In conclusion, mention should be made of the wall paintings which represent the departure of the three with the statue to purify it in the sea. The first and most important of these is the fine casa del citarista painting[[248]]. Robert first correctly recognized the right meaning of this beautiful monument and based it upon the poet[[249]], thereby bringing it into harmony with the sarcophagi. That he was happily correct in reading the time in the painting after the recognition, contrary to Helbig’s interpretation[[250]], is nicely borne out by the painting recently discovered in the casa dei Vettii[[251]], which is another copy of the same original[[252]]. The variations are, however, enough to render any misunderstanding of it impossible. Here there is no temple, and Iphigeneia occupies the centre between Orestes and Pylades on the left, and Thoas on the right. She carries plainly the temple βρέτας on the left shoulder. Furthermore, the unconcerned attitude of the two prisoners in their tête-à-tête points clearly to the proper significance of the scene. Curiously enough Orestes appears to sit on the altar here as on the vase painting, fig. 18.
§ 8. Kyklops.
The satyr dance, the earliest form of the Greek drama and the simple beginning from which the immense superstructure of tragedy took its start, continued, in the satyr composition which followed the regular trilogy, to remind the public of the original plan and tendency of the performances in honour of Dionysos[[253]]. Till late in the fourth century B.C., at least, this echo of the original Dionysiac festival remained in vogue. The Kyklops of Euripides is the only example of this sort of composition which has reached us, and although the present work is concerned with tragedy and vase paintings I cannot refrain from including here a painting that is under the influence of this unique relic of Greek literature. The connexion between the satyr-play and tragedy is certainly intimate enough to warrant the introduction of the present chapter.
Every one is acquainted with the story of Odysseus’ adventure with the Kyklops Polyphemos. Since the author of the Odyssey threw a charm around the story, this event in the wanderings of the hero has remained one of the most popular. In early Greek art there are numerous monuments based upon the myth. The black figured vases represent two critical moments. 1. The blinding of Polyphemos. 2. The escape of Odysseus and his companion from the cave. A long list of paintings tells this story over and over again, with little variation[[254]]. The artists evidently became tired of the monotony of the subject, for it is practically dead at the beginning of the fifth century. There was nothing new in the tale; it was distinctly epic, and for this very reason had its day and gave way to new motives in the dramatic literature. At the end of the century there was a revival of the myth. It gained a new lease of life through the Kyklops of Euripides, and once again all eyes were turned towards the old Homeric fiction. When the poet introduces Seilenos and his company of satyrs as slaves to Polyphemos, and turns the fortunes of Odysseus, on his arrival at the cave, by the intervention of this new element, the artist had certainly a new incentive. The rollicking, lusty antics of the tribe of satyrs had ever been the red figured vase painter’s delight, and when Euripides connected them with the adventures of Odysseus and the Kyklops the old story was ingrafted with a vigorous shoot[[255]]. Timanthes, whom we have already met[[256]], very likely owed it to Euripides that he associated Polyphemos with satyrs[[257]]. An interesting vase painting, which may be dated cir. 410 B.C., bears strong testimony to the influence of the Kyklops in Lower Italy[[258]].
Fig. 22.
The picture appears in fig. 22. In the foreground Polyphemos lies stretched out in his drunken stupour[[259]]; beside him is a stump on which hangs an empty wineskin, and on the ground a bowl. In the centre three youths, the middle one wearing a pilos, are busy tugging at a log. Two others on the left bring fire-wood to kindle the large stick[[260]]; another youth, probably Odysseus, in pilos and chlamys, directs the work from the opposite side. Two bearded satyrs, with the usual horse-tails, caper around on the right[[261]].
The whole painting breathes with the spirit running through the Kyklops. The impression gained by reading the play is remarkably well supported by a study of the former. There is no detailed agreement between the two which strikes one, for the situations in Euripides are not closely followed. There is, however, the same stamp of originality and newness characterizing both. The painting is a revelation to one who has seen only the earlier Homeric monuments.
It may first be noticed that Polyphemos is represented outside of his cave, and that the attack upon his big eye is about to take place. This is quite opposed to Homer and Euripides, yet more than half the charm of the scene lies in the naïveté with which the artist disposes of the giant. A glance at the words of the poet will make this clearer. Odysseus and his chorus of satyrs have fixed upon the means for overcoming the Kyklops. They beg Odysseus for permission to take a hand in preparing the fatal pole;
δεῖ γοῦν· μέγας γὰρ δαλός, ὃν ξυλληπτέον. v. 472.