Polyphemus

Polyphemus (/ˌpɒlɪˈfiːməs/; Greek: Πολύφημος Polyphēmos) is

the one-eyed giant son of Poseidon and Thoosa in Greek Polyphemus (Greek:
mythology, one of the Cyclopes described in Homer's Odyssey. Πολύφημος)
His name means "abounding in songs and legends".[1]
Polyphemus first appeared as a savage man-eating giant in the
ninth book of the Odyssey. The satyr play of Euripides is
dependent on this episode apart from one detail; for comic effect,
Polyphemus is made a pederast in the play. Later Classical
writers presented him in their poems as heterosexual and linked
his name with the nymph Galatea. Often he was portrayed as
unsuccessful in these, and as unaware of his disproportionate size
and musical failings.[2] In the work of even later authors,
however, he is presented as both a successful lover and skilled
musician. From the Renaissance on, art and literature reflect all
of these interpretations of the giant. The blinded Polyphemus seeks
vengeance on Odysseus: Guido Reni's
painting in the Capitoline Museums.

Contents Grouping Cyclopes

Parents Poseidon
Odysseus and Polyphemus Thoosa
Ancient sources
Mythology Greek
Artistic representations
Possible origins Habitat Cyclopean Isles, Sicily,
Italy
Polyphemus and Galatea
Ancient sources
Philoxenus of Cythera
Aristophanes
Hellenistic pastoral poets
Latin poets
First-century AD art
Lucian
Nonnus
Later European interpretations
Literature and music
Painting and sculpture
Artistic depictions of Polyphemus
Other uses
See also
Notes
References
Citations
 Works cited
General references
External links

Odysseus and Polyphemus

Ancient sources

In Homer's epic, Odysseus lands on the island of the Cyclopes

during his journey home from the Trojan War 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, scoffing at the usual custom of hospitality,
eats two of the men. Next morning, the giant kills and eats two more Greek terracotta figurine,
and leaves the cave to graze his sheep. Polyphemos reclining and holding a
drinking bowl. Late 5th to early 4th
After the giant returns in the evening and eats two more of the men, century BC, Boeotia. Museum of
Odysseus offers Polyphemus some strong and undiluted wine given Fine Arts, Boston.
to him earlier on his journey. Drunk and unwary, the giant asks
Odysseus his name, promising him a guest-gift if he answers.
Odysseus tells him "Οὖτις", which means "nobody"Autenrieth,
Georg (1876). "οὔτις, οὔτι" (http://www.perseus.tufts.edu/hoppe
r/text?doc=Perseus%3Atext%3A1999.04.0073%3Aentry%3Do
u%29%2Ftis). A Homeric Dictionary (in gr). Translated by
Keep, Robert P. New York, NY: Harper & Brothers, Publishers.
Retrieved 11 March 2020.[3] 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 The blinding of Polyphemus, a
recommend prayer as the answer. reconstruction from the villa of Tiberius at
Sperlonga, 1st century AD
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 act of hubris that was to cause
problems for him later. Polyphemus prays to his father, Poseidon, for revenge and casts huge rocks towards
the ship, which Odysseus barely escapes.

The story reappears in later Classical literature. In Cyclops, the 5th-century BC play by Euripides, 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.[4] In his Latin epic, Virgil describes how Aeneas observes blind
Polyphemus as he leads his flocks down to the sea. They have encountered Achaemenides, who re-tells the
story of how Odysseus and his men escaped, leaving him 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.[5]
Artistic representations

The vivid nature of the Polyphemus episode made it a favorite theme of

ancient Greek painted pottery, on which the scenes most often
illustrated are the blinding of the Cyclops and the ruse by which
Odysseus and his men escape.[6] One such episode, on a vase featuring
the hero carried beneath a sheep, was used on a 27 drachma Greek
postage stamp in 1983.

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

Polyphemus, in the Sperlonga sculptures probably made for the
Emperor Tiberius. This may be an interpretation of an existing
Amphora painting of Odysseus composition, and was apparently repeated in variations in later Imperial
and his men blinding Polyphemus palaces by Claudius, Nero and at Hadrian's Villa.[7]
(Eleusis museum)
Of the European painters of the
subject, the Flemish Jacob
Jordaens depicted Odysseus escaping from the cave of Polyphemus
in 1635 (see gallery below) and others chose the dramatic scene of
the giant casting boulders at the escaping ship. In Guido Reni's
painting of 1639/40 (see below), 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,[8] and is reproduced in Johann Heinrich Wilhelm
Tischbein's 1802 head and shoulders portrait of the giant (see
below).

Arnold Bocklin pictures the giant as standing on rocks onshore and

swinging one of them back as the men row desperately over a Christoffer Wilhelm Eckersberg,
surging wave (see below), while Polyphemus is standing at the top Ulysses Fleeing the Cave of
of a cliff in Jean-Léon Gérôme's painting of 1902. He stands poised, Polyphemus, 1812, Princeton
having already thrown one stone, which barely misses the ship. The University Art Museum
reason for his rage is depicted in J. M. W. Turner's painting, Ulysses
Deriding Polyphemus (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.

Possible origins

Folktales similar to that of Homer's Polyphemus are a widespread phenomenon throughout the ancient
world.[9] In 1857, Wilhelm Grimm collected versions in Serbian, Romanian, Estonian, Finnish, Russian,
German, and others; versions in Basque, Lappish, Lithuanian, Gascon, Syrian, and Celtic are also
known.[10] More than two hundred different versions have been identified,[9] from around twenty five
nations, covering a geographic region extending from Iceland, Ireland, England, Portugal and Africa to
Arabia, Turkey, Russia, and Korea.[11][nb 1] The consensus of current modern scholarship is that these
"Polyphemus legends" preserve traditions predating Homer.[13][14][15][16][17][18]
An example of a such a story is one from Georgia, in the Caucasus, which describes several brothers held
prisoner by a giant one-eyed shepherd called "One-eye".[19] 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.

Polyphemus and Galatea

Ancient sources

Philoxenus of Cythera

Writing more than three centuries after the Odyssey is thought to

have been composed, Philoxenus of Cythera took up the myth of
Polyphemus in his poem Cyclops or Galatea. The poem was written
to be performed as a dithyramb, of which only fragments have
survived, and was perhaps the first to provide a female love interest Detail of a 1st-century BC wall
for the Cyclops.[nb 2] The object of Polyphemus’ romantic desire is a painting from a bedroom in the villa
sea nymph named Galatea.[21] In the poem, Polyphemus is not a of Agrippa Postumus at
cave dwelling, monstrous brute, as in the Odyssey, but instead he is Boscotrecase showing a landscape
rather like Odysseus himself in his vision of the world: He has with Galatea and Polyphemus with
weaknesses, he is adept at literary criticism, and he understands some of his flock.
people.[22]

The date of composition for the Cyclops is not precisely known, but it must be prior to 388 BC, when
Aristophanes parodied it in his comedy Plutus (Wealth); and probably after 406 BC, when Dionysius I
became tyrant of Syracuse.[23][24] Philoxenus lived in that city and was the court poet of Dionysius I.[25]
According to ancient commentators, either because of his frankness regarding Dionysius' poetry, or because
of a conflict with the tyrant over a female aulos player named Galatea, Philoxenus was imprisoned in the
quarries and had there composed his Cyclops in the manner of a Roman à clef, where the poem's characters,
Polyphemus, Odysseus and Galatea, were meant to represent Dionysius, Philoxenus, and the aulos-
player.[26][27] Philoxenus had his Polyphemus perform on the cithara, a professional lyre requiring great
skill. The Cyclops playing such a sophisticated and fashionable instrument would have been quite a
surprising juxtaposition for Philoxenus' audience.

Philoxenus' Cyclops is also referred to in Aristotle’s Poetics in a section that discusses representations of
people in tragedy and comedy, citing as comedic examples the Cyclops of both Timotheus and
Philoxenus.[28][29][30]

Aristophanes

The text of Aristophanes' last extant play Plutus (Wealth) has survived with almost all of its choral odes
missing.[31] What remains shows Aristophanes (as he does to some extent in all his plays) parodying a
contemporary literary work — in this case Philoxenus’ Cyclops.[31][32][24] 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.[33] It also contains
lines and phrases taken directly from the Cyclops.[34]
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,[35] so Cario takes the lead by parodying
Philoxenus' Cyclops.[36][37] 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."[30][38] 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.[33]

Hellenistic pastoral poets

The romantic element, originated by Philoxenus, was revived by later Hellenistic poets, including
Theocritus, Callimachus, Hermesianax,[39] and Bion of Smyrna.[40]

Theocritus is credited with creating the genre of pastoral poetry.[41] His works are titled Idylls and of these
Idyll XI tells the story of the Cyclops' love for Galatea.[42] 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
ugliness.[43][44] However, in a borrowing from Philoxenus’ poem, Polyphemus has discovered that music
will heal lovesickness,[45] and so he plays the panpipes and sings of his woes, for "I am skilled in piping as
no other Cyclops here”.[46] His longing is to overcome the antithetic elements that divide them, he of earth
and she of water: {{poemquote| 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…[46]

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!"[47] A fragment of a lost idyll by
Bion also portrays Polyphemus declaring his undying
love for Galatea.[48] Referring back to this, an elegy
on Bion's death that was once attributed to Moschus
takes the theme further in a piece of hyperbole. 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.[49] This reflected the
situation in Idyll VI of Theocritus. There two Jean-Baptiste van Loo's depiction of "The Triumph of
herdsmen engage in a musical competition, one of Galatea"; Polyphemus plays the pan-pipes on the
them playing the part of Polyphemus, who asserts that right
since he has adopted the ruse of ignoring Galatea, she
has now become the one who pursues him.[50]

Latin poets

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 Propertius. 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."[51]
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.
While Ovid’s treatment of the story that he introduced into the Metamorphoses[52] is reliant on the idylls of
Theocritus,[nb 3] it is complicated by the introduction of Acis, who has now become the focus of Galatea’s
love.

While I pursued him with a constant love,

the Cyclops followed me as constantly.
And, should you ask me, I could not declare
whether my hatred of him, or my love
of Acis was the stronger. —They were equal.[1]

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

Now, Polyphemus, wretched Cyclops, you

are careful of appearance, and you try
the art of pleasing. You have even combed
your stiffened hair with rakes: it pleases you
to trim your shaggy beard with a reaping hook.[54]

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."[55]

Galatea listens to the love song of Polyphemus while she and Acis lie hidden by a rock.[56] 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.[57] But when Polyphemus
discovers the hiding place of the lovers, he becomes enraged with jealousy. Galatea, terrified, dives into the
ocean, while the Cyclops wrenches off a piece of the mountain and crushes Acis with it.[58] But on her
return, Galatea changes her dead lover into the spirit of the Sicilian river Acis.[59]

First-century AD art

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 Pompeii, Polyphemus is pictured seated on a rock
with a cithara (rather than a syrinx) by his side, holding out a hand to
receive a love letter from Galatea, which is carried by a winged
Cupid riding on a dolphin.

In another fresco, also dating from the 1st century AD, the two stand Polyphemus receives a love-letter
locked in a naked embrace (see below). From their union came the from Galatea, a 1st-century AD
ancestors of various wild and war-like races. According to some fresco from Pompeii
accounts, the Celts (Galati in Latin, Γάλλοi in Greek) were
descended from their son Galatos,[60] while Appian credited them
with three children, Celtus, Illyrius and Galas, from whom descend the Celts, the Illyrians and the Gauls
respectively.[61]

Lucian
 There are indications that Polyphemus’ courtship also had a
more successful outcome in one of the dialogues of Lucian 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 been
chosen by him in preference to all her companions.[62]

Offspring of Polyphemus and Galatea

Nonnus

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 Dionysiaca, Nonnus gives an account of
the wedding of Poseidon and Beroe, at which the Nereid "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 syrinx."[63]

Later European interpretations

Literature and music

During Renaissance and Baroque times Ovid's story emerged again as a popular theme. In Spain Luis de
Góngora y Argote wrote the much admired narrative poem, Fábula de Polifemo y Galatea, published in
1627. It is particularly noted for its depiction of landscape and for the sensual description of the love of Acis
and Galatea.[64] It was written in homage to an earlier and rather shorter narrative with the same title by Luis
Carillo y Sotomayor (1611).[nb 4] The story was also given operatic treatment in the very popular zarzuela of
Antoni Lliteres Carrió (1708). The atmosphere here is lighter and enlivened by the inclusion of the clowns
Momo and Tisbe.

In France the story was condensed to the fourteen lines of Tristan L'Hermite's sonnet Polyphème en furie
(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.[65] Later in the century, Jean-Baptiste Lully composed his opera
Acis et Galatée (1686) on the theme.[nb 5]

In Italy Giovanni Bononcini composed the one-act opera Polifemo (1703). Shortly afterwards George
Frideric Handel worked in that country and composed the cantata Aci, Galatea e Polifemo (1708), laying as
much emphasis on the part of Polifemo as on the lovers. Written in Italian, Polifemo's deep bass solo Fra
l'ombre e gl'orrori (From horrid shades) establishes his character from the start. After Handel's move to
England, he gave the story a new treatment in his pastoral opera Acis and Galatea with an English libretto
provided by John Gay.[nb 6] Initially composed in 1718, the work went through many revisions and was later
to be given updated orchestrations by both Mozart and Mendelssohn.* [67] 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.[68][nb 7] Handel's rival for a while on the
London scene, Nicola Porpora, also made the story the subject of his opera Polifemo (1735).

Later in the century Joseph Haydn composed Acide e Galatea (1763) as his first opera while in Vienna.[nb 8]
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.[69] Johann Gottlieb Naumann was to turn the story
into a comic opera, Aci e Galatea, with the subtitle i ciclopi amanti (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.[70][nb 9]

Polyphemus discovers Galatea and
Acis, statues by Auguste Ottin in the
Jardin du Luxembourg's Médici
Fountain, 1866
speech.[73]
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 Bryan Procter, writing
under the name of Barry Cornwall.[71] 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 Alfred Austin'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.[72]
Shortly afterwards Albert Samain wrote the 2-act verse drama
Polyphème 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.[73] On this the
French composer Jean Cras 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

There have also been two Spanish musical items that reference Polyphemus' name. Reginald Smith Brindle's
four fragments for guitar, El Polifemo de Oro (1956), takes its title from Federico García Lorca's poem,
“The riddle of the guitar”. That speaks of six dancing maidens (the guitar strings) entranced by ‘a golden
Polyphemus’ (the one-eyed sound-hole).[74] The Spanish composer Andres Valero Castells takes the
inspiration for his Polifemo i Galatea from Gongora's work. Originally written for brass band in 2001, he
rescored it for orchestra in 2006.[75]

Painting and sculpture

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 Nicholas Poussin's 1649 "Landscape with Polyphemus" (see gallery
below) in which the lovers play a minor part in the foreground.[76] 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 Dublin National Gallery) 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 Pietro Dandini during this period.

An earlier fresco by Giulio Romano from 1528 seats Polyphemus against a rocky foreground with a lyre in
his raised right hand. The lovers can just be viewed through a gap in the rock that gives onto the sea at the
lower right. Corneille Van Clève (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.
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 Polyphemus serenades her from the land.
Typical examples of this were painted by François Perrier, Giovanni
Lanfranco and Jean-Baptiste van Loo.

A whole series of paintings by Gustave Moreau make the same

point in a variety of subtle ways.[77] The giant spies on Galatea
through the wall of a sea grotto or emerges from a cliff to adore her
sleeping figure (see below). Again, Polyphemus merges with the
cliff where he meditates in the same way that Galatea merges with
her element within the grotto in the painting at Musée d'Orsay. The
visionary interpretation of the story also finds its echo in Odilon
Redon's 1913 painting The Cyclops in which the giant towers over
the slope on which Galatea sleeps.[78]
Polyphemus spies on the sleeping
French sculptors have also been responsible for some memorable Galatea, Gustave Moreau (1880)
versions. Auguste Ottin's separate figures are brought together in an
1866 fountain in the Luxembourg Garden. 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 Auguste Rodin 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.[79]

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 Annibale Carracci, Lucas Auger and Carle
van Loo. Jean-Francois de Troy's 18th-century version combines discovery with aftermath as the giant
perched above the lovers turns to wrench up a rock.

Artistic depictions of Polyphemus

Polyphemus and Odysseus

The blinding, Flemish Jacob Johann Heinrich Arnold Bocklin,

Laconian black- Jordaens' depiction Wilhelm Tischbein's Polyphemus
figure cup, 565–560 of Odysseus 1802 head and attempts to crush
BC escaping from the shoulders portrait of the boat of the
cave of the giant, 1896. escaping Odysseus,
Polyphemus, 1635.
Polyphemus as lover

Polyphemus hears Polyphemus and A 1st-century fresco Nicolas Poussin,

of the arrival of Galatea, Roman depicting Acis and Galatea
Galatea, Fourth mosaic from 2nd Polyphemus and concealed from the
Style, 45–79 AD century AD. Galatea in a naked flute-playing
embrace. Polyphemus, 1630.

Nicolas Poussin's Gustave Moreau,

pastoral "Landscape Polyphemus adores
with Polyphemus", the sleeping
1649. Galatea, c.1896

Other uses
Polyphemus is mentioned in the "Apprentice" chapter of Albert Pike's Morals and Dogma (1871), as, within
Scottish Rite Freemasonry, Polyphemus is regarded as a symbol for a civilization that harms itself using ill
directed blind force.[80]

The Polyphemus moth is so named because of the large eyespots in the middle of the hind wings.[81]

A species of burrowing tortoise, Gopherus polyphemus, is named after Polyphemus because of their both
using subterranean retreats.[82]

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

The Polyphemus episode was featured in the 1905 short film Ulysses and the Giant Polyphemus by Georges
Méliès. This combines with the Calypso episode and employs special effects. Other films that include it
have been the 1911 Odissea and the 1955 Ulysses (see external links below).

See also
 Telemus

Notes
1. For examples of the story from the Caucasus, see "Legends About Shepherds, Including
Cyclops Legends".[12]
2. That Polyphemus' love for Galatea is "possibly" a Philoxenus innovation.[20]
3. Alan Griffin calls Ovid's treatment "an extended paraphrase of Theocritus' two idylls."[53]
4. Spanish text online (http://www.biblioteca-antologica.org/wp-content/uploads/2009/09/CARRIL
LO-DE-SOTOMAYOR-F%C3%A1bula-de-Acis-y-Galatea-YA.pdf) Archived (https://web.archiv
e.org/web/20130512224721/http://www.biblioteca-antologica.org/wp-content/uploads/2009/09/
CARRILLO-DE-SOTOMAYOR-F%C3%A1bula-de-Acis-y-Galatea-YA.pdf) 12 May 2013 at the
Wayback Machine
5. Excerpts from Jean-Baptiste Lully's 1686 opera, Acis et Galatée at PrestoClassical (http://ww
w.prestoclassical.co.uk/r/DG%2BArchiv/E4534972)
6. The text is on the Stanford University site.[66]
7. There is a performance of Acis and Galatea- Polyphemus: 'O ruddier than the cherry' by G.F.
Handel (https://www.youtube.com/watch?v=9wo-EqJC3i0) on YouTube.
8. Brief excerpts at Classical Archives (http://www.classicalarchives.com/work/126417.html)
9. There is a performance of Polifemo’s aria Fulmine che dal Cielo (https://www.youtube.com/wat
ch?v=z42kvJ_MqKg) on YouTube

References

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General references
Aristophanes; Cinesias; Melanippides; Phrynis; Philoxenus; Timotheus (1993). Greek Lyric,
Volume V: The New School of Poetry and Anonymous Songs and Hymns (https://www.loebcla
ssics.com/view/LCL144/1993/volume.xml). Translated by Campbell, David A. Cambridge,
Massachusetts: Harvard University Press. ISBN 978-0-674-99559-8. Retrieved 11 March
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Aristotle, Poetics in Aristotle in 23 Volumes, Vol. 23, translated by W.H. Fyfe. Cambridge,
Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1932. Online
version at the Perseus Digital Library (http://www.perseus.tufts.edu/hopper/text?doc=Perseu
s%3Atext%3A1999.01.0056%3Asection%3D1447a).
Bion; Moschus; Theocritus (1889). The Idylls of Theocritus, Bion, and Moschus: And The
Warsongs of Tyrtæus (https://www.gutenberg.org/files/4775/4775-h/4775-h.htm). Translated by
Lang, Andrew. Retrieved 2 March 2020.
Bion; Moschus; Theocritus (2015). The Idylls of Theocritus, Bion, and Moschus: And The
Warsongs of Tyrtæus. Translated by Hopkinson, Neil. Cambridge, Massachusetts: Harvard
University Press. ISBN 978-0-674-99644-1.
Euripides (1994). Euripides. Cyclops. Alcestis. Medea (Loeb Classical Library No. 12).
Translated by Kovaks, David. Harvard University Press. ISBN 9780674995604.
Grimm, Wilhelm (1857). Die sage von Polyphem (https://archive.org/details/diesagevonpolyp0
0unkngoog/page/n5/mode/2up) (in German). Berlin: Abhandlungen der Königlichen Akademie
der Wissenschaften zu Berlin. pp. 1–30. Retrieved 12 March 2020.

External links
Polyphemus and Galatea depicted in statues with a golden harpsichord by Michele Todini,
Rome, 1675 (http://www.metmuseum.org/toah/hd/todi/hd_todi.htm) at The Metropolitan
Museum of Art

Specific artworks discussed above

Polyphemus standing at the top of a cliff, Jean-Léon Gérôme, 1902, at Wikipaintings (http://ww
w.wikipaintings.org/en/jean-leon-gerome/polyphemus#supersized-artistPaintings-279403)
"Odysseus Deriding Polyphemus", J.M.W. Turner, 1829, at Wikipaintings (http://www.wikipainti
ngs.org/en/william-turner/ulysses-deriding-polyphemus-1829#supersized-artistPaintings-23887
0)
Galatea Acis e Polifemo, Pietro Dandini, c. 1630, at Art Value (http://www.artvalue.com/auction
result--dandini-pietro-pier-1646-1712-galatea-acis-e-polifemo-1516391.htm)
fresco, Giulio Romano, 1528, at Webalice (http://www.webalice.it/allietarti/Te%20Palace%20M
antua_file/image009.jpg)
Polyphemus with a massive club, Corneille Van Clève, 1681, at Web Gallery of Art (http://www.
wga.hu/html_m/c/cleve_c/polyphem.html)
"The Triumph of Galatea", Francois Perrier, at Web Gallery of Art (http://www.wga.hu/art/p/perri
er/acisgala.jpg)
"The Triumph of Galatea", Giovanni Lanfranco, Art Clon (http://www.artclon.com/paintings/gala
tea-and-polyphemus_29085.html)
 The giant spies on Galatea, Gustave Moreau, at Muian (https://web.archive.org/web/20121119
114155/http://muian.com/muian03/03Moreau408.jpg)
Polyphemus meditates, at French Government culture site (http://www.culture.gouv.fr/Wave/im
age/joconde/0002/m504104_94de2326_p.jpg)
statue of Polyphemus, Auguste Rodin, 1888, at French Government culture site (http://www.cu
lture.gouv.fr/Wave/image/joconde/0380/m504406_s1222_p.jpg)
A wrathful Polyphemus, Annibale Carracci, at Web Gallery of Art (http://www.wga.hu/art/c/carr
acci/annibale/farnese/farnese4.jpg)
A wrathful Polyphemus, Lucas Auger, at French Government culture site (http://www.culture.go
uv.fr/Wave/image/joconde/0640/m507704_02-014751_p.jpg)
A wrathful Polyphemus, Carle van Loo, at First Art Gallery (http://www.1st-art-gallery.com/%28
after%29-Loo,-Carle-Van/Polyphemus-Attacking-Acis-And-Galatea.html)
A wrathful Polyphemus, (https://web.archive.org/web/20140202200306/http://tribes.tribe.net/b9
b544af-89e5-4aa7-8dec-c917f83c3bd7/photos/ce5f648c-2c00-4f13-9147-
55c24bbbbc1b)Jean-Francois de Troy, 18th-century, at Tribes

Specific opera and filmworks discussed above

A reenactment of Giovanni Bononcini's 1703 one-act opera, Polifemo at YouTube (https://www.

youtube.com/watch?v=RVaNW5ib6N8)
A performance of Polifemo's solo, Fra l'ombre e gl'orrori from Bononcini's Polifemo at You tube
(https://www.youtube.com/watch?v=9c82JE9GK8I)
Ulysses and the Giant Polyphemus (1905) at YouTube (https://www.youtube.com/watch?v=nJs
_9KawvDQ)
Odissea (1911) at YouTube (https://www.youtube.com/watch?v=THx45cEsAvs)
Ulysses (1955) at YouTube (https://www.youtube.com/watch?v=ftBX2w2CWWI)

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