Polyphemus - Knowledge

304: 1434: 454: 1488: 1458: 1418: 983: 1396: 1473: 759:. 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. 1446: 602: 2025: 263: 42: 1509: 911: 1353: 2034:, 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.". 1365: 817: 1381: 1089: 396: 387:, 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. 1250: 415:, 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 587:, 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. 324:", 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. 483:'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 1058:, 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 853:. 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. 907:

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.

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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

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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

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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

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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

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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

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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

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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

1184:, 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 1272:

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

372:". 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. 747:. 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 1144:.* 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, 1177:(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. 1229:

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

1269:(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. 902:

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."

250:. 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 1296:). 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 315:

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

1217:'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 840:

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.

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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'

680:. 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 1201:

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.

1188:'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 1238:) 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 4195:

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

4639:. 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 . 1433: 1165:(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. 349:, 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 743:) 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' 1658: 1457: 515:(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. 4711:. 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. 1242:) 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 1265:

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.

1021:"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 292:

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

4907: 1395: 4880: 4814: 643:, 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 1472: 1487: 1417: 694:, 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 1445: 806:

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:

836:. 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 1324:

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

1077:(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, 4668: 884:

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:

1364: 2018:, 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 1317:. 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 1292:

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

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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

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

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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...

230:. 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 4900: 1321:

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.

651:, 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. 3632:

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

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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

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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

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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

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

505:'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 4811: 4693: 2786: 2715: 2699: 2683: 2635: 802:

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

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

3160: 1122:(From horrid shades) establishes his character from the start. After Handel's move to England, he gave the story a new treatment in his 866:

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.

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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

5578: 438:. This may be an interpretation of an existing composition, and was apparently repeated in variations in later Imperial palaces by 4038: 1888: 1508: 497:

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

5018: 3910: 2770: 4801: 4453: 3931: 453: 3630: 3255: 2677: 2617: 2575: 1860: 4490: 4452:, Vol. 23, translated by W.H. Fyfe. Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1932. 4423: 4376: 4334: 4313: 4292: 4076: 4048: 3990: 3943: 3920: 3878: 3747: 3713: 3640: 3518: 3424: 3265: 3244: 2568: 2540: 4236: 2601: 1136:. Initially composed in 1718, the work went through many revisions and was later to be given updated orchestrations by both 2725: 2709: 2693: 2645: 1762: 1336:'s 18th-century version combines discovery with aftermath as the giant perched above the lovers turns to wrench up a rock. 931:(rather than a syrinx) by his side, holding out a hand to receive a love letter from Galatea, which is carried by a winged 4387: 2651: 982: 3443:

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

1118:(1708), laying as much emphasis on the part of Polifemo as on the lovers. Written in Italian, Polifemo's deep bass solo 5593: 5563: 5407: 5011: 4265: 3582: 3490: 4850: 2354: 4204: 4142: 3899: 3820: 3469: 3450: 3368:

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

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

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

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

457: 300:, eats two of the men. Next morning, the giant kills and eats two more and leaves the cave to graze his sheep. 4605:

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

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

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

5507: 5078: 4972: 4823: 4510: 4174: 942:). From their union came the ancestors of various wild and war-like races. According to some accounts, the 596: 247: 4709:

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

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

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

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

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

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

2796: 2585: 1066:(1708). The atmosphere here is lighter and enlivened by the inclusion of the clowns Momo and Tisbe. 1063: 4947: 4094: 1870: 262: 4786:

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

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

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

1262: 1239: 1166: 1114: 673: 353:, revealing to Odysseus that he takes more pleasure in boys than in women, and tries to take the 5588: 5472: 5218: 4640: 2780: 2661: 1206: 1109: 910: 41: 4366: 4276: 3147: 3045: 2812: 2364: 2348: 2293: 2262: 1424: 1266: 5318: 3810: 2380: 1282: 820: 628: 560: 479:) and others chose the dramatic scene of the giant casting boulders at the escaping ship. In 167: 2550: 1959: 1957: 5120: 4480: 4413: 3017: 2991:"Golden Polyphemus (Brindle) and Riddle of the guitar (Lorca) - Generation of '27 – Part 5" 1539: 1093: 1070: 724: 684:

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

431: 369: 308: 1673: 8: 5558: 5349: 5294: 5090: 4461: 4153: 1954: 1816:(in Greek). Translated by Keep, Robert P. New York, NY: Harper & Brothers, Publishers 1586: 1547: 1518: 1302: 1078: 1022: 715: 644: 536: 532: 383:

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

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

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

53: 1082: 5568: 5527: 5178: 5132: 4992: 4967: 4770: 4628: 4486: 4485:. Translated by Hopkinson, Neil. Cambridge, Massachusetts: Harvard University Press. 4419: 4372: 4330: 4309: 4288: 4261: 4200: 4138: 4072: 4044: 4017: 3986: 3939: 3916: 3895: 3874: 3847: 3816: 3801: 3781: 3743: 3709: 3694: 3674: 3636: 3609: 3578: 3565: 3545: 3514: 3486: 3465: 3446: 3420: 3405: 3385: 3261: 3240: 1325: 1314: 823:'s depiction of "The Triumph of Galatea"; Polyphemus plays the pan-pipes on the right 580: 564: 552: 548: 4785: 3331: 2904: 1717: 1401: 914:

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

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

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

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

114: 4531:. Herlsingfors: Frenckellska tryckeri-aktiebolaget, 1904. Retrieved 14 March 2022. 2521: 2431: 4830: 4818: 4620: 4324: 4303: 4193: 4066: 3980: 3961: 3889: 3868: 3508: 3480: 3414: 3283: 3217: 2844: 1784: 1662: 1604: 1478: 1463: 1273:

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

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

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

946:(Galati in Latin, Γάλλοi in Greek) were descended from their son Galatos, while 690: 5497: 5482: 5420: 5168: 4840: 3161:"In 'Percy Jackson: Sea of Monsters', Our Hero Recovers the Future, PopMatters" 1551:, is named after Polyphemus because of their both using subterranean retreats. 1493: 1371: 1289: 1254: 1243: 1145: 780: 472: 341: 200: 192: 187: 156: 4000:

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

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

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

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

4021: 3966:. Translated by Tooke, William. London: Longman, Hurst, Rees, Orme, and Brown 3851: 3785: 3678: 3613: 3549: 3389: 1925: 1770: 1555: 1329: 1318: 1310: 1189: 1185: 1181: 862: 816: 664: 647:. In the poem, Polyphemus is not a cave dwelling, monstrous brute, as in the 524: 317: 293: 5003: 4861:

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

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

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

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

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

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

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

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

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

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

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

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French sculptors have also been responsible for some memorable versions.

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

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

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

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

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

1700:

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

1636:

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

5387: 5367: 5362: 5213: 5164: 5114: 5060: 4705:

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

4593: 4564: 4411: 3621: 3592:

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

1092:

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

1005: 850: 786: 768: 480: 416: 361: 289: 235: 181: 49: 4602: 4029: 3859: 3793: 3686: 3322: 3235:

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

1249: 5522: 5512: 5502: 5462: 5397: 5377: 5314: 5258: 5249: 5203: 5084: 4977: 4952: 4881:

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

4871:

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

4807:"Odysseus Deriding Polyphemus", J.M.W. Turner, 1829, at Wikipaintings 4719: 4439: 4179:. Translated by Frazer, James George. New York: The Macmillan Company 3594:

Transactions and Proceedings of the American Philological Association

1531:

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

1466:, Acis and Galatea concealed from the flute-playing Polyphemus, 1630. 1198: 967: 833: 710: 640: 346: 288:

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

239: 172: 4585: 4556: 3605: 3125: 1313:'s separate figures are brought together in an 1866 fountain in the 5532: 5467: 5435: 5430: 5425: 5415: 5324: 5244: 5238: 5223: 5155: 5072: 5054: 5046: 4013: 3462:

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

1624: 1374:' depiction of Odysseus escaping from the cave of Polyphemus, 1635. 1133: 1123: 1059: 1053: 1014: 955: 837: 803: 798: 584: 439: 435: 420: 333: 285: 217: 205: 75: 65: 4669:

Le conte-type de Polyphème: essai de reconstitution phylogénétique

4572:

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

4511:

Abhandlungen der Königlichen Akademie der Wissenschaften zu Berlin

1997: 1306:

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

5492: 5487: 5457: 5357: 5334: 5253: 5189: 5159: 5108: 5102: 5066: 4987: 4916: 4841:"The Triumph of Galatea", Francois Perrier, at Web Gallery of Art 4444: 4040:

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

1599: 1404:, Polyphemus attempts to crush the boat of the escaping Odysseus, 1043: 928: 924: 829: 695: 624: 424: 400: 357: 226: 2860: 5517: 5452: 5392: 5309: 5304: 5289: 5284: 5227: 5173: 4982: 4866:

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

2973: 2971: 1137: 1018: 1010: 991: 951: 947: 380: 376: 365: 329: 209: 100: 79: 4812:

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

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

399:

Amphora painting of Odysseus and his men blinding Polyphemus (

138: 5299: 5198: 4957: 4678:

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

4329:. Translated by Trevelyan, R. C. Cambridge University Press. 4116:. Translated by More, Brookes. Boston: Cornhill Publishing Co 1763: 1558:, the episode of the blinding of Polyphemus is also known as 971: 963: 959: 943: 932: 681: 658:

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

354: 321: 221: 160: 31: 4641:

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

2968: 5329: 2826:"François Tristan L'HERMITE - Poète - "Polyphème en furie"" 2503: 2501: 1627:, see "Legends About Shepherds, Including Cyclops Legends". 1069:

In France the story was condensed to the fourteen lines of

857: 699: 443: 144: 129: 4876:

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

2326: 2237: 2213: 576:"Polyphemus legends" preserve traditions predating Homer. 123: 3464:. Translated by Kovacs, David. Harvard University Press. 3352:

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

3051: 2556: 2304: 2302: 2273: 2271: 2165: 2163: 2124: 1942: 501:), while Polyphemus is standing at the top of a cliff in 3440: 3081: 2498: 2412: 2184:, p. 446, with n. 4 giving numerous ancient sources 2061: 1876: 995:

been chosen by him in preference to all her companions.

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Polyphemus meditates, at French Government culture site

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Gardner's Art through the Ages: The Western Perspective

3912:

Interpreting the Images of Greek Myths: An Introduction

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and serves as an antagonist in the second installment,

4846:"The Triumph of Galatea", Giovanni Lanfranco, Art Clon 4716:

Bulletin of the School of Oriental and African Studies

3732:"Representing the Aristocracy: The Operatic Hadyn and 3705:

Selected Poems of Luis de Góngora: A Bilingual Edition

3063: 2623: 2314: 2299: 2268: 2175: 2160: 1930: 1909: 1907: 1293: 1235: 939: 860:'s treatment of the story that he introduced into the 498: 488: 487:'s 1802 head and shoulders portrait of the giant (see 476: 339:

The story reappears in later Classical literature. In

307:

The blinding of Polyphemus, a reconstruction from the

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Transactions of the American Philological Association

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Of the European painters of the subject, the Flemish

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The giant spies on Galatea, Gustave Moreau, at Muian

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

3416:"Deep Play": John Gay and the Invention of Modernity 3288:. Translated by Banks, J. London: W. Clowes and Sons 2872: 2843:

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

2731: 2474: 2225: 2148: 2136: 2049: 2009: 1985: 1848: 1339: 126: 120: 48:

The blinded Polyphemus seeks vengeance on Odysseus:

4685:d'Huy, Julien (2017). "Polyphème en Amérique". In: 4092: 2792: 2037: 1904: 1358:

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

141: 132: 4718:, University of London 18, no. 2 (1956): 279–302. 3959: 2776: 360:, who he kept together with his sons as slaves on 4036: 3702:de Góngora, Luis (2008). Dent-Young, John (ed.). 3108:"polyphemus moth - Antheraea polyphemus (Cramer)" 3087: 2866: 1789: 1234:'s 1649 "Landscape with Polyphemus" (see gallery 1028: 927:, Polyphemus is pictured seated on a rock with a 5550: 4635:Conrad, JoAnn. "Polyphem (AaTh 1135–1137)". In: 3730:Green, Rebecca (1997). Sisman, Elaine R. (ed.). 2842: 2082:"Julien d'Huy - Polyphemus (Aa. Th. 1137) - NMC" 1674:Excerpts from Jean-Baptiste Lully's 1686 opera, 1389:'s 1802 head and shoulders portrait of the giant 1112:worked in that country and composed the cantata 272:Polyphemos reclining and holding a drinking bowl 4675:, SMF, 2012, pp. 47–59. ffhalshs-00734458f 4129:Ovid (2000). Dyck, Andrew R.; Hopkinson, Neil; 3808: 3016:Hernández Arce, José Antonio (10 August 2019). 2438:. Encyclopædia Britannica, Inc. 5 February 2020 2031: 1963: 1148:, also made the story the subject of his opera 897:to trim your shaggy beard with a reaping hook. 3015: 1566:as ATU 1137, "The Ogre Blinded (Polyphemus)". 1481:'s pastoral "Landscape with Polyphemus", 1649. 895:your stiffened hair with rakes: it pleases you 5033: 5019: 4901: 4454:Online version at the Perseus Digital Library 4305:Making Mockery: The Poetics of Ancient Satire 3575:Early Greek Mythography: Volume 2: Commentary 3239:. Baltimore: Johns Hopkins University Press. 2567:sfn error: no target: CITEREFTheocritus1889 ( 762: 16:Son of Poseidon and Thoosa in Greek mythology 4680:The Retrospective Methods Network Newsletter 4256:Rankin, David (2012). Green, Miranda (ed.). 3215: 2376: 2332: 1688:The text is on the Stanford University site. 1423:Polyphemus hears of the arrival of Galatea, 879:of Acis was the stronger. —They were equal. 639:. The poem was written to be performed as a 623:Writing more than three centuries after the 40: 4714:Mundy, C. S. "Polyphemus and Tepegöz". In: 4287:. New York, NY: Infobase. pp. 123–27. 2519: 875:And, should you ask me, I could not declare 735:The text of Aristophanes' last extant play 631:took up the myth of Polyphemus in his poem 390: 5026: 5012: 4908: 4894: 4528:Die Polyphemsage in der Volksüberlieferung 4343: 4322: 4274: 4234: 4226:: CS1 maint: location missing publisher ( 3701: 3479:Euripides (2020). Coleridge, E. P. (ed.). 3057: 2905:"Naumann: Aci e Galatea/Bernius/Stuttgart" 2808: 2597: 2581: 2562: 2507: 2468: 1948: 1882: 1807: 1728:There is a performance of Polifemo's aria 1496:, Polyphemus adores the sleeping Galatea, 1344: 1253:Polyphemus spies on the sleeping Galatea, 1169:was to turn the story into a comic opera, 257: 4326:A Translation of the Idylls of Theocritus 4285:Encyclopedia of Greek and Roman Mythology 4275:Roman, Luke; Roman, Monica, eds. (2010). 4172: 3478: 3459: 3253: 3216:Aristophanes (1896). Quinn, M. T. (ed.). 2977: 2846:Georg Friedrich Händel's Acis and Galatea 2079: 2073: 1975: 1866: 1854: 1224: 893:the art of pleasing. You have even combed 871:While I pursued him with a constant love, 590: 4824:fresco, Giulio Romano, 1528, at Webalice 4571: 4364: 4064: 3809:Heubeck, Alfred; Hoekstra, Arie (1990). 3527: 3348: 3257:Jean Cras, Polymath of Music and Letters 3143: 2928: 2629: 2513: 2492: 2386: 1248: 1087: 981: 909: 815: 618: 600: 452: 394: 302: 261: 4746: 4725: 4601:Conrad, Jo Ann (1999). "Polyphemus and 3929: 3887: 3829: 3763: 3628: 3069: 3041: 2360: 2320: 2308: 2277: 2243: 2219: 2181: 2169: 1050:wrote the much admired narrative poem, 1033: 918: 789:is credited with creating the genre of 605:Detail of Galatea and Polyphemus. From 579:An example of such a story is one from 5551: 4917:Places visited by Odysseus in Homer's 4646: 4600: 4385: 4255: 3908: 3572: 3506: 3367: 3329: 3082:Elsen, Haas & Frankel Jamison 2003 2944: 2896: 2749: 2737: 2344: 2289: 2258: 2130: 2118: 2015: 1913: 1894: 1795: 1409: 891:are careful of appearance, and you try 889:Now, Polyphemus, wretched Cyclops, you 873:the Cyclops followed me as constantly. 832:takes the theme further in a piece of 462:Ulysses Fleeing the Cave of Polyphemus 186: 5007: 4889: 4542: 4499: 4405: 4301: 4151: 3999: 3978: 3729: 3656: 3591: 3412: 3300: 2890: 2878: 2657: 2480: 2418: 2231: 2193: 2154: 2142: 2067: 2055: 2043: 1991: 1936: 1569: 1132:with an English libretto provided by 199: 4191: 4128: 4109: 3866: 3105: 3099: 3093: 2721: 2705: 2689: 2673: 2641: 2613: 2456: 2392: 2106: 2003: 877:whether my hatred of him, or my love 613: 3132:Beolens, Watkins & Grayson 2011 2836: 2547:Bion, Moschus & Theocritus 1870 1623:For examples of the story from the 1013:gives an account of the wedding of 986:Offspring of Polyphemus and Galatea 950:credited them with three children, 672:); and probably after 406 BC, when 518: 320:if he answers. Odysseus tells him " 13: 4720:http://www.jstor.org/stable/609984 4535: 4479:Bion; Moschus; Theocritus (2015). 4460:Bion; Moschus; Theocritus (1889). 4371:. University of California Press. 3282:Bion; Moschus; Theocritus (1870). 3106:Hall, Donald W. (September 2015). 2902: 1578:'s Greek mythology fantasy series 627:is thought to have been composed, 279: 14: 5605: 4796:Specific artworks discussed above 4779: 4192:Pike (1871). Pike, Albert (ed.). 3237:The Eponym Dictionary of Reptiles 2080:d'Huy, Julien (20 January 2013). 1581:Percy Jackson & the Olympians 1545:A species of burrowing tortoise, 1387:Johann Heinrich Wilhelm Tischbein 1340:Artistic depictions of Polyphemus 485:Johann Heinrich Wilhelm Tischbein 4637:Enzyklopädie des Märchens Online 3419:. University of Delaware Press. 2006:, pp. 201–229, Chapter VII. 1507: 1486: 1471: 1456: 1444: 1432: 1416: 1394: 1379: 1363: 1351: 654:The date of composition for the 113: 5579:LGBTQ themes in Greek mythology 3888:Jackson, Lucy C. M. M. (2019). 3812:A Commentary on Homer's Odyssey 3708:. University of Chicago Press. 3179: 3153: 3009: 2995:Kazu Suwa | Classical Guitarist 2983: 2938: 2818: 2743: 2424: 2187: 1919: 1722: 1710: 1691: 1682: 1667: 1648: 1639: 1630: 1617: 1288:A whole series of paintings by 730: 466:Princeton University Art Museum 204:) is the one-eyed giant son of 4790:The Metropolitan Museum of Art 4352:. Translated by Calverley, C.S 4158:University of Virginia Library 4137:. Cambridge University Press. 3985:. Cambridge University Press. 3915:. Cambridge University Press. 3742:. Princeton University Press. 3254:Bempéchat, Paul-André (2009). 3222:. London: George Bell and Sons 3209: 1828: 1801: 1756: 1209:'s four fragments for guitar, 1029:Later European interpretations 844: 458:Christoffer Wilhelm Eckersberg 434:probably made for the Emperor 309:villa of Tiberius at Sperlonga 1: 4682:. Winter 2014–2015, 9: 43–64. 2758:. Translated by White, Horace 2194:Rocha, Roosevelt (May 2015). 1966:, p.19 on lines 105–556. 1744: 1526: 1497: 1213:(1956), takes its title from 345:, the 5th-century BC play by 5079:Laertes (father of Odysseus) 4621:10.1515/fabl.1999.40.3-4.278 4466:. Translated by Lang, Andrew 4065:Newlands, Carole E. (2015). 3938:. Boston: Cengage Learning. 2945:Austin, Alfred (July 1901). 2086:Nouvelle Mythologie Comparée 1749: 1192:wrote the 2-act verse drama 597:Acis and Galatea (mythology) 173: 7: 4392:. Translated by Kline, A. S 4308:. Oxford University Press. 4243:. Translated by Kline, A. S 4043:. Ashgate Publishing, Ltd. 3960:Lucian of Samosata (1820). 3894:. Oxford University Press. 3815:. Oxford University Press. 3577:. Oxford University Press. 3513:. Oxford University Press. 3507:Farmer, Matthew C. (2017). 3445:. Oxford University Press. 3260:. Ashgate Publishing, Ltd. 2032:Heubeck & Hoekstra 1990 1964:Heubeck & Hoekstra 1990 1593: 1108:(1703). Shortly afterwards 1104:composed the one-act opera 512:Ulysses Deriding Polyphemus 21:Polyphemus (disambiguation) 10: 5610: 4160:. Translated by Kline, A.S 3979:LeVen, Pauline A. (2014). 3510:Tragedy on the Comic Stage 2528:. Translated by Mair, A. W 2393:Williams, Frederick John. 2200:Bryn Mawr Classical Review 1808:Autenrieth, Georg (1876). 1764: 1697:There is a performance of 1564:Aarne-Thompson-Uther Index 763:Hellenistic pastoral poets 662:parodied it in his comedy 594: 551:, and others; versions in 161: 32: 18: 5594:Mythological blind people 5564:Characters in the Odyssey 5406: 5348: 5277: 5149:Other monarchs and royals 5148: 5044: 4926: 4694:Du nouveau sur Polyphème" 4574:Anthropological Quarterly 4071:. Bloomsbury Publishing. 3930:Kleiner, Fred S. (2008). 3778:10.1017/S0017383500027145 3671:10.1017/S0017383500020246 3542:10.1017/S000983881000039X 3382:10.1017/S0009838809990188 2832:(in French). 24 May 2013. 2432:"Theocritus | Greek poet" 998: 977: 267:Greek terracotta figurine 96: 86: 71: 61: 39: 4763:10.1515/fabl.1962.5.1.48 4365:Thompson, Stith (1977). 3349:Cornwall, Barry (1820). 3330:Brooks, Francis (1896). 3018:"A Short Story by Oscar" 2793:Nonnus of Panopolis 1940 1610: 1096:'s Médici Fountain, 1866 1048:Luis de Góngora y Argote 1017:and Beroe, at which the 962:, from whom descend the 391:Artistic representations 4829:1 February 2014 at the 4817:2 February 2014 at the 4734:(3/4 (97/98)): 133–43. 4692:d'Huy, Julien (2019). " 4450:Aristotle in 23 Volumes 4237:"The Elegies: Book III" 4135:Metamorphoses Book XIII 3870:Legends of the Caucasus 3832:The Classical Quarterly 3530:The Classical Quarterly 3370:The Classical Quarterly 2777:Lucian of Samosata 1820 2522:"Callimachus: Epigrams" 2436:Encyclopedia Britannica 1780:A Greek–English Lexicon 1574:Polyphemus features in 1345:Polyphemus and Odysseus 1240:Dublin National Gallery 1167:Johann Gottlieb Naumann 1120:Fra l'ombre e gl'orrori 1115:Aci, Galatea e Polifemo 793:. His works are titled 709:is also referred to in 258:Odysseus and Polyphemus 5584:Mythological Sicilians 4545:Comparative Literature 3909:Junker, Klaus (2012). 3573:Fowler, R. L. (2013). 3413:Dugaw, Dianne (2001). 3058:Roman & Roman 2010 2867:Montemorra Martin 2006 1949:Roman & Roman 2010 1883:Roman & Roman 2010 1562:and classified in the 1258: 1225:Painting and sculpture 1207:Reginald Smith Brindle 1110:George Frideric Handel 1097: 1064:Antoni Lliteres Carrió 987: 915: 900: 882: 824: 814: 610: 591:Polyphemus and Galatea 527:collected versions in 468: 404: 312: 276: 201:[pɔlʏˈpʰeːmʊs] 196: 45: 4509:(in German). Berlin: 4506:Die sage von Polyphem 4302:Rosen, Ralph (2007). 4241:Poetry in Translation 4176:Description of Greece 3112:University of Florida 2951:North American Review 2752:"The Illyrian Wars 1" 2750:Appian (4 May 2019). 1771:Liddell, Henry George 1731:Fulmine che dal Cielo 1334:Jean-François de Troy 1283:Jean-Baptiste van Loo 1261:An earlier fresco by 1252: 1215:Federico García Lorca 1157:Later in the century 1091: 1085:(1686) on the theme. 985: 935:riding on a dolphin. 913: 886: 868: 821:Jean-Baptiste van Loo 819: 808: 629:Philoxenus of Cythera 619:Philoxenus of Cythera 604: 456: 398: 306: 265: 188:[polypʰɛːmos] 44: 5574:Children of Poseidon 4973:Scylla and Charybdis 4698:Mythologie française 4687:Mythologie française 4673:Mythologie française 3867:Hunt, David (2012). 3022:Dialogue of the Dogs 2520:Callimachus (1921). 1843:A Homeric Dictionary 1841:, Georg Autenrieth, 1814:A Homeric Dictionary 1246:during this period. 1173:, with the subtitle 1094:Jardin du Luxembourg 1034:Literature and music 919:First-century AD art 432:Sperlonga sculptures 19:For other uses, see 4703:Montgomery, J. E. " 4344:Theocritus (2004). 4323:Theocritus (1947). 4235:Propertius (2008). 3844:10.1093/cq/49.2.445 3740:Haydn and His World 2980:, pp. 279–283. 2471:, p. 11.30–33. 2421:, pp. 234–234. 2246:, pp. 448–450. 2133:, pp. 163–164. 2109:, pp. 218–222. 2070:, pp. 135–136. 1661:12 May 2013 at the 1587:The Sea of Monsters 1548:Gopherus polyphemus 1410:Polyphemus as lover 1267:Corneille Van Clève 1081:composed his opera 1079:Jean-Baptiste Lully 688:in the manner of a 375:In his Latin epic, 52:'s painting in the 36: 5340:Old Man of the Sea 5185:Deucalion of Crete 5035:Characters in the 4406:General references 4173:Pausanias (1898). 3963:Lucian of Samosata 3460:Euripides (1994). 3315:10.1093/gr/49.1.44 3165:www.popmatters.com 3084:, pp. 275–76. 2893:, pp. 167–68. 2222:, p. 445–446. 1718:Classical Archives 1716:Brief excerpts at 1678:at PrestoClassical 1570:In popular culture 1328:, Lucas Auger and 1279:Giovanni Lanfranco 1259: 1219:Polifemo i Galatea 1211:El Polifemo de Oro 1102:Giovanni Bononcini 1098: 1075:Polyphème en furie 988: 916: 825: 611: 469: 405: 368:, calling him "my 313: 277: 54:Capitoline Museums 46: 28: 5546: 5545: 5001: 5000: 4492:978-0-674-99644-1 4425:978-0-674-99559-8 4378:978-0-520-03537-9 4350:Project Gutenberg 4336:978-1-107-43219-2 4315:978-0-19-804234-1 4294:978-1-4381-2639-5 4131:Easterling, P. E. 4078:978-0-85772-660-5 4050:978-0-7546-5208-3 3992:978-1-107-01853-2 3945:978-0-495-57355-5 3922:978-0-521-89582-8 3880:978-0-86356-823-7 3766:Greece & Rome 3749:978-0-691-05799-6 3715:978-0-226-14062-9 3659:Greece & Rome 3642:978-90-04-22955-6 3520:978-0-19-049207-6 3426:978-0-87413-731-6 3333:Greek Lyric Poets 3303:Greece & Rome 3267:978-0-7546-0683-3 3246:978-1-4214-0135-5 2830:Balades comtoises 2459:, pp. 36–37. 2377:Aristophanes 1896 2333:Aristophanes 1896 1939:, pp. 44–61. 1326:Annibale Carracci 1315:Luxembourg Garden 1300:'s 1913 painting 1071:Tristan L'Hermite 698:, a professional 676:became tyrant of 284:In Homer's epic, 170: 106: 105: 5601: 5028: 5021: 5014: 5005: 5004: 4910: 4903: 4896: 4887: 4886: 4774: 4743: 4667:d'Huy, Julien. " 4664: 4632: 4615:(3–4): 278–297. 4597: 4568: 4522: 4520: 4518: 4496: 4475: 4473: 4471: 4436: 4434: 4432: 4401: 4399: 4397: 4382: 4361: 4359: 4357: 4340: 4319: 4298: 4271: 4258:The Celtic World 4252: 4250: 4248: 4231: 4225: 4217: 4215: 4213: 4188: 4186: 4184: 4169: 4167: 4165: 4148: 4125: 4123: 4121: 4106: 4104: 4102: 4089: 4087: 4085: 4061: 4059: 4057: 4033: 3996: 3975: 3973: 3971: 3956: 3954: 3952: 3926: 3905: 3884: 3863: 3826: 3805: 3760: 3758: 3756: 3726: 3724: 3722: 3698: 3653: 3651: 3649: 3625: 3588: 3569: 3524: 3503: 3501: 3499: 3475: 3456: 3437: 3435: 3433: 3409: 3364: 3362: 3360: 3345: 3343: 3341: 3326: 3297: 3295: 3293: 3278: 3276: 3274: 3250: 3231: 3229: 3227: 3203: 3202: 3200: 3198: 3191:www.philstar.com 3183: 3177: 3176: 3174: 3172: 3157: 3151: 3141: 3135: 3129: 3123: 3122: 3120: 3118: 3103: 3097: 3091: 3085: 3079: 3073: 3067: 3061: 3055: 3049: 3039: 3033: 3032: 3030: 3028: 3013: 3007: 3006: 3004: 3002: 2987: 2981: 2975: 2966: 2965: 2963: 2961: 2942: 2936: 2926: 2920: 2919: 2917: 2915: 2903:Levine, Robert. 2900: 2894: 2888: 2882: 2876: 2870: 2864: 2858: 2857: 2855: 2853: 2840: 2834: 2833: 2822: 2816: 2806: 2800: 2790: 2784: 2774: 2768: 2767: 2765: 2763: 2747: 2741: 2735: 2729: 2719: 2713: 2703: 2697: 2687: 2681: 2671: 2665: 2655: 2649: 2639: 2633: 2627: 2621: 2611: 2605: 2595: 2589: 2579: 2573: 2572: 2560: 2554: 2544: 2538: 2537: 2535: 2533: 2517: 2511: 2505: 2496: 2490: 2484: 2478: 2472: 2466: 2460: 2454: 2448: 2447: 2445: 2443: 2428: 2422: 2416: 2410: 2409: 2407: 2405: 2399:Oxford Reference 2390: 2384: 2374: 2368: 2358: 2352: 2342: 2336: 2330: 2324: 2318: 2312: 2306: 2297: 2287: 2281: 2275: 2266: 2256: 2247: 2241: 2235: 2229: 2223: 2217: 2211: 2210: 2208: 2206: 2191: 2185: 2179: 2173: 2167: 2158: 2152: 2146: 2140: 2134: 2128: 2122: 2116: 2110: 2104: 2098: 2097: 2095: 2093: 2077: 2071: 2065: 2059: 2053: 2047: 2041: 2035: 2029: 2023: 2013: 2007: 2001: 1995: 1989: 1983: 1973: 1967: 1961: 1952: 1946: 1940: 1934: 1928: 1923: 1917: 1911: 1902: 1892: 1886: 1880: 1874: 1864: 1858: 1852: 1846: 1832: 1826: 1825: 1823: 1821: 1805: 1799: 1793: 1787: 1767: 1766: 1760: 1738: 1732: 1726: 1720: 1714: 1708: 1701: 1695: 1689: 1686: 1680: 1671: 1665: 1652: 1646: 1643: 1637: 1634: 1628: 1621: 1533:Morals and Dogma 1511: 1502: 1499: 1490: 1475: 1460: 1448: 1436: 1420: 1398: 1383: 1367: 1355: 1275:François Perrier 1197:French composer 1175:i ciclopi amanti 1129:Acis and Galatea 727:and Philoxenus. 519:Possible origins 503:Jean-Léon Gérôme 311:, 1st century AD 203: 190: 185: 178: 166: 164: 163: 154: 153: 150: 149: 146: 143: 140: 137: 134: 131: 128: 125: 122: 119: 37: 35: 34: 27: 5609: 5608: 5604: 5603: 5602: 5600: 5599: 5598: 5549: 5548: 5547: 5542: 5402: 5344: 5273: 5144: 5093:(chief servant) 5040: 5032: 5002: 4997: 4922: 4914: 4831:Wayback Machine 4819:Wayback Machine 4782: 4777: 4586:10.2307/3316559 4557:10.2307/1770048 4538: 4536:Further reading 4516: 4514: 4513:. pp. 1–30 4493: 4469: 4467: 4430: 4428: 4426: 4408: 4395: 4393: 4386:Virgil (2002). 4379: 4355: 4353: 4337: 4316: 4295: 4268: 4246: 4244: 4219: 4218: 4211: 4209: 4207: 4182: 4180: 4163: 4161: 4154:"Metamorphoses" 4145: 4119: 4117: 4100: 4098: 4083: 4081: 4079: 4055: 4053: 4051: 3993: 3969: 3967: 3950: 3948: 3946: 3923: 3902: 3881: 3823: 3754: 3752: 3750: 3720: 3718: 3716: 3647: 3645: 3643: 3606:10.2307/2935942 3585: 3521: 3497: 3495: 3493: 3472: 3453: 3431: 3429: 3427: 3358: 3356: 3339: 3337: 3291: 3289: 3272: 3270: 3268: 3247: 3225: 3223: 3212: 3207: 3206: 3196: 3194: 3185: 3184: 3180: 3170: 3168: 3167:. 7 August 2013 3159: 3158: 3154: 3142: 3138: 3134:, pp. 209. 3130: 3126: 3116: 3114: 3104: 3100: 3092: 3088: 3080: 3076: 3068: 3064: 3056: 3052: 3040: 3036: 3026: 3024: 3014: 3010: 3000: 2998: 2989: 2988: 2984: 2976: 2969: 2959: 2957: 2943: 2939: 2927: 2923: 2913: 2911: 2901: 2897: 2889: 2885: 2877: 2873: 2865: 2861: 2851: 2849: 2841: 2837: 2824: 2823: 2819: 2809:de Góngora 2008 2807: 2803: 2791: 2787: 2775: 2771: 2761: 2759: 2748: 2744: 2736: 2732: 2720: 2716: 2704: 2700: 2688: 2684: 2672: 2668: 2656: 2652: 2640: 2636: 2628: 2624: 2612: 2608: 2598:Propertius 2008 2596: 2592: 2582:Theocritus 2004 2580: 2576: 2566: 2563:Theocritus 1889 2561: 2557: 2545: 2541: 2531: 2529: 2518: 2514: 2508:Theocritus 1947 2506: 2499: 2491: 2487: 2479: 2475: 2469:Theocritus 1947 2467: 2463: 2455: 2451: 2441: 2439: 2430: 2429: 2425: 2417: 2413: 2403: 2401: 2391: 2387: 2375: 2371: 2359: 2355: 2343: 2339: 2331: 2327: 2319: 2315: 2307: 2300: 2288: 2284: 2276: 2269: 2257: 2250: 2242: 2238: 2230: 2226: 2218: 2214: 2204: 2202: 2192: 2188: 2180: 2176: 2168: 2161: 2153: 2149: 2141: 2137: 2129: 2125: 2121:, 563 with n.5. 2117: 2113: 2105: 2101: 2091: 2089: 2078: 2074: 2066: 2062: 2054: 2050: 2042: 2038: 2030: 2026: 2014: 2010: 2002: 1998: 1990: 1986: 1974: 1970: 1962: 1955: 1947: 1943: 1935: 1931: 1924: 1920: 1912: 1905: 1893: 1889: 1881: 1877: 1865: 1861: 1853: 1849: 1833: 1829: 1819: 1817: 1806: 1802: 1794: 1790: 1785:Perseus Project 1761: 1757: 1752: 1747: 1742: 1741: 1730: 1727: 1723: 1715: 1711: 1699: 1696: 1692: 1687: 1683: 1676:Acis et Galatée 1672: 1668: 1663:Wayback Machine 1653: 1649: 1644: 1640: 1635: 1631: 1622: 1618: 1613: 1605:Cyclopean Isles 1596: 1572: 1540:Polyphemus moth 1529: 1522: 1512: 1503: 1500: 1491: 1482: 1479:Nicolas Poussin 1476: 1467: 1464:Nicolas Poussin 1461: 1452: 1449: 1440: 1437: 1428: 1421: 1412: 1405: 1399: 1390: 1384: 1375: 1368: 1359: 1356: 1347: 1342: 1232:Nicolas Poussin 1227: 1163:Acide e Galatea 1083:Acis et Galatée 1036: 1031: 1001: 980: 921: 899: 896: 894: 892: 890: 881: 878: 876: 874: 872: 847: 813: 791:pastoral poetry 765: 733: 621: 616: 614:Ancient sources 599: 593: 521: 507:J. M. W. Turner 448:Hadrian's Villa 393: 282: 280:Ancient sources 260: 214:Greek mythology 180: 116: 112: 91:Greek mythology 57: 30: 24: 17: 12: 11: 5: 5607: 5597: 5596: 5591: 5586: 5581: 5576: 5571: 5566: 5561: 5544: 5543: 5541: 5540: 5535: 5530: 5525: 5520: 5515: 5510: 5505: 5500: 5495: 5490: 5485: 5480: 5475: 5470: 5465: 5460: 5455: 5450: 5445: 5444: 5443: 5433: 5428: 5423: 5418: 5412: 5410: 5404: 5403: 5401: 5400: 5395: 5390: 5385: 5380: 5375: 5370: 5365: 5360: 5354: 5352: 5346: 5345: 5343: 5342: 5337: 5332: 5327: 5322: 5312: 5307: 5302: 5297: 5292: 5287: 5281: 5279: 5275: 5274: 5272: 5271: 5266: 5261: 5256: 5247: 5242: 5235: 5230: 5221: 5216: 5211: 5206: 5201: 5192: 5187: 5182: 5176: 5171: 5167:, king of the 5162: 5152: 5150: 5146: 5145: 5143: 5142: 5136: 5130: 5124: 5118: 5112: 5106: 5100: 5094: 5088: 5082: 5076: 5070: 5064: 5058: 5051: 5049: 5042: 5041: 5031: 5030: 5023: 5016: 5008: 4999: 4998: 4996: 4995: 4990: 4985: 4980: 4975: 4970: 4965: 4963:The Underworld 4960: 4955: 4950: 4945: 4941:The island of 4939: 4935:The island of 4933: 4927: 4924: 4923: 4913: 4912: 4905: 4898: 4890: 4884: 4883: 4878: 4873: 4868: 4863: 4858: 4853: 4848: 4843: 4838: 4833: 4821: 4809: 4804: 4793: 4792: 4781: 4780:External links 4778: 4776: 4775: 4744: 4723: 4712: 4701: 4690: 4683: 4676: 4665: 4649:Wiener Studien 4644: 4633: 4598: 4569: 4551:(3): 193–202. 4539: 4537: 4534: 4533: 4532: 4523: 4501:Grimm, Wilhelm 4497: 4491: 4476: 4457: 4437: 4424: 4407: 4404: 4403: 4402: 4383: 4377: 4362: 4341: 4335: 4320: 4314: 4299: 4293: 4272: 4267:978-1135632434 4266: 4253: 4232: 4205: 4199:. Charleston. 4189: 4170: 4152:Ovid (2000b). 4149: 4143: 4126: 4107: 4090: 4077: 4062: 4049: 4034: 4014:10.2307/284000 3997: 3991: 3976: 3957: 3944: 3932:"Odilon Redon" 3927: 3921: 3906: 3900: 3885: 3879: 3864: 3838:(2): 445–455. 3827: 3821: 3806: 3772:(2): 190–197. 3761: 3748: 3727: 3714: 3699: 3665:(2): 141–155. 3654: 3641: 3626: 3589: 3584:978-0198147411 3583: 3570: 3536:(1): 178–185. 3525: 3519: 3504: 3492:979-8664122046 3491: 3476: 3470: 3457: 3451: 3438: 3425: 3410: 3376:(2): 562–577. 3365: 3346: 3327: 3298: 3279: 3266: 3251: 3245: 3232: 3211: 3208: 3205: 3204: 3193:. 23 July 2013 3178: 3152: 3136: 3124: 3098: 3086: 3074: 3072:, p. 672. 3062: 3060:, p. 175. 3050: 3034: 3008: 2982: 2978:Bempéchat 2009 2967: 2937: 2921: 2909:Classics Today 2895: 2883: 2881:, p. 154. 2871: 2869:, p. 249. 2859: 2835: 2817: 2801: 2785: 2769: 2742: 2730: 2714: 2698: 2682: 2666: 2650: 2634: 2622: 2606: 2590: 2574: 2565:, p. 317. 2555: 2539: 2512: 2497: 2495:, p. 178. 2485: 2483:, p. 162. 2473: 2461: 2449: 2423: 2411: 2385: 2369: 2353: 2337: 2325: 2323:, p. 126. 2313: 2311:, p. 125. 2298: 2282: 2280:, p. 124. 2267: 2248: 2236: 2234:, p. 235. 2224: 2212: 2186: 2174: 2172:, p. 445. 2159: 2157:, p. 155. 2147: 2145:, p. 237. 2135: 2123: 2111: 2099: 2072: 2060: 2058:, p. 141. 2048: 2036: 2024: 2008: 1996: 1994:, p. 134. 1984: 1980:p. 344 on 22.7 1976:Pausanias 1898 1968: 1953: 1951:, p. 416. 1941: 1929: 1918: 1903: 1887: 1885:, p. 126. 1875: 1867:Euripides 1994 1859: 1855:Euripides 2020 1847: 1827: 1800: 1788: 1754: 1753: 1751: 1748: 1746: 1743: 1740: 1739: 1721: 1709: 1690: 1681: 1666: 1647: 1638: 1629: 1615: 1614: 1612: 1609: 1608: 1607: 1602: 1595: 1592: 1571: 1568: 1528: 1525: 1524: 1523: 1513: 1506: 1504: 1494:Gustave Moreau 1492: 1485: 1483: 1477: 1470: 1468: 1462: 1455: 1453: 1450: 1443: 1441: 1438: 1431: 1429: 1422: 1415: 1411: 1408: 1407: 1406: 1402:Arnold Böcklin 1400: 1393: 1391: 1385: 1378: 1376: 1372:Jacob Jordaens 1369: 1362: 1360: 1357: 1350: 1346: 1343: 1341: 1338: 1290:Gustave Moreau 1255:Gustave Moreau 1244:Pietro Dandini 1226: 1223: 1146:Nicola Porpora 1035: 1032: 1030: 1027: 1000: 997: 979: 976: 974:respectively. 920: 917: 887: 869: 846: 843: 809: 781:Bion of Smyrna 764: 761: 732: 729: 620: 617: 615: 612: 595:Main article: 592: 589: 520: 517: 495:Arnold Böcklin 473:Jacob Jordaens 419:or deeds from 392: 389: 379:describes how 281: 278: 259: 256: 104: 103: 98: 94: 93: 88: 84: 83: 73: 69: 68: 63: 59: 58: 47: 15: 9: 6: 4: 3: 2: 5606: 5595: 5592: 5590: 5589:ATU 1000-1199 5587: 5585: 5582: 5580: 5577: 5575: 5572: 5570: 5567: 5565: 5562: 5560: 5557: 5556: 5554: 5539: 5536: 5534: 5531: 5529: 5526: 5524: 5521: 5519: 5516: 5514: 5511: 5509: 5506: 5504: 5501: 5499: 5496: 5494: 5491: 5489: 5486: 5484: 5481: 5479: 5476: 5474: 5471: 5469: 5466: 5464: 5461: 5459: 5456: 5454: 5451: 5449: 5446: 5442: 5439: 5438: 5437: 5434: 5432: 5429: 5427: 5424: 5422: 5419: 5417: 5414: 5413: 5411: 5409: 5405: 5399: 5396: 5394: 5391: 5389: 5386: 5384: 5381: 5379: 5376: 5374: 5371: 5369: 5366: 5364: 5361: 5359: 5356: 5355: 5353: 5351: 5347: 5341: 5338: 5336: 5333: 5331: 5328: 5326: 5323: 5320: 5316: 5313: 5311: 5308: 5306: 5303: 5301: 5298: 5296: 5293: 5291: 5288: 5286: 5283: 5282: 5280: 5276: 5270: 5267: 5265: 5262: 5260: 5257: 5255: 5251: 5248: 5246: 5243: 5240: 5236: 5234: 5231: 5229: 5225: 5222: 5220: 5217: 5215: 5212: 5210: 5207: 5205: 5202: 5200: 5196: 5193: 5191: 5188: 5186: 5183: 5180: 5177: 5175: 5172: 5170: 5166: 5163: 5161: 5157: 5154: 5153: 5151: 5147: 5140: 5137: 5134: 5131: 5128: 5125: 5122: 5119: 5116: 5113: 5110: 5107: 5104: 5101: 5098: 5095: 5092: 5089: 5087:(grandfather) 5086: 5083: 5080: 5077: 5074: 5071: 5068: 5065: 5062: 5059: 5056: 5053: 5052: 5050: 5048: 5043: 5039: 5038: 5029: 5024: 5022: 5017: 5015: 5010: 5009: 5006: 4994: 4991: 4989: 4986: 4984: 4981: 4979: 4976: 4974: 4971: 4969: 4966: 4964: 4961: 4959: 4956: 4954: 4951: 4949: 4946: 4944: 4940: 4938: 4934: 4932: 4929: 4928: 4925: 4921: 4920: 4911: 4906: 4904: 4899: 4897: 4892: 4891: 4888: 4882: 4879: 4877: 4874: 4872: 4869: 4867: 4864: 4862: 4859: 4857: 4854: 4852: 4849: 4847: 4844: 4842: 4839: 4837: 4834: 4832: 4828: 4825: 4822: 4820: 4816: 4813: 4810: 4808: 4805: 4803: 4800: 4799: 4798: 4797: 4791: 4787: 4784: 4783: 4772: 4768: 4764: 4760: 4756: 4752: 4751: 4745: 4741: 4737: 4733: 4729: 4724: 4721: 4717: 4713: 4710: 4706: 4702: 4700:, 277: 15-18. 4699: 4695: 4691: 4688: 4684: 4681: 4677: 4674: 4670: 4666: 4662: 4658: 4654: 4650: 4645: 4642: 4638: 4634: 4630: 4626: 4622: 4618: 4614: 4610: 4609: 4604: 4599: 4595: 4591: 4587: 4583: 4579: 4575: 4570: 4566: 4562: 4558: 4554: 4550: 4546: 4541: 4540: 4530: 4529: 4524: 4512: 4508: 4507: 4502: 4498: 4494: 4488: 4484: 4483: 4477: 4465: 4464: 4458: 4455: 4451: 4447: 4446: 4441: 4438: 4427: 4421: 4417: 4416: 4410: 4409: 4391: 4390: 4384: 4380: 4374: 4370: 4369: 4363: 4351: 4347: 4342: 4338: 4332: 4328: 4327: 4321: 4317: 4311: 4307: 4306: 4300: 4296: 4290: 4286: 4282: 4280: 4273: 4269: 4263: 4260:. Routledge. 4259: 4254: 4242: 4238: 4233: 4229: 4223: 4208: 4206:9781592328154 4202: 4198: 4197: 4190: 4178: 4177: 4171: 4159: 4155: 4150: 4146: 4144:9780521554213 4140: 4136: 4132: 4127: 4115: 4114: 4113:Metamorphoses 4110:Ovid (1922). 4108: 4096: 4091: 4080: 4074: 4070: 4069: 4063: 4052: 4046: 4042: 4041: 4035: 4031: 4027: 4023: 4019: 4015: 4011: 4007: 4003: 3998: 3994: 3988: 3984: 3983: 3977: 3965: 3964: 3958: 3947: 3941: 3937: 3933: 3928: 3924: 3918: 3914: 3913: 3907: 3903: 3901:9780192582881 3897: 3893: 3892: 3886: 3882: 3876: 3872: 3871: 3865: 3861: 3857: 3853: 3849: 3845: 3841: 3837: 3833: 3828: 3824: 3822:0-19-872144-7 3818: 3814: 3813: 3807: 3803: 3799: 3795: 3791: 3787: 3783: 3779: 3775: 3771: 3767: 3762: 3751: 3745: 3741: 3737: 3735: 3734:Le pescatrici 3728: 3717: 3711: 3707: 3706: 3700: 3696: 3692: 3688: 3684: 3680: 3676: 3672: 3668: 3664: 3660: 3655: 3644: 3638: 3634: 3633: 3627: 3623: 3619: 3615: 3611: 3607: 3603: 3599: 3595: 3590: 3586: 3580: 3576: 3571: 3567: 3563: 3559: 3555: 3551: 3547: 3543: 3539: 3535: 3531: 3526: 3522: 3516: 3512: 3511: 3505: 3494: 3488: 3484: 3483: 3477: 3473: 3471:9780674995604 3467: 3463: 3458: 3454: 3452:9780198030614 3448: 3444: 3439: 3428: 3422: 3418: 3417: 3411: 3407: 3403: 3399: 3395: 3391: 3387: 3383: 3379: 3375: 3371: 3366: 3354: 3353: 3347: 3335: 3334: 3328: 3324: 3320: 3316: 3312: 3308: 3304: 3299: 3287: 3286: 3280: 3269: 3263: 3259: 3258: 3252: 3248: 3242: 3238: 3233: 3221: 3220: 3214: 3213: 3192: 3188: 3182: 3166: 3162: 3156: 3149: 3145: 3144:Thompson 1977 3140: 3133: 3128: 3113: 3109: 3102: 3095: 3090: 3083: 3078: 3071: 3066: 3059: 3054: 3047: 3043: 3038: 3023: 3019: 3012: 2997:. 18 May 2013 2996: 2992: 2986: 2979: 2974: 2972: 2956: 2952: 2948: 2941: 2934: 2930: 2929:Cornwall 1820 2925: 2910: 2906: 2899: 2892: 2887: 2880: 2875: 2868: 2863: 2848: 2847: 2839: 2831: 2827: 2821: 2814: 2810: 2805: 2798: 2794: 2789: 2782: 2778: 2773: 2757: 2753: 2746: 2740:, p. 22. 2739: 2734: 2727: 2723: 2718: 2711: 2707: 2702: 2695: 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1851: 1844: 1840: 1836: 1831: 1815: 1811: 1810:"οὔτις, οὔτι" 1804: 1797: 1792: 1786: 1782: 1781: 1776: 1775:Scott, Robert 1772: 1768: 1759: 1755: 1737: 1733: 1725: 1719: 1713: 1706: 1702: 1694: 1685: 1679: 1677: 1670: 1664: 1660: 1657: 1654:Spanish text 1651: 1642: 1633: 1626: 1620: 1616: 1606: 1603: 1601: 1598: 1597: 1591: 1589: 1588: 1583: 1582: 1577: 1567: 1565: 1561: 1557: 1556:folkloristics 1552: 1550: 1549: 1543: 1541: 1536: 1534: 1520: 1516: 1510: 1505: 1495: 1489: 1484: 1480: 1474: 1469: 1465: 1459: 1454: 1447: 1442: 1435: 1430: 1426: 1419: 1414: 1413: 1403: 1397: 1392: 1388: 1382: 1377: 1373: 1366: 1361: 1354: 1349: 1348: 1337: 1335: 1331: 1330:Carle van Loo 1327: 1322: 1320: 1319:Auguste Rodin 1316: 1312: 1311:Auguste Ottin 1307: 1305: 1304: 1299: 1295: 1291: 1286: 1284: 1280: 1276: 1270: 1268: 1264: 1263:Giulio Romano 1256: 1251: 1247: 1245: 1241: 1237: 1233: 1222: 1220: 1216: 1212: 1208: 1203: 1200: 1195: 1191: 1190:Albert Samain 1187: 1186:Alfred Austin 1183: 1182:Bryan 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