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Animal and natural imagery is a recurrent motif in Euripides’s Cyclops. On the most obvious level, Silenus and the Chorus of satyrs are creatures that combine human and animal features: Satyrs were typically represented as having a human form with the tails, ears, and sometimes legs of a horse (or, in later representations, a goat). Moreover, the setting of the play, on the slopes of Mount Etna in Sicily, is an idyllic pastoral location. The Chorus sings of their work as the herders of the Cyclopes, describing the “green grass” (45) on which the livestock graze and
the water from the brook
Swirls through your troughs
Beside the cave
Where the small lambs bleat (46-48).
However, the satyrs take little comfort in the natural beauty of their surroundings: The Cyclops, who lives in this “state of nature” without government or laws, feeds on human flesh without scruple and flagrantly denies the gods. In the end, the animal and natural imagery of the play highlights the gulf between an uncivilized world that is beautiful but dangerous, and a civilized world (represented above all by Odysseus) that ultimately triumphs over it.
It is impossible to portray satyrs—the entourage of Dionysus, the god of viticulture—without wine. Fittingly then, wine is a key element of Cyclops. In Greek culture and religious life, Dionysus was not only the god of wine; his domain also included the linked dangers of intoxication and madness. Thus, the different attitudes characters take towards wine reflect their respective attitudes towards Dionysus and the gods, while their ability to control themselves in the presence of wine reveals their inner character. In the first episode, Odysseus has no difficulty using the wine he and his men have brought with them (wine whose pedigree he describes with salesman aplomb) to tempt Silenus to trade away the Cyclops’ sheep and cheeses. The scene crystallizes the nature of both characters—Odysseus as the silver-tongued speaker and Silenus as the impulsive and dissipated sybarite. When the Cyclops tastes wine for the first time, he literally sings its praises, echoing the worship due to Dionysus; however, his intemperate drunkenness indeed leads to a kind of madness, as Polyphemus hallucinates that he is actually the god Zeus and Silenus the cupbearer and Zeus’s lover Ganymede. The Cyclops’ drunkenness gives Odysseus the opportunity to blind him. This warning about the power of wine is a fitting tribute to the god under whose aegis the play cycle featuring Cyclops would have been performed.
Ugliness and physical deformity also become prominent motifs in the play. Silenus and the satyrs, creatures that cannot be divorced from the genre of satyr drama, had a very distinctive appearance, and in performance their costume would have highlighted their physical ugliness. Their horse legs would have been exaggerated to uncanny effect, and, most importantly, the erect phalluses that formed part of their costumes would have marked them as unmeasured creatures that lacked self-control or moderation to Euripides’s audiences (ancient Greeks saw large penises as unattractive).
The Cyclops would also have been portrayed as ugly because of his gigantic proportions. Moreover, his single eye would have been read by the audience as a morally tinged deviation from standard human beauty. The physical deformity of the Cyclops reflects the ugliness of his boorish behavior, as of violating laws of hospitality is a deep ethical trespass. Thus, when Polyphemus is punished by Odysseus burning out his one eye, the Cyclops is left in a physical darkness that matches the figurative darkness of his uncivilized state, a force that threatens the beauty of Greek civilization.
By Euripides