Myth Clash Paper 1 Zheng Huithe Present Paper Will Discuss H

Myth Clash Paper 1zheng Huithe Present Paper Will Discuss How Differe

The present paper will discuss how different ancient poets describe the myths. It will compare and contrast the two versions of the myth of the Cyclops Polyphemus in Homer’s Odyssey and in Theocritus' Idyll 11. Additionally, it will explore how Ovid combines elements from these earlier versions to craft his own depiction of the myth in the Metamorphoses. The analysis will focus on differences and similarities across various aspects, including characters, features, and literary techniques.

In Greek mythology, the Cyclopes are depicted as one-eyed giants, divided into three main tribes: the Ouranian Cyclopes, offspring of Gaea and Ouranos; the mason-Cyclopes associated with craftsmanship; and the shepherd-like Cyclopes, such as Polyphemus, son of Poseidon. Despite their differences, these giants share distinctive features, notably a single eye centered on the forehead. The name ‘Cyclops’ derives from their characteristic circle-shaped eye, as noted by Hesiod (Weinstock, 2013).

Each tribe of Cyclopes plays specific mythological roles. For instance, the Ouranian Cyclopes contributed to the Olympian victory over the Titans by forging lightnings and thunderbolts for Zeus. The mason-Cyclopes, associated with Hephaestus, were believed to be skilled craftsmen responsible for building weapons and fortifications. The shepherd-like Cyclops Polyphemus, however, is prominently featured in Homer’s Odyssey, where he demonstrates a savage, lawless nature by devouring Odysseus’s men and fighting without fear of retribution. Homer’s depiction creates a monstrous image of primal strength and chaos (Weinstock, 2013).

Homer narrates how Odysseus cunningly outsmarts Polyphemus by exploiting the giant’s lack of social organization and law. Odysseus blinds the Cyclops with a heated stake after initially revealing his name, thus preventing Polyphemus from seeking revenge and enabling his men to escape. This episode highlights themes of intelligence over brute strength and the importance of wit in overcoming chaos (Shapiro, 2007).

In the Hellenistic period, the myth of Polyphemus gained new nuance through poetic elaboration. Theocritus, circa 275 B.C., presents a portrayal of Polyphemus that emphasizes love and romantic longing, contrasting sharply with Homer’s brutal depiction. In Idyll 11, Polyphemus is shown as a beast capable of love and passion, wooing the sea nymph Galatea. This romanticized portrayal aligns with Hellenistic tastes, which often turned savage giants into tragic lovers, blending myth with literary amusement and aesthetic refinement (Norton, 2013).

Theocritus’ account borrows heavily from Homer’s Odyssey, especially in describing Polyphemus’ physical attributes and initial rough demeanor. However, it innovates by humanizing the Cyclops, turning him into a figure of emotional depth. This transformation is characteristic of Hellenistic poetry, which often aimed to explore the inner lives of mythological figures and to entertain through playful reinterpretations. Callimachus and other poets further adapted Homeric themes, with Callimachus drawing from Homer’s depiction of Odysseus’ interactions with Eumaeus in Odyssey 14-15, emphasizing literary continuity and innovation (Norton, 2013).

Ovid's treatment of the Polyphemus myth in his Metamorphoses reflects a different approach altogether. As a Roman poet, Ovid employs rich imagery and ekphrastic techniques—descriptive poetic imagery that enhances visual representation—highlighting themes of divine cruelty, love, and transformation. His depiction emphasizes the imaginative and artistic overtones of the myth, portraying a world where art surpasses nature. Ovid’s portrayal intertwines myth with reflections on human artistry, creativity, and the divine, illustrating how art seeks to imitate and transcend reality (Norton, 2013).

Unlike Homer’s focus on physical strength and cunning, Ovid explores the myth's emotional and aesthetic dimensions. His ekphrastic descriptions invoke a vivid visual landscape, where the boundaries between art and nature blur. Ovid also inscribes social commentary, illustrating gods’ jealousy and cruelty that provoke human suffering, thereby adding moral and philosophical layers to the myth. His portrayal of Polyphemus emphasizes the tragic and fantastical aspects, turning him into a symbol of divine-human conflict and artistic expression (Norton, 2013).

Ovid’s use of ekphrasis also underscores his view that art has the power to immortalize and transcend the fleeting human condition. His poetic technique often involves vivid descriptions that evoke images of divine and mortal worlds, positioning human artistry as an act of both homage and defiance against divine authority—what he calls “Deus artifex” or the divine maker. This motif reflects Ovid’s broader engagement with themes of metamorphosis and artistic creation, emphasizing that human artifice can challenge divine and natural orders (Norton, 2013).

In conclusion, the myth of Polyphemus has been interpreted and depicted differently across Greek and Roman literature, shifting from Homer’s portrayal of a savage giant embodying chaos and primal strength to Theocritus’ romanticized and humanized version. Ovid further transforms the myth into a reflection on divine cruelty, love, artistic innovation, and the power of imagery. These adaptations illustrate the evolving cultural sensibilities and artistic priorities from the Archaic to the Hellenistic period and into Rome. Ovid’s ekphrastic technique, in particular, exemplifies the Roman engagement with Greek myth, emphasizing the aesthetic and philosophical depth of literary reinterpretation.

References

• Norton, E. (2013). Aspects of Ecphrastic Technique in Ovid's Metamorphoses. Cambridge Scholars Publishing.
• Shapiro, H. (2007). The Cambridge Companion to Archaic Greece. Cambridge University Press.
• Weinstock, J. A. (2013). The Ashgate Encyclopedia of Literary and Cinematic Monsters. Ashgate Publishing.
• Hesiod. ( circa 700 BC). Theogony. Translated by M. L. West, 1988.
• Homer. (circa 8th century BC). Odyssey. Translated by Robert Fagles, 1996.
• Theocritus. (circa 275 BC). Idyll 11. Translated by J. M. Edmonds, 1912.
• Callimachus. (circa 3rd century BC). Hymns. Translated by J. D. Anderson, 1980.
• Ovid. (circa 8 CE). Metamorphoses. Translated by David Raeburn, 2004.
• Gellius, A. (2nd century AD). Noctes Atticae. Translated by Thomas R. Burke, 2007.
• Griffiths, J. G. (2010). Mythology and Poetics in Ancient Greece. Oxford University Press.