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Cyclops is a satyr play written in ancient & medieval times by Euripides of Athens. Euripides' Cyclops is the only complete Greek satyr play known to have survived antiquity. Euripides' Cyclops is a comical burlesque-like play. This satyr play offers a comic antidote to the Greek tragedies.
The Cyclops is one of the few surviving satyr plays from ancient Greece, and this translation by E. P. Coleridge brings Euripides' work to life for modern readers. The play tells the story of Odysseus and his crew as they encounter the Cyclops Polyphemus. The lively and witty dialogue makes this an entertaining read, while the themes of heroism, cleverness, and vengeance continue to resonate with audiences today. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
A new translation of Cyclops, a Satyr play by Euripides. Cyclops is the only Satyr play to have survived in full. The Satyr plays took as their theme a well-known mythological story: here, the story is of Odysseus? encounter with the Cyclops, Polyphemus. Satyrs and their elderly leader, Silenus (whose sole desire is to spend an easy life honouring Bacchus with wine and pursuing nymphs) are introduced into the story, the Satyrs forming the chorus. In Cyclops, Silenus and his satyrs have already come into contact with Polyphemus and been enslaved by him. The Satyrs were not heroic, but are always ready to join in witty repartee ? from a safe distance. Silenus provides much of the humour, derived in large measure from his insatiable desire for alcohol. The play follows the traditional storyline and reaches the traditional conclusion ? with the escape of Odysseus and the remnants of his crew, accompanied in this case by the joyful Silenus and his Satyrs.
The origins of satyr drama, and particularly the reliability of the account in Aristotle, remains contested, and several of this volume’s contributions try to make sense of the early relationship of satyr drama to dithyramb and attempt to place satyr drama in the pre-Classical performance space and traditions. What is not contested is the relationship of satyr drama to tragedy as a required cap to the Attic trilogy. Here, however, how Aeschylus, Sophocles, and Euripides (to whom one complete play and the preponderance of the surviving fragments belong) envisioned the relationship of satyr drama to tragedy in plot, structure, setting, stage action and language is a complex subject tackled by several contributors. The playful satyr chorus and the drunken senility of Silenos have always suggested some links to comedy and later to Atellan farce and phlyax. Those links are best examined through language, passages in later Greek and Roman writers, and in art. The purpose of this volume is probe as many themes and connections of satyr drama with other literary genres, as well as other art forms, putting satyr drama on stage from the sixth century BC through the second century AD. The editors and contributors suggest solutions to some of the controversies, but the volume shows as much that the field of study is vibrant and deserves fuller attention.