine 4793: 4788: 4597:10.2307/3316559 4568:10.2307/1770048 4549: 4547:Further reading 4527: 4525: 4524:. pp. 1–30 4504: 4480: 4478: 4441: 4439: 4437: 4419: 4406: 4404: 4397:Virgil (2002). 4390: 4366: 4364: 4348: 4327: 4306: 4279: 4257: 4255: 4230: 4229: 4222: 4220: 4218: 4193: 4191: 4174: 4172: 4165:"Metamorphoses" 4156: 4130: 4128: 4111: 4109: 4094: 4092: 4090: 4066: 4064: 4062: 4004: 3980: 3978: 3961: 3959: 3957: 3934: 3913: 3892: 3834: 3765: 3763: 3761: 3731: 3729: 3727: 3658: 3656: 3654: 3617:10.2307/2935942 3596: 3532: 3508: 3506: 3504: 3483: 3464: 3442: 3440: 3438: 3369: 3367: 3350: 3348: 3302: 3300: 3283: 3281: 3279: 3258: 3236: 3234: 3223: 3218: 3217: 3207: 3205: 3196: 3195: 3191: 3181: 3179: 3178:. 7 August 2013 3170: 3169: 3165: 3153: 3149: 3145:, pp. 209. 3141: 3137: 3127: 3125: 3115: 3111: 3103: 3099: 3091: 3087: 3079: 3075: 3067: 3063: 3051: 3047: 3037: 3035: 3025: 3021: 3011: 3009: 3000: 2999: 2995: 2987: 2980: 2970: 2968: 2954: 2950: 2938: 2934: 2924: 2922: 2912: 2908: 2900: 2896: 2888: 2884: 2876: 2872: 2862: 2860: 2852: 2848: 2835: 2834: 2830: 2820:de Góngora 2008 2818: 2814: 2802: 2798: 2786: 2782: 2772: 2770: 2759: 2755: 2747: 2743: 2731: 2727: 2715: 2711: 2699: 2695: 2683: 2679: 2667: 2663: 2651: 2647: 2639: 2635: 2623: 2619: 2609:Propertius 2008 2607: 2603: 2593:Theocritus 2004 2591: 2587: 2577: 2574:Theocritus 1889 2572: 2568: 2556: 2552: 2542: 2540: 2529: 2525: 2519:Theocritus 1947 2517: 2510: 2502: 2498: 2490: 2486: 2480:Theocritus 1947 2478: 2474: 2466: 2462: 2452: 2450: 2441: 2440: 2436: 2428: 2424: 2414: 2412: 2402: 2398: 2386: 2382: 2370: 2366: 2354: 2350: 2342: 2338: 2330: 2326: 2318: 2311: 2299: 2295: 2287: 2280: 2268: 2261: 2253: 2249: 2241: 2237: 2229: 2225: 2215: 2213: 2203: 2199: 2191: 2187: 2179: 2172: 2164: 2160: 2152: 2148: 2140: 2136: 2132:, 563 with n.5. 2128: 2124: 2116: 2112: 2102: 2100: 2089: 2085: 2077: 2073: 2065: 2061: 2053: 2049: 2041: 2037: 2025: 2021: 2013: 2009: 2001: 1997: 1985: 1981: 1973: 1966: 1958: 1954: 1946: 1942: 1935: 1931: 1923: 1916: 1904: 1900: 1892: 1888: 1876: 1872: 1864: 1860: 1844: 1840: 1830: 1828: 1817: 1813: 1805: 1801: 1796:Perseus Project 1772: 1768: 1763: 1758: 1753: 1752: 1741: 1738: 1734: 1726: 1722: 1710: 1707: 1703: 1698: 1694: 1687:Acis et Galatée 1683: 1679: 1674:Wayback Machine 1664: 1660: 1655: 1651: 1646: 1642: 1633: 1629: 1624: 1616:Cyclopean Isles 1607: 1583: 1551:Polyphemus moth 1540: 1533: 1523: 1514: 1511: 1502: 1493: 1490:Nicolas Poussin 1487: 1478: 1475:Nicolas Poussin 1472: 1463: 1460: 1451: 1448: 1439: 1432: 1423: 1416: 1410: 1401: 1395: 1386: 1379: 1370: 1367: 1358: 1353: 1243:Nicolas Poussin 1238: 1174:Acide e Galatea 1094:Acis et Galatée 1047: 1042: 1012: 991: 932: 910: 907: 905: 903: 901: 892: 889: 887: 885: 883: 858: 824: 802:pastoral poetry 776: 744: 632: 627: 625:Ancient sources 610: 604: 532: 518:J. M. W. Turner 459:Hadrian's Villa 404: 293: 291:Ancient sources 271: 225:Greek mythology 191: 127: 123: 102:Greek mythology 68: 41: 35: 28: 23: 22: 15: 12: 11: 5: 5618: 5608: 5607: 5602: 5597: 5592: 5587: 5582: 5577: 5572: 5555: 5554: 5552: 5551: 5546: 5541: 5536: 5531: 5526: 5521: 5516: 5511: 5506: 5501: 5496: 5491: 5486: 5481: 5476: 5471: 5466: 5461: 5456: 5455: 5454: 5444: 5439: 5434: 5429: 5423: 5421: 5415: 5414: 5412: 5411: 5406: 5401: 5396: 5391: 5386: 5381: 5376: 5371: 5365: 5363: 5357: 5356: 5354: 5353: 5348: 5343: 5338: 5333: 5323: 5318: 5313: 5308: 5303: 5298: 5292: 5290: 5286: 5285: 5283: 5282: 5277: 5272: 5267: 5258: 5253: 5246: 5241: 5232: 5227: 5222: 5217: 5212: 5203: 5198: 5193: 5187: 5182: 5178:, king of the 5173: 5163: 5161: 5157: 5156: 5154: 5153: 5147: 5141: 5135: 5129: 5123: 5117: 5111: 5105: 5099: 5093: 5087: 5081: 5075: 5069: 5062: 5060: 5053: 5052: 5042: 5041: 5034: 5027: 5019: 5010: 5009: 5007: 5006: 5001: 4996: 4991: 4986: 4981: 4976: 4974:The Underworld 4971: 4966: 4961: 4956: 4952:The island of 4950: 4946:The island of 4944: 4938: 4935: 4934: 4924: 4923: 4916: 4909: 4901: 4895: 4894: 4889: 4884: 4879: 4874: 4869: 4864: 4859: 4854: 4849: 4844: 4832: 4820: 4815: 4804: 4803: 4792: 4791:External links 4789: 4787: 4786: 4755: 4734: 4723: 4712: 4701: 4694: 4687: 4676: 4660:Wiener Studien 4655: 4644: 4609: 4580: 4562:(3): 193–202. 4550: 4548: 4545: 4544: 4543: 4534: 4512:Grimm, Wilhelm 4508: 4502: 4487: 4468: 4448: 4435: 4418: 4415: 4414: 4413: 4394: 4388: 4373: 4352: 4346: 4331: 4325: 4310: 4304: 4283: 4278:978-1135632434 4277: 4264: 4243: 4216: 4210:. Charleston. 4200: 4181: 4163:Ovid (2000b). 4160: 4154: 4137: 4118: 4101: 4088: 4073: 4060: 4045: 4025:10.2307/284000 4008: 4002: 3987: 3968: 3955: 3943:"Odilon Redon" 3938: 3932: 3917: 3911: 3896: 3890: 3875: 3849:(2): 445–455. 3838: 3832: 3817: 3783:(2): 190–197. 3772: 3759: 3738: 3725: 3710: 3676:(2): 141–155. 3665: 3652: 3637: 3600: 3595:978-0198147411 3594: 3581: 3547:(1): 178–185. 3536: 3530: 3515: 3503:979-8664122046 3502: 3487: 3481: 3468: 3462: 3449: 3436: 3421: 3387:(2): 562–577. 3376: 3357: 3338: 3309: 3290: 3277: 3262: 3256: 3243: 3222: 3219: 3216: 3215: 3204:. 23 July 2013 3189: 3163: 3147: 3135: 3109: 3097: 3085: 3083:, p. 672. 3073: 3071:, p. 175. 3061: 3045: 3019: 2993: 2989:Bempéchat 2009 2978: 2948: 2932: 2920:Classics Today 2906: 2894: 2892:, p. 154. 2882: 2880:, p. 249. 2870: 2846: 2828: 2812: 2796: 2780: 2753: 2741: 2725: 2709: 2693: 2677: 2661: 2645: 2633: 2617: 2601: 2585: 2576:, p. 317. 2566: 2550: 2523: 2508: 2506:, p. 178. 2496: 2494:, p. 162. 2484: 2472: 2460: 2434: 2422: 2396: 2380: 2364: 2348: 2336: 2334:, p. 126. 2324: 2322:, p. 125. 2309: 2293: 2291:, p. 124. 2278: 2259: 2247: 2245:, p. 235. 2235: 2223: 2197: 2185: 2183:, p. 445. 2170: 2168:, p. 155. 2158: 2156:, p. 237. 2146: 2134: 2122: 2110: 2083: 2071: 2069:, p. 141. 2059: 2047: 2035: 2019: 2007: 2005:, p. 134. 1995: 1991:p. 344 on 22.7 1987:Pausanias 1898 1979: 1964: 1962:, p. 416. 1952: 1940: 1929: 1914: 1898: 1896:, p. 126. 1886: 1878:Euripides 1994 1870: 1866:Euripides 2020 1858: 1838: 1811: 1799: 1765: 1764: 1762: 1759: 1757: 1754: 1751: 1750: 1732: 1720: 1701: 1692: 1677: 1658: 1649: 1640: 1626: 1625: 1623: 1620: 1619: 1618: 1613: 1606: 1603: 1582: 1579: 1539: 1536: 1535: 1534: 1524: 1517: 1515: 1505:Gustave Moreau 1503: 1496: 1494: 1488: 1481: 1479: 1473: 1466: 1464: 1461: 1454: 1452: 1449: 1442: 1440: 1433: 1426: 1422: 1419: 1418: 1417: 1413:Arnold Böcklin 1411: 1404: 1402: 1396: 1389: 1387: 1383:Jacob Jordaens 1380: 1373: 1371: 1368: 1361: 1357: 1354: 1352: 1349: 1301:Gustave Moreau 1266:Gustave Moreau 1255:Pietro Dandini 1237: 1234: 1157:Nicola Porpora 1046: 1043: 1041: 1038: 1011: 1008: 990: 987: 985:respectively. 931: 928: 898: 880: 857: 854: 820: 792:Bion of Smyrna 775: 772: 743: 740: 631: 628: 626: 623: 606:Main article: 603: 600: 531: 528: 506:Arnold Böcklin 484:Jacob Jordaens 430:or deeds from 403: 400: 390:describes how 292: 289: 270: 267: 115: 114: 109: 105: 104: 99: 95: 94: 84: 80: 79: 74: 70: 69: 58: 26: 9: 6: 4: 3: 2: 5617: 5606: 5603: 5601: 5600:ATU 1000-1199 5598: 5596: 5593: 5591: 5588: 5586: 5583: 5581: 5578: 5576: 5573: 5571: 5568: 5567: 5565: 5550: 5547: 5545: 5542: 5540: 5537: 5535: 5532: 5530: 5527: 5525: 5522: 5520: 5517: 5515: 5512: 5510: 5507: 5505: 5502: 5500: 5497: 5495: 5492: 5490: 5487: 5485: 5482: 5480: 5477: 5475: 5472: 5470: 5467: 5465: 5462: 5460: 5457: 5453: 5450: 5449: 5448: 5445: 5443: 5440: 5438: 5435: 5433: 5430: 5428: 5425: 5424: 5422: 5420: 5416: 5410: 5407: 5405: 5402: 5400: 5397: 5395: 5392: 5390: 5387: 5385: 5382: 5380: 5377: 5375: 5372: 5370: 5367: 5366: 5364: 5362: 5358: 5352: 5349: 5347: 5344: 5342: 5339: 5337: 5334: 5331: 5327: 5324: 5322: 5319: 5317: 5314: 5312: 5309: 5307: 5304: 5302: 5299: 5297: 5294: 5293: 5291: 5287: 5281: 5278: 5276: 5273: 5271: 5268: 5266: 5262: 5259: 5257: 5254: 5251: 5247: 5245: 5242: 5240: 5236: 5233: 5231: 5228: 5226: 5223: 5221: 5218: 5216: 5213: 5211: 5207: 5204: 5202: 5199: 5197: 5194: 5191: 5188: 5186: 5183: 5181: 5177: 5174: 5172: 5168: 5165: 5164: 5162: 5158: 5151: 5148: 5145: 5142: 5139: 5136: 5133: 5130: 5127: 5124: 5121: 5118: 5115: 5112: 5109: 5106: 5103: 5100: 5098:(grandfather) 5097: 5094: 5091: 5088: 5085: 5082: 5079: 5076: 5073: 5070: 5067: 5064: 5063: 5061: 5059: 5054: 5050: 5049: 5040: 5035: 5033: 5028: 5026: 5021: 5020: 5017: 5005: 5002: 5000: 4997: 4995: 4992: 4990: 4987: 4985: 4982: 4980: 4977: 4975: 4972: 4970: 4967: 4965: 4962: 4960: 4957: 4955: 4951: 4949: 4945: 4943: 4940: 4939: 4936: 4932: 4931: 4922: 4917: 4915: 4910: 4908: 4903: 4902: 4899: 4893: 4890: 4888: 4885: 4883: 4880: 4878: 4875: 4873: 4870: 4868: 4865: 4863: 4860: 4858: 4855: 4853: 4850: 4848: 4845: 4843: 4839: 4836: 4833: 4831: 4827: 4824: 4821: 4819: 4816: 4814: 4811: 4810: 4809: 4808: 4802: 4798: 4795: 4794: 4783: 4779: 4775: 4771: 4767: 4763: 4762: 4756: 4752: 4748: 4744: 4740: 4735: 4732: 4728: 4724: 4721: 4717: 4713: 4711:, 277: 15-18. 4710: 4706: 4702: 4699: 4695: 4692: 4688: 4685: 4681: 4677: 4673: 4669: 4665: 4661: 4656: 4653: 4649: 4645: 4641: 4637: 4633: 4629: 4625: 4621: 4620: 4615: 4610: 4606: 4602: 4598: 4594: 4590: 4586: 4581: 4577: 4573: 4569: 4565: 4561: 4557: 4552: 4551: 4541: 4540: 4535: 4523: 4519: 4518: 4513: 4509: 4505: 4499: 4495: 4494: 4488: 4476: 4475: 4469: 4466: 4462: 4458: 4457: 4452: 4449: 4438: 4432: 4428: 4427: 4421: 4420: 4402: 4401: 4395: 4391: 4385: 4381: 4380: 4374: 4362: 4358: 4353: 4349: 4343: 4339: 4338: 4332: 4328: 4322: 4318: 4317: 4311: 4307: 4301: 4297: 4293: 4291: 4284: 4280: 4274: 4271:. Routledge. 4270: 4265: 4253: 4249: 4244: 4240: 4234: 4219: 4217:9781592328154 4213: 4209: 4208: 4201: 4189: 4188: 4182: 4170: 4166: 4161: 4157: 4155:9780521554213 4151: 4147: 4143: 4138: 4126: 4125: 4124:Metamorphoses 4121:Ovid (1922). 4119: 4107: 4102: 4091: 4085: 4081: 4080: 4074: 4063: 4057: 4053: 4052: 4046: 4042: 4038: 4034: 4030: 4026: 4022: 4018: 4014: 4009: 4005: 3999: 3995: 3994: 3988: 3976: 3975: 3969: 3958: 3952: 3948: 3944: 3939: 3935: 3929: 3925: 3924: 3918: 3914: 3912:9780192582881 3908: 3904: 3903: 3897: 3893: 3887: 3883: 3882: 3876: 3872: 3868: 3864: 3860: 3856: 3852: 3848: 3844: 3839: 3835: 3833:0-19-872144-7 3829: 3825: 3824: 3818: 3814: 3810: 3806: 3802: 3798: 3794: 3790: 3786: 3782: 3778: 3773: 3762: 3756: 3752: 3748: 3746: 3745:Le pescatrici 3739: 3728: 3722: 3718: 3717: 3711: 3707: 3703: 3699: 3695: 3691: 3687: 3683: 3679: 3675: 3671: 3666: 3655: 3649: 3645: 3644: 3638: 3634: 3630: 3626: 3622: 3618: 3614: 3610: 3606: 3601: 3597: 3591: 3587: 3582: 3578: 3574: 3570: 3566: 3562: 3558: 3554: 3550: 3546: 3542: 3537: 3533: 3527: 3523: 3522: 3516: 3505: 3499: 3495: 3494: 3488: 3484: 3482:9780674995604 3478: 3474: 3469: 3465: 3463:9780198030614 3459: 3455: 3450: 3439: 3433: 3429: 3428: 3422: 3418: 3414: 3410: 3406: 3402: 3398: 3394: 3390: 3386: 3382: 3377: 3365: 3364: 3358: 3346: 3345: 3339: 3335: 3331: 3327: 3323: 3319: 3315: 3310: 3298: 3297: 3291: 3280: 3274: 3270: 3269: 3263: 3259: 3253: 3249: 3244: 3232: 3231: 3225: 3224: 3203: 3199: 3193: 3177: 3173: 3167: 3160: 3156: 3155:Thompson 1977 3151: 3144: 3139: 3124: 3120: 3113: 3106: 3101: 3094: 3089: 3082: 3077: 3070: 3065: 3058: 3054: 3049: 3034: 3030: 3023: 3008:. 18 May 2013 3007: 3003: 2997: 2990: 2985: 2983: 2967: 2963: 2959: 2952: 2945: 2941: 2940:Cornwall 1820 2936: 2921: 2917: 2910: 2903: 2898: 2891: 2886: 2879: 2874: 2859: 2858: 2850: 2842: 2838: 2832: 2825: 2821: 2816: 2809: 2805: 2800: 2793: 2789: 2784: 2768: 2764: 2757: 2751:, p. 22. 2750: 2745: 2738: 2734: 2729: 2722: 2718: 2713: 2706: 2702: 2697: 2690: 2686: 2681: 2674: 2670: 2665: 2658: 2654: 2649: 2643:, p. 77. 2642: 2641:Newlands 2015 2637: 2630: 2626: 2621: 2614: 2610: 2605: 2598: 2594: 2589: 2581: 2575: 2570: 2563: 2559: 2554: 2538: 2534: 2527: 2521:, p. 38. 2520: 2515: 2513: 2505: 2504:Faulkner 2011 2500: 2493: 2488: 2481: 2476: 2469: 2464: 2448: 2444: 2438: 2431: 2426: 2411: 2407: 2406:"Hermesianax" 2400: 2393: 2389: 2384: 2377: 2373: 2368: 2361: 2357: 2352: 2346:, p. 15. 2345: 2340: 2333: 2328: 2321: 2316: 2314: 2306: 2302: 2297: 2290: 2285: 2283: 2275: 2271: 2266: 2264: 2256: 2251: 2244: 2239: 2232: 2227: 2212: 2208: 2201: 2194: 2189: 2182: 2177: 2175: 2167: 2162: 2155: 2150: 2143: 2138: 2131: 2126: 2119: 2114: 2098: 2094: 2087: 2080: 2075: 2068: 2063: 2057:, p. 17. 2056: 2051: 2044: 2039: 2032: 2028: 2023: 2016: 2011: 2004: 1999: 1992: 1988: 1983: 1976: 1971: 1969: 1961: 1956: 1949: 1944: 1938: 1933: 1927:, p. 80. 1926: 1921: 1919: 1911: 1910:lines 588–691 1907: 1902: 1895: 1890: 1883: 1879: 1874: 1867: 1862: 1855: 1851: 1847: 1842: 1826: 1822: 1821:"οὔτις, οὔτι" 1815: 1808: 1803: 1797: 1793: 1792: 1787: 1786:Scott, Robert 1783: 1779: 1770: 1766: 1748: 1744: 1736: 1730: 1724: 1717: 1713: 1705: 1696: 1690: 1688: 1681: 1675: 1671: 1668: 1665:Spanish text 1662: 1653: 1644: 1637: 1631: 1627: 1617: 1614: 1612: 1609: 1608: 1602: 1600: 1599: 1594: 1593: 1588: 1578: 1576: 1572: 1568: 1567:folkloristics 1563: 1561: 1560: 1554: 1552: 1547: 1545: 1531: 1527: 1521: 1516: 1506: 1500: 1495: 1491: 1485: 1480: 1476: 1470: 1465: 1458: 1453: 1446: 1441: 1437: 1430: 1425: 1424: 1414: 1408: 1403: 1399: 1393: 1388: 1384: 1377: 1372: 1365: 1360: 1359: 1348: 1346: 1342: 1341:Carle van Loo 1338: 1333: 1331: 1330:Auguste Rodin 1327: 1323: 1322:Auguste Ottin 1318: 1316: 1315: 1310: 1306: 1302: 1297: 1295: 1291: 1287: 1281: 1279: 1275: 1274:Giulio Romano 1267: 1262: 1258: 1256: 1252: 1248: 1244: 1233: 1231: 1227: 1223: 1219: 1214: 1211: 1206: 1202: 1201:Albert Samain 1198: 1197:Alfred Austin 1194: 1193:Bryan Procter 1189: 1187: 1183: 1182:Aci e Galatea 1179: 1175: 1171: 1166: 1164: 1163: 1158: 1154: 1150: 1146: 1142: 1141: 1136: 1132: 1128: 1127: 1122: 1118: 1114: 1106: 1101: 1097: 1095: 1091: 1087: 1083: 1078: 1076: 1072: 1068: 1066: 1060: 1056: 1052: 1037: 1035: 1031: 1027: 1023: 1019: 1018: 1007: 1004: 995: 986: 984: 980: 976: 972: 968: 964: 960: 956: 952: 947: 945: 941: 937: 923: 919: 915: 909: 896: 891: 878: 876: 875: 874:Metamorphoses 870: 865: 863: 853: 850: 846: 842: 833: 829: 823: 818: 816: 811: 808:and of these 807: 803: 799: 795: 793: 789: 785: 781: 771: 769: 763: 761: 757: 753: 749: 739: 737: 733: 729: 728: 723: 719: 714: 712: 708: 704: 703: 698: 694: 690: 686: 682: 678: 677: 672: 668: 663: 661: 657: 653: 649: 645: 641: 637: 619: 614: 609: 599: 597: 593: 588: 585: 581: 577: 573: 569: 565: 561: 557: 553: 549: 545: 541: 537: 536:Wilhelm Grimm 527: 525: 524: 520:'s painting, 519: 515: 511: 507: 503: 501: 497: 493: 489: 485: 478: 474: 470: 466: 462: 460: 456: 452: 448: 444: 439: 437: 433: 429: 425: 421: 413: 408: 399: 397: 393: 389: 384: 382: 378: 374: 370: 367: 363: 359: 355: 354: 348: 346: 342: 336: 334: 330: 321: 316: 312: 310: 306: 302: 298: 285: 284: 279: 275: 266: 264: 260: 256: 252: 248: 244: 240: 239: 234: 231:described in 230: 227:, one of the 226: 222: 218: 213: 209: 205: 200: 194: 188: 187: 180: 169: 163: 121: 113: 110: 106: 103: 100: 96: 92: 88: 85: 81: 78: 75: 71: 66: 62: 54: 49: 37: 33: 19: 5549:Theoclymenus 5509:Laestrygones 5451: 5394:Demoptolemus 5230:Peisistratus 5180:Laestrygones 5047: 4953: 4948:Lotus-eaters 4929: 4806: 4805: 4765: 4759: 4742: 4738: 4726: 4719: 4708: 4697: 4690: 4683: 4663: 4659: 4647: 4623: 4617: 4591:(1): 21–28. 4588: 4584: 4559: 4555: 4537: 4536:Hackman, O. 4526:. Retrieved 4516: 4492: 4479:. Retrieved 4473: 4460: 4454: 4440:. Retrieved 4425: 4405:. Retrieved 4399: 4379:The Folktale 4378: 4365:. Retrieved 4360: 4357:"Theocritus" 4336: 4315: 4295: 4289: 4268: 4256:. Retrieved 4251: 4221:. Retrieved 4205: 4192:. Retrieved 4186: 4173:. Retrieved 4168: 4145: 4129:. Retrieved 4123: 4110:. Retrieved 4106:"Dionysiaca" 4093:. Retrieved 4078: 4065:. Retrieved 4050: 4016: 4012: 3992: 3979:. Retrieved 3973: 3960:. Retrieved 3946: 3922: 3901: 3880: 3846: 3842: 3822: 3780: 3776: 3764:. Retrieved 3750: 3744: 3730:. Retrieved 3715: 3673: 3669: 3657:. Retrieved 3642: 3608: 3604: 3585: 3544: 3540: 3520: 3509:25 September 3507:. Retrieved 3493:They Cyclops 3492: 3472: 3453: 3441:. Retrieved 3426: 3384: 3380: 3368:. Retrieved 3362: 3349:. Retrieved 3343: 3320:(1): 44–61. 3317: 3313: 3301:. Retrieved 3295: 3282:. Retrieved 3267: 3247: 3235:. Retrieved 3229: 3206:. Retrieved 3201: 3192: 3180:. Retrieved 3175: 3166: 3150: 3138: 3126:. Retrieved 3122: 3112: 3107:, p. 1. 3100: 3088: 3081:Kleiner 2008 3076: 3064: 3053:Langdon 2012 3048: 3036:. Retrieved 3032: 3022: 3010:. Retrieved 3005: 2996: 2969:. Retrieved 2965: 2961: 2958:"Polyphemus" 2951: 2935: 2923:. Retrieved 2919: 2909: 2897: 2885: 2873: 2861:. Retrieved 2856: 2849: 2840: 2831: 2815: 2799: 2783: 2771:. Retrieved 2766: 2756: 2744: 2728: 2712: 2696: 2680: 2664: 2648: 2636: 2620: 2604: 2588: 2569: 2553: 2541:. Retrieved 2536: 2526: 2499: 2487: 2475: 2463: 2451:. Retrieved 2446: 2437: 2425: 2413:. Retrieved 2409: 2399: 2383: 2372:Jackson 2019 2367: 2351: 2339: 2332:Jackson 2019 2327: 2320:Jackson 2019 2296: 2289:Jackson 2019 2255:Hordern 1999 2250: 2238: 2231:Hordern 1999 2226: 2214:. Retrieved 2210: 2200: 2193:Hordern 1999 2188: 2181:Hordern 1999 2161: 2149: 2137: 2125: 2113: 2101:. Retrieved 2096: 2086: 2074: 2062: 2050: 2038: 2030: 2022: 2010: 1998: 1982: 1955: 1943: 1932: 1901: 1889: 1873: 1861: 1856:, on Perseus 1853: 1841: 1829:. Retrieved 1824: 1814: 1802: 1789: 1769: 1735: 1723: 1704: 1695: 1686: 1680: 1661: 1652: 1643: 1630: 1596: 1590: 1587:Rick Riordan 1584: 1571:Polyphemsage 1570: 1564: 1557: 1555: 1548: 1543: 1541: 1526:Odilon Redon 1436:Fourth Style 1334: 1319: 1312: 1309:Odilon Redon 1298: 1282: 1271: 1239: 1229: 1221: 1215: 1204: 1190: 1185: 1181: 1173: 1170:Joseph Haydn 1167: 1160: 1138: 1130: 1124: 1116: 1110: 1085: 1079: 1062: 1048: 1015: 1013: 1000: 948: 933: 916: 912: 899: 894: 881: 872: 866: 859: 837: 821: 805: 796: 777: 767: 764: 759: 755: 751: 747: 745: 742:Aristophanes 731: 725: 717: 716:Philoxenus' 715: 702:Roman à clef 700: 696: 680: 674: 671:Aristophanes 666: 664: 659: 647: 643: 633: 618:Boscotrecase 589: 533: 521: 504: 481: 472: 440: 423: 419: 417: 396:Achaemenides 385: 351: 349: 337: 325: 305:usual custom 294: 281: 242: 236: 185: 119: 118: 36: 5489:Halitherses 5280:Thrasymedes 5252:of Phaeacia 5192:of Phaeacia 5122:(swineherd) 4654:(In German) 4400:Aeneid: III 3611:: 133–181. 3221:Works cited 2749:Rankin 2012 2673:lines 860ff 2376:pp. 124–126 2360:pp. 213–216 2356:Farmer 2017 2301:Farmer 2017 2270:Farmer 2017 2142:Brooks 1896 2130:Creese 2009 2099:(in French) 2027:Fowler 2013 1925:Junker 2012 1906:Virgil 2002 1807:Creese 2009 1530:The Cyclops 1512: 1896 1314:The Cyclops 1153:Mendelssohn 1051:Renaissance 856:Latin poets 788:Hermesianax 784:Callimachus 685:Dionysius I 420:The Odyssey 309:hospitality 263:Renaissance 5570:Polyphemus 5564:Categories 5484:Eurylochus 5452:Polyphemus 5399:Eurymachus 5379:Amphinomus 5374:Amphimedon 5225:Stratichus 5176:Antiphates 5134:(goatherd) 5132:Melanthius 5126:Philoetius 5116:(musician) 5072:Telemachus 4979:The Sirens 4954:Polyphemus 4700:269: 9–11. 3157:, p. 3055:, p. 2902:Green 1997 2890:Dugaw 2001 2808:43.390–393 2792:pp. 338–40 2737:13.885–897 2721:13.870–884 2705:13.789–869 2689:13.778–788 2669:Ovid 2000b 2657:13.764–766 2629:13.740–897 2613:Book III.2 2492:Rosen 2007 2430:LeVen 2014 2390:, p. 2243:LeVen 2014 2166:Rosen 2007 2154:LeVen 2014 2079:Glenn 1971 2067:Glenn 1978 2055:Mondi 1983 2003:Glenn 1971 1948:Carey 2002 1776:πολύ-φημος 1756:References 1538:Other uses 1438:, 45–79 AD 1084:'s sonnet 1063:Fábula de 1017:Dionysiaca 862:Propertius 798:Theocritus 780:Theocritus 572:Lithuanian 492:Guido Reni 428:Trojan War 373:Mount Etna 329:guest-gift 301:Trojan War 247:satyr play 208:Polyphēmus 193:Epic Greek 186:Polyphēmos 120:Polyphemus 61:Guido Reni 40:Polyphemus 18:Polyphemos 5534:Charybdis 5524:Polydamna 5514:Mesaulius 5504:Kikonians 5474:Eupeithes 5459:Demodocus 5409:Perimedes 5389:Ctesippus 5326:Leucothea 5270:Idomeneus 5261:Agamemnon 5248:Princess 5215:Echephron 5152:(pet dog) 5128:(cowherd) 5110:(advisor) 5102:Eurycleia 5096:Autolycus 5056:House of 4989:Thrinacia 4964:Telepylos 4782:162296224 4768:: 48–71. 4640:161870245 4451:Aristotle 4233:cite book 4207:authority 4033:0360-5949 4019:: 17–38. 3863:0009-8388 3813:162837388 3797:0017-3835 3706:162775936 3690:0017-3835 3646:. BRILL. 3625:0065-9711 3577:170522606 3561:0009-8388 3417:161519889 3401:0009-8388 3347:. D. Nutt 3105:Pike 1871 2944:pp. 107ff 2733:Ovid 1922 2717:Ovid 1922 2701:Ovid 1922 2685:Ovid 1922 2653:Ovid 1922 2625:Ovid 1922 2468:Ovid 2000 2118:Hunt 2012 2015:Hunt 2012 1761:Citations 1532:1898-1914 1210:Jean Cras 1205:Polyphème 1172:composed 1111:In Italy 1067:y Galatea 979:Illyrians 845:hyperbole 736:Timotheus 722:Aristotle 652:dithyramb 594:, in the 424:the Iliad 358:Euripides 251:Euripides 179:translit. 173:Πολύφημος 93:(Parents) 44:Πολύφημος 5580:Cyclopes 5544:Tiresias 5494:Heracles 5479:Euryalus 5447:Cyclopes 5442:Antiphus 5437:Anticlus 5427:Achilles 5384:Antinous 5336:Poseidon 5256:Laodamas 5250:Nausicaa 5235:Menelaus 5171:Phaeacia 5167:Alcinous 5146:(herald) 5138:Melantho 5092:(father) 5086:(mother) 5084:Anticlea 5080:(sister) 5066:Penelope 5058:Odysseus 4838:Archived 4826:Archived 4751:26814613 4739:Mythlore 4672:24751364 4666:: 5–43. 4528:12 March 4514:(1857). 4442:11 March 4407:11 March 4367:11 March 4258:11 March 4223:13 March 4194:11 March 4175:12 March 4144:(eds.). 3962:12 March 3884:. Saqi. 3659:12 March 3569:41301523 3443:11 March 3409:20616706 3370:12 March 3366:. London 3303:11 March 3284:11 March 3208:30 April 3182:30 April 3128:13 March 3038:12 March 2925:11 March 2773:11 March 2597:Idyll VI 2543:11 March 2453:11 March 2415:11 March 2103:11 March 1880:, lines 1831:11 March 1670:Archived 1636:Caucasus 1605:See also 1381:Flemish 1165:(1735). 1162:Polifemo 1145:John Gay 1135:pastoral 1117:Polifemo 1071:zarzuela 1065:Polifemo 1026:Poseidon 981:and the 967:Illyrius 849:Idyll VI 815:panpipes 810:Idyll XI 734:of both 689:Syracuse 596:Caucasus 548:Estonian 544:Romanian 475:, 1812, 451:Claudius 447:Tiberius 432:Heracles 381:Ganymede 362:pederast 345:Poseidon 297:Odysseus 255:pederast 229:Cyclopes 217:Poseidon 98:Folklore 87:Poseidon 77:Cyclopes 73:Grouping 5519:Polites 5469:Elpenor 5369:Agelaus 5361:Suitors 5346:Oceanus 5306:Calypso 5265:Mycenae 5220:Perseus 5201:Echetus 5120:Eumaeus 5114:Phemius 5078:Ctimene 5048:Odyssey 4999:Scheria 4942:Ismarus 4930:Odyssey 4682:". In: 4614:Tepegöz 4605:3316559 4576:1770048 4481:2 March 4456:Poetics 4290:Cyclops 4131:2 March 4112:3 March 4095:2 March 4067:2 March 3981:2 March 3766:2 March 3732:2 March 3633:2935942 3351:2 March 3237:2 March 3012:2 March 2971:2 March 2863:5 April 2824:pp. 173 2537:Attalus 2216:2 March 2031:Odyssey 1882:580-585 1794:at the 1747:YouTube 1716:YouTube 1611:Telemus 1055:Baroque 1049:During 940:cithara 936:Pompeii 841:Moschus 768:Cyclops 760:Cyclops 756:Cyclops 732:Cyclops 727:Poetics 718:Cyclops 707:cithara 697:Cyclops 667:Cyclops 660:Odyssey 656:Galatea 648:Galatea 644:Cyclops 636:Odyssey 592:Georgia 556:Russian 552:Finnish 540:Serbian 457:and at 436:Perseus 414:museum) 412:Eleusis 369:Silenus 353:Cyclops 339:act of 259:Galatea 243:Odyssey 238:Odyssey 5539:Sirens 5529:Scylla 5464:Dolius 5419:Others 5404:Leodes 5321:Hermes 5316:Helios 5301:Athena 5296:Aeolus 5275:Mentes 5239:Sparta 5206:Nestor 5185:Aretus 5140:(maid) 5108:Mentor 5068:(wife) 5004:Ithaca 4994:Ogygia 4959:Aeolia 4780: 4761:Fabula 4749: 4718:. In: 4707:. In: 4670: 4638: 4619:Fabula 4603: 4574: 4500: 4433: 4386: 4344: 4323: 4302: 4275: 4214: 4152: 4086: 4058: 4041:284000 4039: 4031: 4000: 3953: 3930: 3909: 3888: 3871:639870 3869: 3861: 3830: 3811: 3805:642570 3803: 3795: 3757: 3723: 3704: 3698:642285 3696: 3688: 3650: 3631: 3623: 3592: 3575: 3567: 3559: 3528: 3500: 3479: 3460: 3434: 3415: 3407: 3399: 3334:826881 3332: 3275: 3254: 3230:Plutus 2966:DXXXVI 2767:Livius 2562:p. 176 2305:p. 213 2274:p. 215 1667:online 1268:(1880) 1149:Mozart 1137:opera 1034:syrinx 1030:Nereid 1022:Nonnus 1010:Nonnus 1003:Lucian 989:Lucian 977:, the 963:Celtus 959:Appian 867:While 806:Idylls 790:, and 752:Wealth 748:Plutus 681:Wealth 676:Plutus 584:Celtic 582:, and 580:Syriac 576:Gascon 564:Basque 560:German 392:Aeneas 388:Virgil 377:Sicily 341:hubris 245:. The 221:Thoosa 182: 112:Sicily 108:Region 91:Thoosa 83:Family 5311:Circe 5244:Helen 5210:Pylos 5190:Arete 5150:Argos 5144:Medon 5074:(son) 4969:Aeaea 4778:S2CID 4747:JSTOR 4668:JSTOR 4636:S2CID 4601:JSTOR 4572:JSTOR 4037:JSTOR 3867:JSTOR 3809:S2CID 3801:JSTOR 3702:S2CID 3694:JSTOR 3629:JSTOR 3573:S2CID 3565:JSTOR 3413:S2CID 3405:JSTOR 3330:JSTOR 1937:Imago 1850:Οὖτις 1846:οὔτις 1622:Notes 1305:below 1247:below 983:Gauls 975:Celts 971:Galas 955:Celts 951:below 944:Cupid 693:aulos 510:below 500:below 488:below 366:satyr 333:Οὖτις 233:Homer 204:Latin 168:Greek 5499:Irus 5432:Ajax 5341:Zeus 5289:Gods 4530:2020 4498:ISBN 4483:2020 4459:in 4444:2020 4431:ISBN 4409:2020 4384:ISBN 4369:2020 4342:ISBN 4321:ISBN 4300:ISBN 4273:ISBN 4260:2020 4239:link 4225:2020 4212:ISBN 4196:2020 4177:2020 4150:ISBN 4133:2020 4114:2020 4097:2020 4084:ISBN 4079:Ovid 4069:2020 4056:ISBN 4029:ISSN 3998:ISBN 3983:2020 3964:2020 3951:ISBN 3928:ISBN 3907:ISBN 3886:ISBN 3859:ISSN 3828:ISBN 3793:ISSN 3768:2020 3755:ISBN 3734:2020 3721:ISBN 3686:ISSN 3661:2020 3648:ISBN 3621:ISSN 3590:ISBN 3557:ISSN 3526:ISBN 3511:2022 3498:ISBN 3477:ISBN 3458:ISBN 3445:2020 3432:ISBN 3397:ISSN 3372:2020 3353:2020 3305:2020 3286:2020 3273:ISBN 3252:ISBN 3239:2020 3210:2024 3184:2024 3130:2020 3040:2020 3014:2020 2973:2020 2927:2020 2865:2020 2775:2020 2580:help 2545:2020 2455:2020 2417:2020 2218:2020 2105:2020 1848:and 1833:2020 1549:The 1292:and 1151:and 1053:and 969:and 869:Ovid 711:lyre 568:Sámi 455:Nero 422:and 219:and 89:and 5330:Ino 5263:of 5237:of 5208:of 5169:of 4799:at 4770:doi 4664:115 4628:doi 4593:doi 4564:doi 4021:doi 4017:113 3851:doi 3785:doi 3678:doi 3613:doi 3609:102 3549:doi 3389:doi 3322:doi 3159:181 3057:169 1745:on 1714:on 1565:In 1073:of 1036:." 724:'s 646:or 502:). 434:or 375:in 307:of 249:of 235:'s 223:in 5566:: 4776:. 4764:. 4743:25 4741:. 4662:. 4634:. 4624:40 4622:. 4599:. 4589:31 4587:. 4570:. 4560:18 4558:. 4453:, 4359:. 4294:. 4250:. 4235:}} 4231:{{ 4167:. 4035:. 4027:. 4015:. 3945:. 3865:. 3857:. 3847:49 3845:. 3807:. 3799:. 3791:. 3781:30 3779:. 3749:. 3700:. 3692:. 3684:. 3674:25 3672:. 3627:. 3619:. 3607:. 3571:. 3563:. 3555:. 3545:61 3543:. 3496:. 3411:. 3403:. 3395:. 3385:59 3383:. 3328:. 3318:49 3316:. 3200:. 3174:. 3121:. 3031:. 3004:. 2981:^ 2964:. 2960:. 2942:, 2918:. 2839:. 2822:, 2806:, 2790:, 2765:. 2735:, 2719:, 2703:, 2687:, 2671:, 2655:, 2627:, 2611:, 2595:, 2560:, 2535:. 2511:^ 2445:. 2408:. 2392:72 2374:, 2358:, 2312:^ 2303:, 2281:^ 2272:, 2262:^ 2209:. 2173:^ 2095:. 1989:, 1967:^ 1917:^ 1908:, 1823:. 1788:; 1784:; 1780:. 1601:. 1528:, 1509:c. 1343:. 1296:. 1288:, 1020:, 965:, 794:. 786:, 782:, 762:. 578:, 574:, 570:, 566:, 558:, 554:, 550:, 546:, 542:, 471:, 461:. 453:, 438:. 280:, 206:: 202:; 190:, 176:, 170:: 166:; 150:iː 5332:) 5328:( 5038:e 5031:t 5024:v 4920:e 4913:t 4906:v 4784:. 4772:: 4766:5 4753:. 4733:. 4674:. 4642:. 4630:: 4607:. 4595:: 4578:. 4566:: 4532:. 4506:. 4485:. 4467:. 4446:. 4411:. 4392:. 4371:. 4350:. 4329:. 4308:. 4292:" 4288:" 4281:. 4262:. 4241:) 4227:. 4198:. 4179:. 4158:. 4135:. 4116:. 4099:. 4071:. 4043:. 4023:: 4006:. 3985:. 3966:. 3936:. 3915:. 3894:. 3873:. 3853:: 3836:. 3815:. 3787:: 3770:. 3747:" 3736:. 3708:. 3680:: 3663:. 3635:. 3615:: 3598:. 3579:. 3551:: 3534:. 3513:. 3485:. 3466:. 3447:. 3419:. 3391:: 3374:. 3355:. 3336:. 3324:: 3307:. 3288:. 3260:. 3241:. 3212:. 3186:. 3161:. 3132:. 3059:. 3042:. 3016:. 2975:. 2946:. 2929:. 2867:. 2826:. 2810:. 2794:. 2777:. 2739:. 2723:. 2707:. 2691:. 2675:. 2659:. 2631:. 2615:. 2599:. 2582:) 2564:. 2547:. 2457:. 2419:. 2394:. 2378:. 2362:. 2307:. 2276:. 2220:. 2107:. 2033:" 1993:. 1912:. 1884:. 1868:. 1835:. 1809:. 1718:. 750:( 679:( 195:: 162:/ 159:s 156:ə 153:m 147:f 144:ˈ 141:i 138:l 135:ɒ 132:p 129:ˌ 126:/ 122:( 67:. 34:. 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.