Cyclops (play) - Wikipedia





	
	

	
	

	Cyclops (play)

	
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		Ancient Greek satyr play by Euripides

	Cyclops
	Late Classical terracotta figure depicting Polyphemos reclining while drinking a bowl of wine.

	Written by	Euripides
	Chorus	Satyrs
	Characters	Silenus
Odysseus
The Cyclops
	Mute	Companions of Odysseus
	Place premiered	Athens
	Original language	Ancient Greek
	Genre	Satyr play


Cyclops (Ancient Greek: Κύκλωψ, Kyklōps) is an ancient Greek satyr play by Euripides, based closely on an episode from the Odyssey.[1] It would have been the fourth part of a tetralogy presented by Euripides in a dramatic festival in 5th Century BC Athens. The date of its composition is unknown, but it was probably written late in Euripides' career.[2][3] It is the only complete and extant satyr play.


Contents


	1 Story
	2 Analysis
	3 Translations
	4 See also
	5 References





Story[edit]

  
Actor as Papposilenus, around 100 AD, after 4th-century BC original



The play is set in Sicily at Mount Aetna. Silenus explains that he and his sons, the chorus, are slaves to a Cyclops, Polyphemus. The chorus enter with singing and sheep. Silenus tells them to stop singing and send the sheep into the cave because he can see a Greek ship by the coast and men coming to the cave. Odysseus enters with his men and asks where they can find water and if anyone will sell them food. Silenus questions Odysseus and Odysseus questions Silenus. On learning that he will probably be eaten if found, Odysseus is keen to leave. Silenus is keen to swap the Cyclops' food for Odysseus' wine. Silenus exits into the cave while the chorus talk to Odysseus. Silenus reenters with much food. The Cyclops enters and wants to know what is going on. Silenus explains that Odysseus and his men have beaten him and are taking the Cyclops' things and have threatened the Cyclops with violence. The Cyclops decides to eat them. Odysseus says that Silenus is lying, but the Cyclops believes Silenus. Odysseus tries to persuade the Cyclops not to eat them. The Cyclops is not persuaded. All but the chorus exit into the cave. The chorus sing until Odysseus enters from the cave and tells the chorus that the Cyclops has eaten some of his men and that he has been giving the Cyclops wine and that he intends to blind the Cyclops and save everyone, including the satyrs. The chorus are keen to help. The Cyclops exits from the cave singing and drunk and wanting more wine from Odysseus. The Cyclops wants to go and share with his brothers but is persuaded to stay. Silenus and the Cyclops drink wine until the Cyclops decides to take the now very appealing Silenus to bed, and the pair exit into the cave. The chorus affirm that they are ready to help Odysseus, but urge him to go in and help Silenus. Odysseus calls on Hephaestus and Hypnos then exits into the cave. The chorus sing. Odysseus enters from the cave and tells them to be quiet and come and help burn the eye out. The chorus excuse themselves. Odysseus suggests that they can at least offer encouragement. They agree to provide this and do provide this while Odysseus exits into the cave. The Cyclops enters from the cave with noise and blindness. The chorus mock him and direct him away from Odysseus and the others while they escape from the cave. Odysseus addresses the Cyclops before exiting toward his ship. The Cyclops says that he is going to smash the ship then exits into the cave, which is "pierced through" (ἀμφιτρῆτος). The chorus say that they will go with Odysseus and be slaves to Dionysus.


  
Odysseus offering wine to Polyphemus



Analysis[edit]

Euripides is not the only ancient dramatist who wrote a Cyclops satyr play. Aristias of the early fifth century did also.[4] But Cyclops is apparently the only thing which Euripides wrote with a particular Homeric foundation.[5] Euripides' play combines the myth of Dionysus's capture by pirates with the episode in Homer's Odyssey of Odysseus' time with the cyclops Polyphemus.[6][7][8] Into this scenario Euripides thrust Silenus and the satyrs, comic characters.[9][10] 


  
Theatre of Dionysus


 The satyr play as a medium was generally understood as a "tragedy at play".[11] It relied extensively on the multifarious connotations which surrounded the concepts of "playfulness (paidia), education (paideia), child (pais), slave (pais), playful (paidikos), and childishness (paidia)".[12] In Cyclops Euripides employed "metapoetically loaded terms" like second and double and new to highlight interactions with his sources, familiar and foundational texts in Athenian education.[13][14] The characters in Cyclops are not ignorant of Euripides' sources.[15] "Silenus 'knows his Odyssey rather well'".[16] Euripides' Cyclops knows about the Trojan War and gives Odysseus his opinion of it.[17] By playing with metapoetic images throughout the play Euripides fostered "a collective consciousness" in his democratic audience and facilitated their recognition that cooperation was necessary throughout Athens if they were to overcome their enemies.[18][19][20]

Both the Homeric episode and Euripides' Cyclops are based on the blinding of the Cyclops.[21] It was almost certainly known by Euripides' audience that a particular Alcander had stuck a stick into the eye of Lycurgus the Spartan lawgiver.[22] On one level of Euripides' play Alcibiades thrusts a stake into the eye of "a gross caricature of a Spartan",[23] expressing "a shift of political alliances ostensibly achieved by Alcibiades".[24] Like Sophocles' Philoctetes, Euripides' Cyclops made an appeal on behalf of Alcibiades that he be allowed to return from exile.[25] Euripides also encouraged his audience to consider the recent Athenian enterprise against Sicily, which was undertaken for greed against an intractable and difficult enemy when Athens could barely provide money or men and which did not go well.[26]

The Homeric Polyphemus is brutish and alien to Odysseus and his crew.[27] Euripides' Polyphemus is sophisticated and intellectually analogous to sophists of the fifth century.[28] The influence of the Sophists is manifest throughout Euripides' plays "not only in his rhetorical style but also in his skeptical, down‐to‐earth approach".[29] In Cyclops both Odysseus and the Cyclops employ deft and appropriative rhetorical manipulation, "aggressive sophistry that reduces men to meat, and fine talk to deceptive barter".[30] 

Gluttonous ingestion is a theme and "[t]he imagery of grotesque ingestion surfaces almost immediately in the play".[31] Euripides' Cyclops has been described as "a figure of proto-Rabelaisian excess" and linked to ideas contained in the work of Mikhail Bakhtin.[32]  Polyphemus "likes to talk, he likes to eat, [...] to talk about eating, or to try to eat those who talk to him".[33] The Cyclops and the satyrs continually refer to the Cyclops' belly and the satisfaction thereof.[34] Interaction between Odysseus and the Cyclops is based on food and exchange.[35]

In the play the Cyclops suggests that people are the source of morality and not the gods.[36] He says that he sacrifices only to his belly, the greatest of divinities. Such impiety was of substantial interest to Athenians in the fifth century.[37] Euripides often dealt with "the consequences of impiety".[38] One facet of Greek religion was "to honor and placate the gods because they are powerful".[39] The Athenians judicially punished philosophers and sophists.[40] Euripides himself may have left Athens in "self-imposed exile".[41] But in his play his Cyclops is punished for impiety by having his eye burned out.[42] In Euripides' plays, "Characters might refuse to worship certain gods, blaspheme them, or even at times question the morality of the gods, but there is little evidence of what we would call atheism, a complete lack of belief in any god, in Greek thought".[43]

The location of the cyclopes in the Odyssey is not specified, but Euripides' Cyclops is set in Sicily, possibly following Epicharmus,[44] portrayed as barbarous and desolate and hostile.[45] This was not an accurate representation of Sicily.[46] But the point is that the place is "completely non-Bacchic" and "non-Dionysiac".[47] This is mentioned by every character in the play.[48] 


  
Detail of a krater, dating to c. 560–550 BC, showing a satyr masturbating. Athenian satyr plays were characterized as "a genre of 'hard-ons.'"[49]


In Cyclops Polyphemus has captured and enslaved Silenus and a group of satyrs. The satyrs play an important role in driving the plot without any of them actually being the lead role, which, in the satyr play generally, was always reserved for a god or tragic hero (in this case Odysseus).[50][51] According to Carl A. Shaw, the chorus of satyrs in a satyr play were "always trying to get a laugh with their animalistic, playfully rowdy, and, above all, sexual behavior."[52] Satyrs were widely seen as mischief-makers who routinely played tricks on people and interfered with their personal property.[53] They had insatiable sexual appetites and often sought to seduce or ravish both nymphs and mortal women alike (though not always successfully).[51][54][55][56][51] A single elderly satyr named Silenus was believed to have been the tutor of Dionysus on Mount Nysa.[51][57][54] After Dionysus grew to maturity, Silenus became one of his most devout followers and was perpetually drunk.[58] The identity of satyrs is plastic and somewhat elusive, but a salient aspect in Cyclops is the "comic inversion of societal norms".[59] They were overall "creatures that were funny and joyful, pleasing and delightful, feminine and masculine, but also cowardly and disgusting, pitiful and lamentable, terrifying and horrific".[60] Satyrs were revered as semi-divine beings and companions of the god Dionysus.[61] They were thought to possess their own kind of wisdom that was useful to humans if they could be convinced to share it.[53][61] 

In Cyclops the chorus "claim to know an incantation of Orpheus that will bring down a form of fiery destruction upon their enemy".[62] When the satyrs identify the Cyclops as a "son of Earth" and present their firebrand as igniting the Cyclops' skull rather than his eye they mimic a traditional Orphic incantation and Zeus's punishment of the Titans, the "sons of Earth" and primordial enemies of the Orphic Dionysus.[63] The central focus of Orphism is the suffering and death of the god Dionysus at the hands of the Titans, which forms the basis of Orphism's central myth. In the play the satyrs are devotees of Dionysus and on the island of Sicily, known to be "a center of Orphic cult".[64]  

Cyclops has been both lauded and scorned, with hostile commentators criticising its simplicity of plot and characterisation.[65][66] There is little agreement. According to critics the play is derived entirely from the Homeric episode or mostly from the Homeric episode,[67][68] is an interrogator of Homeric and tragic portrayals,[69] or "a rival version of a Homeric episode with new contemporary implications."[70]


Translations[edit]

	Percy Bysshe Shelley, 1819 (published 1824) – verse full text
	Edward P. Coleridge, 1891 – prose: full text
	Arthur S. Way, 1912 – verse
	J. T. Sheppard, 1923 – verse
	William Arrowsmith, 1956 - verse
	Roger Lancelyn Green, 1957 – verse
	David Kovacs, 1994 – prose: full text
	Heather McHugh and David Konstan, 2001 – verse
	George Theodoridis, 2008 – prose: full text
	Patrick O'Sullivan and Christopher Collard, 2013: full text


See also[edit]

	Ancient Greek literature
	Ancient Greek religion
	Classical Greece
	Dionysia
	Dionysian Mysteries
	Music of ancient Greece
	Theatre of ancient Greece


References[edit]


	^ David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 53. ISBN 9780674995604.

	^ 
Euripides (2001). "Cyclops", in Euripides I. David Kovacs (ed. & tr.). Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 53. ISBN 9780674995604.

	^ Storey, Ian C., and Allan, Arlene. A Guide to Ancient Greek Drama. Somerset: John Wiley & Sons, Incorporated, 2014. p. 171.

	^ 
David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 53. ISBN 9780674995604.

	^ 
Torrance, Isabelle (2013). Metapoetry in Euripides. Oxford, UK: Oxford University Press. p. 246. ISBN 9780199657834.

	^ 
David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 53. ISBN 9780674995604.

	^ Dougherty, Carol. "The Double Vision of Euripides' Cyclops: An Ethnographic Odyssey on the Satyr Stage". Comparative Drama. Vol. 33, No. 3 (Fall 1999), pp. 313-338

	^ Homer, Odyssey 9.331-333.

	^ Storey, Ian C., and Allan, Arlene. A Guide to Ancient Greek Drama. Somerset: John Wiley & Sons, Incorporated, 2014. p. 170.

	^ 
David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 53. ISBN 9780674995604.

	^ O'Sullivan, P. (2016) ‘Cyclops’, in A Companion to Euripides. Hoboken, NJ, USA: John Wiley & Sons, Inc, pp. 313–333. doi: 10.1002/9781119257530.ch22.

	^ Tarnopolsky, Christina. "The Event of Genre: Reading Plato's Republic through the Lens of Satyr-Play." Theory & Event 17, no. 1 (2014): N_A.

	^ O'Sullivan, Patrick. "Cyclops". McClure, Laura. A Companion to Euripides. John Wiley & Sons, 2017. 
ISBN 9781119257509.

	^ 
Torrance, Isabelle (2013). Metapoetry in Euripides. Oxford, UK: Oxford University Press. p. 183. ISBN 9780199657834.

	^ 
Torrance, Isabelle (2013). Metapoetry in Euripides. Oxford, UK: Oxford University Press. p. 248. ISBN 9780199657834.

	^ 
Torrance, Isabelle (2013). Metapoetry in Euripides. Oxford, UK: Oxford University Press. p. 249. ISBN 9780199657834.

	^ 
David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 55. ISBN 9780674995604.

	^ 
Torrance, Isabelle (2013). Metapoetry in Euripides. Oxford, UK: Oxford University Press. p. 247. ISBN 9780199657834.

	^ 
Torrance, Isabelle (2013). Metapoetry in Euripides. Oxford, UK: Oxford University Press. p. 258. ISBN 9780199657834.

	^ Tarnopolsky, Christina. "The Event of Genre: Reading Plato's Republic through the Lens of Satyr-Play." Theory & Event 17, no. 1 (2014): N_A.

	^ Vickers, Michael. Sophocles and Alcibiades : Athenian Politics in Ancient Greek Literature. Stocksfield [U.K.]: Acumen, 2008. p.85

	^ Vickers, Michael. Sophocles and Alcibiades : Athenian Politics in Ancient Greek Literature. Stocksfield [U.K.]: Acumen, 2008. pp.84-85

	^ Vickers, Michael. Sophocles and Alcibiades : Athenian Politics in Ancient Greek Literature. Stocksfield [U.K.]: Acumen, 2008. p.85

	^ Vickers, Michael. Sophocles and Alcibiades : Athenian Politics in Ancient Greek Literature. Stocksfield [U.K.]: Acumen, 2008. p.84

	^ 
Vickers, Michael (2014). Sophocles and Alcibiades: Athenian Politics in Ancient Greek Literature. New York, US: Routledge. p. 94. ISBN 9781844651238.

	^ 
Torrance, Isabelle (2013). Metapoetry in Euripides. Oxford, UK: Oxford University Press. p. 263. ISBN 9780199657834.

	^ 
David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 55. ISBN 9780674995604.

	^ 
David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 56. ISBN 9780674995604.

	^ Raeburn, D. (2016), Greek Tragedies As Plays for Performance, John Wiley & Sons, Incorporated, Newark. p.138

	^ Worman, Nancy. "Odysseus, ingestive rhetoric, and Euripides' Cyclops." Helios, vol. 29, no. 2, 2002, p. 101+. Gale Academic OneFile, https://link.gale.com/apps/doc/A95966820/AONE?u=tou&sid=AONE&xid=5ad4a560. Accessed 8 Sept. 2020.

	^ Worman, Nancy. "Odysseus, ingestive rhetoric, and Euripides' Cyclops." Helios, vol. 29, no. 2, 2002, p. 101+. Gale Academic OneFile, https://link.gale.com/apps/doc/A95966820/AONE?u=tou&sid=AONE&xid=5ad4a560. Accessed 4 Sept. 2020.

	^ Worman, Nancy. "Odysseus, ingestive rhetoric, and Euripides' Cyclops." Helios, vol. 29, no. 2, 2002, p. 101+. Gale Academic OneFile, https://link.gale.com/apps/doc/A95966820/AONE?u=tou&sid=AONE&xid=5ad4a560. Accessed 5 Sept. 2020.

	^ Worman, Nancy. "Odysseus, ingestive rhetoric, and Euripides' Cyclops." Helios, vol. 29, no. 2, 2002, p. 101+. Gale Academic OneFile, https://link.gale.com/apps/doc/A95966820/AONE?u=tou&sid=AONE&xid=5ad4a560. Accessed 4 Sept. 2020.

	^ Worman, Nancy. "Odysseus, ingestive rhetoric, and Euripides' Cyclops." Helios, vol. 29, no. 2, 2002, p. 101+. Gale Academic OneFile, https://link.gale.com/apps/doc/A95966820/AONE?u=tou&sid=AONE&xid=5ad4a560. Accessed 4 Sept. 2020.

	^ Worman, Nancy. "Odysseus, ingestive rhetoric, and Euripides' Cyclops." Helios, vol. 29, no. 2, 2002, p. 101+. Gale Academic OneFile, https://link.gale.com/apps/doc/A95966820/AONE?u=tou&sid=AONE&xid=5ad4a560. Accessed 4 Sept. 2020.

	^ Tarnopolsky, Christina. "The Event of Genre: Reading Plato's Republic through the Lens of Satyr-Play." Theory & Event 17, no. 1 (2014): N_A.

	^ McClure, LK (ed.) 2017, A Companion to Euripides, John Wiley & Sons, Incorporated, Somerset. pp. 521-22

	^ McClure, LK (ed.) 2017, A Companion to Euripides, John Wiley & Sons, Incorporated, Somerset. pp. 521-22

	^ McClure, LK (ed.) 2017, A Companion to Euripides, John Wiley & Sons, Incorporated, Somerset. pp. 521-22

	^ McClure, LK (ed.) 2017, A Companion to Euripides, John Wiley & Sons, Incorporated, Somerset. pp. 521-22

	^ 
David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 21. ISBN 9780674995604.

	^ McClure, LK (ed.) 2017, A Companion to Euripides, John Wiley & Sons, Incorporated, Somerset. pp. 521-22

	^ McClure, LK (ed.) 2017, A Companion to Euripides, John Wiley & Sons, Incorporated, Somerset. p. 522

	^ O'Sullivan, Patrick. "Cyclops". McClure, Laura. A Companion to Euripides. John Wiley & Sons, 2017. 
ISBN 9781119257509. page 314.

	^ O'Sullivan, Patrick. "Cyclops". McClure, Laura. A Companion to Euripides. John Wiley & Sons, 2017. 
ISBN 9781119257509. page 315.

	^ O'Sullivan, Patrick. "Cyclops". McClure, Laura. A Companion to Euripides. John Wiley & Sons, 2017. 
ISBN 9781119257509. page 315.

	^ Olson, S. Douglas. "Dionysus and the Pirates in Euripides' 'Cyclops'." Hermes 116, no. 4 (1988): 502-04. Accessed September 7, 2020. http://www.jstor.org/stable/4476660.

	^ Olson, S. Douglas. "Dionysus and the Pirates in Euripides' 'Cyclops'." Hermes 116, no. 4 (1988): 502-04. Accessed September 7, 2020. http://www.jstor.org/stable/4476660.

	^ Shaw 2014, p. 5. sfn error: no target: CITEREFShaw2014 (help)

	^ Slenders 2015, p. 159. sfn error: no target: CITEREFSlenders2015 (help)

	^ a b c d Riggs 2014, p. 233. sfn error: no target: CITEREFRiggs2014 (help)

	^ Shaw, Carl A. (2014), Satyric Play: The Evolution of Greek Comedy and Satyr Drama, Oxford, England: Oxford University Press, 
ISBN 978-0-19-995094-2. p.5

	^ a b West 2007, p. 293. sfn error: no target: CITEREFWest2007 (help)

	^ a b Kerényi 1951, p. 179. sfn error: no target: CITEREFKerényi1951 (help)

	^ Roman & Roman 2010, p. 432. sfn error: no target: CITEREFRomanRoman2010 (help)

	^ Room 1983, pp. 270–271. sfn error: no target: CITEREFRoom1983 (help)

	^ Fracer 2014, p. 326. sfn error: no target: CITEREFFracer2014 (help)

	^ Riggs 2014, pp. 233–234. sfn error: no target: CITEREFRiggs2014 (help)

	^ O'Sullivan, P. (2016) ‘Cyclops’, in A Companion to Euripides. Hoboken, NJ, USA: John Wiley & Sons, Inc, pp. 313–333. doi: 10.1002/9781119257530.ch22.

	^ Tarnopolsky, Christina. "The Event of Genre: Reading Plato's Republic through the Lens of Satyr-Play." Theory & Event 17, no. 1 (2014): N_A.

	^ a b Shaw 2014, p. 18. sfn error: no target: CITEREFShaw2014 (help)

	^ Faraone, Christopher A. "Mystery Cults and Incantations: Evidence for Orphic Charms in Euripides' Cyclops 646-48?" Rheinisches Museum Für Philologie 151, no. 2 (2008): p.127

	^ Faraone, Christopher A. "Mystery Cults and Incantations: Evidence for Orphic Charms in Euripides' Cyclops 646-48?" Rheinisches Museum Für Philologie 151, no. 2 (2008): p.140

	^ Faraone, Christopher A. "Mystery Cults and Incantations: Evidence for Orphic Charms in Euripides' Cyclops 646-48?" Rheinisches Museum Für Philologie 151, no. 2 (2008): p.142

	^ Arnott, Peter D. "The Overworked Playwright A Study in Euripides' Cyclops." Greece and Rome 8, no. 2 (1961): 164-69.

	^ 
David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 57. ISBN 9780674995604.

	^ Arnott, Peter D. "The Overworked Playwright A Study in Euripides' Cyclops." Greece and Rome 8, no. 2 (1961): 164-69.

	^ 
David Kovacs (ed. & tr.) (2001). Introduction, in "Cyclops", in Euripides I. Euripides. Cambridge, MA; London, England: Loeb Classical Library, Harvard University Press. p. 54. ISBN 9780674995604.

	^ Worman, Nancy. "Odysseus, ingestive rhetoric, and Euripides' Cyclops." Helios, vol. 29, no. 2, 2002, p. 101+. Gale Academic OneFile, https://link.gale.com/apps/doc/A95966820/AONE?u=tou&sid=AONE&xid=5ad4a560. Accessed 8 Sept. 2020.

	^ 
Torrance, Isabelle (2013). Metapoetry in Euripides. Oxford, UK: Oxford University Press. p. 183. ISBN 9780199657834.





		v
	t
	e


Plays by Euripides

	Extant plays	
	Cyclops
	Alcestis
	Medea
	Children of Heracles
	Hippolytus
	Andromache
	Hecuba
	The Suppliants
	Electra
	Herakles
	The Trojan Women
	Iphigenia in Tauris
	Ion
	Helen
	The Phoenician Women
	Orestes
	Bacchae
	Iphigenia in Aulis
	Rhesus




	Lost and
fragmentary plays	
	Alcmaeon in Corinth
	Alcmaeon in Psophis
	Andromeda
	Antigone
	Archelaus
	Bellerophon
	Cresphontes
	Hypsipyle
	Oedipus
	Peliades
	Phaethon
	Philoctetes
	Theristai
	Thyestes







	
	v
	t
	e


Homer's Odyssey (8th century BC)

	Characters	
	
	House of Odysseus	
	Penelope (wife)
	Telemachus (son)
	Ctimene (sister)
	Anticlea (mother)
	Laërtes (father)
	Autolycus (grandfather)
	Eurycleia (chief servant)
	Mentor (advisor)
	Phemius (musician)
	Eumaeus (swineherd)
	Philoetius (cowherd)
	Melanthius (goatherd)
	Melantho (maid)
	Argos (pet-dog)




	Monarchs and royals	
	Alcinous of Phaeacia
	 Arete of Phaeacia
	Nestor of Pylos
	Menelaus of Sparta
	Helen
	Princess Nausicaa of Phaeacia
	Agamemnon of Mycenae




	Gods	
	Aeolus (wind god)
	Athena
	Apollo
	Artemis
	Atlas
	Calypso
	Circe
	Helios
	Hermes
	Poseidon
	Zeus
	Oceanus
	Old Man of the Sea




	Others	
	Achilles
	Ajax
	Amphimedon
	Anticlus
	Antiphates
	Antiphus
	Aretus
	Cyclopes
	Demodocus
	Demoptolemus
	Deucalion
	Dolius
	Echephron
	Echetus
	Elpenor
	Eupeithes
	Euryalus
	Eurylochus
	Halitherses
	Heracles
	Idomeneus
	Irus
	Kikonians
	Laodamas
	Laestrygones
	Medon
	Mentes
	Mesaulius
	Peisistratus
	Perimedes
	Perseus
	Polites
	Polydamna
	Polyphemus
	Scylla and Charybdis
	Sirens
	Stratichus
	Suitors of Penelope
	Tiresias
	Theoclymenus
	Thrasymedes




	Suitors	
	Agelaus
	Amphinomus
	Antinous
	Ctesippus
	Eurymachus
	Leodes







	Odyssean gods	
	Athena
	Poseidon
	Calypso
	Circe
	Ino
	Hermes
	Zeus
	Heracles







	Films	
	L'Odissea (1911 Italian)
	Ulysses (1954 Italian)
	The Return of Ringo (1965 Italian)
	Nostos: The Return (1989 Italian)
	Ulysses' Gaze (1995 Greek)
	O Brother, Where Art Thou? (2000)
	Keyhole (2012)




	TV	
	The Odyssey (1968)
	Ulysses 31 (1981)
	The Odyssey (1997)
	Odysseus and the Isle of the Mists (2007)
	Star Trek: Odyssey (2007)




	Literature	
	A True Story (2nd century AD)
	Les Aventures de Télémaque (1699)
	The World's Desire (1890)
	Ulysses (1922)
	The Odyssey: A Modern Sequel (1938)
	The Human Comedy (1943)
	Big Fish: A Novel of Mythic Proportions (1998)
	Trojan Odyssey (2003)
	The Penelopiad (2005)
	The Lost Books of the Odyssey (2010)




	Poems	
	"Ulysses" (1842)
	The Odyssey: A Modern Sequel (1938)
	The Cantos (1962)
	Pagan Operetta (1998)




	Stage	
	Current Nobody (play)
	Cyclops (play)
	Ithaka (play)
	Il ritorno d'Ulisse in patria (opera)
	The Golden Apple (musical)
	Glam Slam Ulysses (musical)
	Home Sweet Homer (musical)




	Song	
	"Tales of Brave Ulysses" (song)
	"The Odyssey" (song)
	The Odyssey (symphony)




	Study	
	Homeric scholarship
	Homeric Question
	Chorizontes


	Geography of the Odyssey
	Historicity of the Homer epics
	Odysseus Unbound
	Homer's Ithaca


	Rediscovering Homer
	"Odysseus' scar"
	Hermoniakos' Iliad
	Hysteron proteron
	Epithets in Homer
	Dactylic hexameter




	Translations	
	"On First Looking into Chapman's Homer"
	On Translating Homer




	Video games	
	Odyssey: The Search for Ulysses
	Wishbone and the Amazing Odyssey




	Phrases	
	In medias res
	Between Scylla and Charybdis




	Related	
	Telemachy
	Nekyia
	Trojan Horse
	Suitors of Penelope
	The Odyssey
	Old Man of the Sea
	The Apotheosis of Homer
	Contempt
	Cold Mountain (novel)
	Cold Mountain (film)
	Homer's Daughter
	Parallels between Virgil's Aeneid and Homer's Iliad and Odyssey







	Authority control 	
	BNF: cb122048092 (data)
	GND: 4119843-8
	LCCN: n86132889
	SUDOC: 092602703
	VIAF: 215123941
	 WorldCat Identities (via VIAF): 215123941














Retrieved from "https://en.wikipedia.org/w/index.php?title=Cyclops_(play)&oldid=1001769043"


		Categories: 	Plays by Euripides
	Odysseus
	Sicilian characters in Greek mythology
	Satyr plays
	Plays set in ancient Greece
	Plays set in Sicily
	Works based on the Odyssey
	Plays based on works by Homer


Hidden categories: 	Harv and Sfn no-target errors
	Articles with short description
	Short description matches Wikidata
	Articles containing Ancient Greek (to 1453)-language text
	Wikipedia articles with BNF identifiers
	Wikipedia articles with GND identifiers
	Wikipedia articles with LCCN identifiers
	Wikipedia articles with SUDOC identifiers
	Wikipedia articles with VIAF identifiers
	Wikipedia articles with WorldCat-VIAF identifiers




	




	





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		 This page was last edited on 21 January 2021, at 06:50 (UTC).
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