Editing Polyphemus (section)

====Literature and music====
During [[Renaissance]] and [[Baroque]] times Ovid's story emerged again as a popular theme. In Spain [[Luis de Góngora y Argote]] wrote the much admired narrative poem, ''Fábula de [[Polifemo]] y Galatea'', published in 1627. It is particularly noted for its depiction of landscape and for the sensual description of the love of Acis and Galatea.{{sfn|de Góngora|2008|loc=[https://books.google.com/books?id=M73JAsBiFxoC&pg=PA173 pp. 173]}} It was written in homage to an earlier and rather shorter narrative with the same title by Luis Carillo y Sotomayor (1611).{{refn|group=nb|Spanish text [http://www.biblioteca-antologica.org/wp-content/uploads/2009/09/CARRILLO-DE-SOTOMAYOR-F%C3%A1bula-de-Acis-y-Galatea-YA.pdf online] {{webarchive|url=https://web.archive.org/web/20130512224721/http://www.biblioteca-antologica.org/wp-content/uploads/2009/09/CARRILLO-DE-SOTOMAYOR-F%C3%A1bula-de-Acis-y-Galatea-YA.pdf |date=12 May 2013 }}}} The story was also given operatic treatment in the very popular [[zarzuela]] of [[Antoni Lliteres Carrió]] (1708). The atmosphere here is lighter and enlivened by the inclusion of the clowns Momo and Tisbe.

In France the story was condensed to the fourteen lines of [[Tristan L'Hermite]]'s sonnet "Polyphème en furie" (1641). In it the giant expresses his fury upon viewing the loving couple, ultimately throwing the huge rock that kills Acis and even injures Galatea.<ref>{{cite web |title=François Tristan L'Hermite – Poète – 'Polyphème en furie' |url=http://le-blog-de-mcbalson-palys.over-blog.com/article-fran-ois-tristan-l-hermite-poete-polypheme-en-furie-117988490.html |website=Balades comtoises |language=fr |date=24 May 2013}}</ref> Later in the century, [[Jean-Baptiste Lully]] composed his opera ''[[Acis et Galatée]]'' (1686) on the theme.{{refn|group=nb|[http://www.prestoclassical.co.uk/r/DG%2BArchiv/E4534972 Excerpts from Jean-Baptiste Lully's 1686 opera, ''Acis et Galatée'' at PrestoClassical]}}

[[File:Fontaine Médicis Luxembourg.jpg|thumb|left|240px|Polyphemus discovers Galatea and Acis, statues by Auguste Ottin in the [[Jardin du Luxembourg]]'s Médici Fountain, 1866]]
In Italy [[Giovanni Bononcini]] composed the one-act opera ''Polifemo'' (1703). Shortly afterwards [[George Frideric Handel]] worked in that country and composed the cantata ''[[Aci, Galatea e Polifemo]]'' (1708), laying as much emphasis on the part of Polifemo as on the lovers. Written in Italian, Polifemo's deep bass solo "Fra l'ombre e gl'orrori" (From horrid shades) establishes his character from the start. After Handel's move to England, he gave the story a new treatment in his [[pastoral]] opera ''[[Acis and Galatea (Handel)|Acis and Galatea]]'' with an English libretto provided by [[John Gay]].{{refn|group=nb|The text is on the Stanford University site.<ref name="Gay">{{cite book |last1=Gay |first1=John |last2=Pope |first2=Alexander |last3=Hughes |first3=John |title=Georg Friedrich Händel's Acis and Galatea |date=c. 1718 |url=http://opera.stanford.edu/iu/libretti/acis.htm |access-date=5 April 2020}}</ref>}} Initially composed in 1718, the work went through many revisions and was later to be given updated orchestrations by both [[Mozart]] and [[Mendelssohn]].{{sfn|Montemorra Martin|2006|p=249}} As a pastoral work it is suffused with Theocritan atmosphere but largely centres on the two lovers. When Polyphemus declares his love in the lyric "O ruddier than the cherry", the effect is almost comic.{{sfn|Dugaw|2001|p=154}}{{refn|group=nb|There is a performance of {{YouTube|9wo-EqJC3i0|Acis and Galatea- Polyphemus: 'O ruddier than the cherry' by G. F. Handel}}.}} Handel's rival for a while on the London scene, [[Nicola Porpora]], also made the story the subject of his opera ''[[Polifemo (opera)|Polifemo]]'' (1735).

Later in the century [[Joseph Haydn]] composed ''Acide e Galatea'' (1763) as his first opera while in Vienna.{{refn|group=nb|Brief excerpts at [http://www.classicalarchives.com/work/126417.html Classical Archives]}} Designed for an imperial wedding, it was given a happy ending centred on the transformation scene after the murder of Acis as the pair declare their undying love.{{sfn|Green|1997|pp=167–68}} [[Johann Gottlieb Naumann]] was to turn the story into a comic opera, ''Aci e Galatea'', with the subtitle ''i ciclopi amanti'' (the amorous cyclops). The work was first performed in Dresden in 1801 and its plot was made more complicated by giving Polifemo a companion, Orgonte. There were also two other lovers, Dorinda and Lisia, with Orgonte Lisia's rival for Dorinda's love.<ref name="Levine">{{cite web |last1=Levine |first1=Robert |title=Naumann: Aci e Galatea/Bernius/Stuttgart |url=https://www.classicstoday.com/review/review-9089/ |website=Classics Today |access-date=11 March 2020}}</ref>{{refn|group=nb|There is a performance of Polifemo's aria {{YouTube|z42kvJ_MqKg|Fulmine che dal Cielo}}}}

After John Gay's libretto in Britain, it was not until the 19th century that the subject was given further poetical treatment. In 1819 appeared ''The Death of Acis'' by [[Bryan Procter]], writing under the name of Barry Cornwall.{{sfn|Cornwall|1820|loc=[https://archive.org/stream/asicilianstoryw00procgoog#page/n120/mode/2up pp. 107ff]}} A blank verse narrative with lyric episodes, it celebrates the musicianship of Polyphemus, which draws the lovers to expose themselves from their hiding place in a cave and thus brings about the death of Acis. At the other end of the century, there was [[Alfred Austin]]'s dramatic poem "Polyphemus", which is set after the murder and transformation of the herdsman. The giant is tortured by hearing the happy voices of Galatea and Acis as they pursue their love duet.<ref>{{cite journal|url=https://archive.org/stream/jstor-25105183/25105183#page/n1/mode/2up |last1=Austin |first1=Alfred |title=Polyphemus |journal=North American Review |date=July 1901 |volume=DXXXVI |access-date=2 March 2020}}</ref> Shortly afterwards [[Albert Samain]] wrote the 2-act verse drama ''Polyphème'' with the additional character of Lycas, Galatea's younger brother. In this the giant is humanised; sparing the lovers when he discovers them, he blinds himself and wades to his death in the sea. The play was first performed posthumously in 1904 with incidental music by Raymond Bonheur.{{sfn|Bempéchat|2009|pp=279–283}} On this the French composer [[Jean Cras]] based his operatic 'lyric tragedy' ''[[Polyphème]]'', composed in 1914 and first performed in 1922. Cras took Samain's text almost unchanged, subdividing the play's two acts into four and cutting a few lines from Polyphemus' final speech.{{sfn|Bempéchat|2009|pp=279–283}}

There have also been two Spanish musical items that reference Polyphemus' name. [[Reginald Smith Brindle]]'s four fragments for guitar, ''El Polifemo de Oro'' (1956), takes its title from [[Federico García Lorca]]'s poem, "The riddle of the guitar". That speaks of six dancing maidens (the guitar strings) entranced by 'a golden Polyphemus' (the one-eyed sound-hole).<ref>{{cite web |title=Golden Polyphemus (Brindle) and Riddle of the guitar (Lorca) – Generation of '27 – Part 5 |url=https://www.kazu-classicalguitar.co.uk/essays/generation-27/part5/golden-polyphemus-riddle-guitar-brindle-lorca |website=Kazu Suwa {{!}} Classical Guitarist |access-date=2 March 2020 |language=en |date=18 May 2013}}</ref> The Spanish composer Andres Valero Castells takes the inspiration for his ''Polifemo i Galatea'' from Gongora's work. Originally written for brass band in 2001, he rescored it for orchestra in 2006.<ref>{{cite web |first1=José Antonio |last1=Hernández Arce |title=A Short Story by Oscar |url=http://elcoloquiodelosperros.net/a-short-story-by-oscar/ |website=Dialogue of the Dogs |access-date=12 March 2020 |date=10 August 2019 |archive-date=31 March 2020 |archive-url=https://web.archive.org/web/20200331021614/http://elcoloquiodelosperros.net/a-short-story-by-oscar/ |url-status=dead }}</ref>