Back in the Cave of the Cyclops

Abstract

Back in the Cave of the Cyclops Pura Nieto Hernández It is many years now since Denys Page (1955) demonstrated how the story of the Cyclops, as presented in book 9 of the Odyssey, is the product of a conflation of two distinct folklore themes that are well attested over a wide geographical area: on the one hand, that of the ogre-type giant who devours human flesh and is, in the end, blinded, and, on the other hand, the "No-man" theme. In his study Page highlighted certain details in which the Odyssey differs from its possible sources: examples are the substitution of a wooden stake for the metal skewer as the instrument with which the hero blinds the monster, and the use of wine to put the giant to sleep. But the business of Polyphemus and the strange company of Cyclopes has posed other problems, which are very likely due to the number and diversity of themes that the composer of the Odyssey has skillfully woven together in this episode, and which relate the episode to the entire epic as we have it.1 We may note, in the first place, a topic that is all but obsessive in the poem: the exchange of hospitality gifts (xeinia), which is closely related in turn to the theme of food—how, when, and with whom one ought or ought not to eat—and to the respect due the gods (sacrifices, etc.). These and other themes may be subsumed under the opposition between nature and culture, which scholars have carefully studied,2 often arriving at the conclusion that the Cyclopes represent [End Page 345] one pole (the total absence of civilization), and the other pole—that of culture—is represented by the Phaeacians.3 Another theme, no less central to the epic and which is raised in this episode as well, is that of revenge, and, in particular, revenge for an attack against a member of one's own family, since, in blinding Polyphemus, Odysseus arouses the wrath of the Cyclops' father, Poseidon, who attempts to avenge the harm the hero has done to his son. The episode of the Cyclops also puts on display the relationship between Odysseus and his companions, along with the special qualities that characterize the hero: his "cleverness," his ability to solve problems, his ambiguous identity, his capacity to be "reborn,"4 etc. The way these themes are intertwined, together with the poet's ingenious adaptation of folklore motifs, makes this episode not only unforgettable even to casual readers of the Odyssey but important for a complete understanding of the poem. The Cyclopes themselves, as Homer presents them in this episode, are problematic in various respects. One is the strange nature of the society (if this collection of creatures indeed forms a society) in which they live. It is described as a world that resembles the Golden Age, in which the earth yields its fruits continually and without toil, and yet the Cyclopes themselves seem wholly uncivilized: they live isolated from one another, have no assemblies, are unacquainted with justice, and, above all (as critics have particularly noted), they eat their guests.5 Again, their relationship with the gods is ambiguous, since they seem to live on the periphery of the divine world. Some scholars have seen a contradiction between 9.107, where we are told that the Cyclopes "trusted in the gods" and 9.274-77, which state clearly that the gods do [End Page 346] not matter to them.6 Another problem is that one of them—the only one with whom Odysseus has any contact and who is granted a name of his own (Polyphemus)—appears as the son of Poseidon. In other branches of the tradition (especially in Hesiod's Theogony) the Cyclopes are the sons of Heaven and Earth, or of Uranus and Gaia. That Polyphemus, and only he, it would seem, of this strange bunch is the son of Poseidon has been a source of some confusion.7 In this essay, I reconsider these problems and offer some solutions which, while taking account of the possible conflation of several folktale motifs, nevertheless may enable a more global understanding of...