Part 20

The main thing to be noticed in the present account is the extraordinary number of negatives. No laws, no assemblies, no association; no plows, no ships, no intercourse with other cities; the whole civilized life of man is negated, and man himself is thrown back into a state of nature. It is worth while to search for the purpose of this negative procedure on the part of the poet. He might have given a positive description of nature, telling what it is, and telling what the Cyclops is, not emphasizing so much what he is not. But thus the meaning would not come out so plainly; the Cyclops is just the negation of the whole civilized world of Greece, which fact must be expressly imaged in the very words used in the poem. He is not so much a simple being of nature as a being antithetic to society.

At this point we can trace his connection with the great Trojan experience, which, as already set forth, has begotten a negative tendency in its participators. The war at Troy, like all war long-continued, has bred men to be anti-social; they have to destroy State, Family, Commerce, Agriculture, till destruction becomes habit, yea principle, and takes possession of their intellect. The Cyclops was generated at Ilium, and is a colossal phantasm of the spirit which prompted the attack on the Ciconians.

It should be stated here that the Cyclops of Homer are different from those of Hesiod and of other mythographers, inasmuch as the latter were represented as the demons who forged the thunderbolts of Zeus, and were connected with the volcanic agencies chiefly in Sicily and Italy. Mount Ætna belching forth its lava streams may have suggested to the Greek imagination the sick giant Polyphemus in its caverns, drunk on the red destructive wine of Ulysses.

First is a small island, "stretching outside the harbor" of the land of the Cyclops, woody, full of wild goats; there the ships of Ulysses drew to the shore. It was bare of human dwellers, the Cyclops had no boats to reach it; a good place for stopping, therefore, quite out of reach of the savages. Nor is the fountain forgotten, "sparkling water flowing from a hollow rock down to the harbor"--an adjunct still necessary to every Greek village or encampment. "Some God led us through the dark night" without our seeing the island till the boats struck it--surely a providential intervention on our behalf.

Leaving behind the other ships at this point, Ulysses takes only his own and its crew, and goes forth to "test these people, whether just or unjust, hospitable or godless." He cannot rest in ignorance, he must have the experience and know the unknown. He soon sees "a cave high up the mountain, not far from the sea, overarched with laurel shrubs;" he observes also "an enclosure, made of stones set in the earth;" these stones are not hewn (as some translators say), since the so-called Cyclopean walls so common in Greece were not built by this kind of Cyclops. In the enclosure were resting "many herds of sheep and goats"--just such a scene as can be witnessed in the rural parts of Greece to-day. This is the environment of "the man-monster," who is now to be the theme of song.

II. Polyphemus is a Cyclops but he has characteristics of his own. He has no family in his cave, he lives wholly for himself apparently; he seems to be the largest of his race, "like no man who lives by bread;" he towers alone "like the peak of a high mountain shaggy with woods;" apart from others "he plans his unjust deeds." A portentous shape with but a single eye in his head, a cave-dweller similar to the primitive man; he has too an evil disposition in his huge bulk.

This is the being with whom Ulysses is now to engage in conflict, which becomes highly dramatic. The conquest of the man of Nature by the man of Intelligence--such is the theme through its various fluctuations. This man of Nature, however, we are always to consider from his negative side, as hostile to a civilized order; so the poet has carefully represented him. He is to be put down; yet even Polyphemus has his right, he is brought to a gleam of self-knowledge, and Ulysses has to pay the penalty of his deed, which has also its curse. A very deep current runs through the poem in this part, which we shall divide into five different scenes, hoping thus to make its movement and thought somewhat more distinct.

1. Ulysses, taking twelve of his bravest companions from his ship, not forgetting a goatskin of wonderful wine, for he had a presentiment that he would meet a huge wild man, who is wont to succumb readily to civilized drink, enters the cave while Polyphemus is absent. A vivid picture of that primitive dairy with its cheese, milk, curds; the men fell to and helped themselves, as was natural. Then the companions wished to depart at once, taking what quantity of cheese they could carry, but Ulysses refused, he must "see the Cyclops and test his hospitality." Just the opposite was the case in the land of the Ciconians; there Ulysses wished to flee but his companions would not. Why this difference? He must know Polyphemus, must see the giant and subordinate him; that is just his supreme necessity now, he really can no more run away from the monster than from himself. But that attack on the Ciconians was an unjust, violent deed of which the penalty was sure to follow; this Ulysses knew and sought to escape. In the present case, however, no wrong has been done as yet, and he must meet and solve his problem, while his weaker companions would shun the trial.

Polyphemus returns with his herds in due time, and closes the mouth of the cave with a huge rock, "which not two and twenty wains could move from the threshold." Soon by the light of his fire he sees the lurking strangers and asks, "Who are you?" Ulysses replies, stating that they are returning from Troy, but have been driven out of their way by adverse winds; then he makes his human and religious appeal: We come as suppliants, receive us; "revere the Gods," specially Zeus the protector of suppliants. But the Cyclops scoffs at Zeus and the rest of the Gods: "we are their betters." Thus is witnessed in the monster the denial of the Greek religion, and an atheistic turn of mind.

Next follows in logical sequence his supreme negative act, he is a man-eater. "He seized two of my companions and hurled them against the ground as if they were dogs, then he devoured them piecemeal, swallowing all--entrails and flesh and marrowy bones." Surely Ulysses is getting some experience on the line of that Trojan deed.

Now we catch the entire sweep of this particular Cyclops. He has shown himself as the representative of three mighty negations: of civilized life, of religious life, and of human life. He destroys man, feeds on him; so negation, war, revolution, must do in the end. The horrid phantasm is the true image of the destroyer of the race. Nor does he belong to the old Greek world and to the Trojan time only; he is among us, and he can be translated into modern terms quite familiar. Polyphemus is an anarchist, an atheist, and a cannibal; the ancient poet wraps the three together in one mighty monstrosity. In the morning the Cyclops devoured two more companions for his breakfast, then drove his flocks afield, leaving the rest of the strangers shut up in the cave with the big stone in the opening.

During the day the "man of many shifts" has an opportunity for reflection in that dark recess. He dares not kill the giant outright, "with my sharp sword stubbing him where the midriff holds the liver," for how could they then get out? No, the man of nature must be saved and utilized; with all his might he is to be overborne by the man of intelligence, and made to remove the big stone.

2. The plan of Ulysses with its successful execution is the subject of the next phase of the conflict. By this plan three things must be done in order to counteract the giant and to negative his power. He must be deprived of physical vision, which becomes the more easily possible from the fact that he has but one eye; if he had two eyes like the ordinary man, he could still see though one be put out. That this purpose be accomplished, he must somehow be shorn of his physical strength; finally any resistance which might come from the rest of the Cyclops outside must be rendered nugatory. Such are the three chief points of the impending problem, which Ulysses has to meet and does meet with astonishing skill and foresight; the Cyclops is blinded, is made helpless by drink, and is befooled by a pun.

Ulysses burns out the eye of the monster with the charred end of a stick of olive wood, which he prepares beforehand; huge Round-eye (the meaning of the word Cyclops) has no eye now. Ulysses by means of that miraculous wine, product of culture, makes the giant drunk, who thus loses his physical superiority. The Ithacan evidently knew, as well as the American, the power of fire-water over the wild man; that the wine had some strength, is shown by the fact that one cup of it had to be diluted with twenty measures of water, when taken by ordinary mortals. Not without significance does the exhilarated Cyclops laud this civilized wine in contrast to that of the wild grapes of his own land.

But the third scheme of Ulysses is the most subtle of all, and touches the heart of the whole problem, though it be merely a pun. He calls himself Nobody to Polyphemus, who, without sight or insight, is the victim of a word. For a complete man must have not only a double sight from his eyes, but a double insight from his mind, seeing before and after in the latter case especially. The result is when the other Cyclops, roused by the cries of Polyphemus, ask him from outside the cave: What is the matter? he answers, Nobody is killing me. Whereat off they go, dropping a word or two of cold advice, or perchance of sarcastic humor.

We should, however, reach down to the essence of what appears on the surface as a mere trick of speech. It may seem far-fetched to say, but it is none the less the actual fact, that Ulysses is a Nobody, and a very active one to Polyphemus. That is, he has shown himself the negative power which overwhelms the giant, who is now himself quite reduced to a nobody by Mr. Nobody. Or, in abstract terms, Ulysses has negated the negation and has here suggested the subtle work of the process in doing so. Has he not negatived Polyphemus, who was himself a negative, so carefully and fully defined by the poet at the start?

Thus we come upon the deepest pun ever made, or possible to be made, a literary form which the greatest geniuses have been fond of sporting with; we can find puns in Dante, Goethe, and notably in Shakespeare. The pun of Ulysses rests upon the duplicity inherent in the negative; no-man is the man, especially to Polyphemus, whose brain cannot span the two sides of the punning idea, who is not two-eyed but one-eyed by nature, and this one eye is soon put out by the man with two eyes. Such is the earliest instance of what may be called the Play of the Negative, which is still subtly ensconced in the spoken and written word, and winds in an elusive game of hide-and-seek through all Literature. Many men, both writers and readers, are its victims, like Polyphemus.

And all these floating metaphysical gossamers are found in Homer! Yes, but not in a metaphysical form; Homer's organ is poetic, he lived in the age ere philosophers had dawned. Still he too had before him the problems of the soul and of the world. Nor would he have been a true Greek unless he had grappled with this Play of the Negative, which had some marvelous fascination for the Greek mind. It is the leaven working in the Sophists with their subtle rhetoric, in Socrates with his negating elenchus, in Plato with his confounding dialectic. Homer, as the prophet of his people, foreshadowing all forms of Greek spirit and of Greek literature, bring to light repeatedly this Play of the Negative.

The modern German, in more respects than one the spiritual heir of the ancient Greek, has not failed to give evidence of his birthright in the same direction. Kant's Critique, and Hegel's Logic are the most desperate efforts to grasp this slippery, double-doing and double-thinking Negative, infinitely elusive, verily the old Serpent. But the supreme attempt is the modern poetic one, made by Goethe in his Faust poem, in which is embodied anew the mighty Negative, who is now none other than the devil, Mephistopheles. Thus the last world-poet reaches across the ages and touches elbows with the first world-poet in a common theme.

Thus Ulysses nullifies the Cyclops, inflicting three deprivations through his three means: the charred stick takes away vision, the strong wine takes away strength, the ambiguous pun prevents help. The pun also announces covertly to Polyphemus the nature of the power which is undoing him, but he does not and cannot understand that. But the problem of Ulysses is not at an end with simply nullifying the Cyclops; he and his companions are not yet outside of the cave. Herewith we come to a new stage of process.

3. This is the escape, to which the strong giant must be made to contribute, he is skillfully turned against himself. The great stone is removed by him from the mouth of the cave, but he places himself there at the entrance, and no human being can pass. Still, the herds have to go out to their pasture. Ulysses dexterously binds three large sheep together, fastens a companion under the middle one, while he clings beneath a huge ram, and out they move together. But the giant stops just this ram and talks to it, being his favorite of the flock. The man of nature is again outwitted by the man of intelligence, allowing his enemy to slip through his very fingers. The conversation of the blind Cyclops with the dumb animal is pathetic; his one solitary friend apparently, the only creature he loved, is compelled to silent service against its master. "Why art thou last to leave, who wast always first? Dost thou long to see the eye of thy ruler, which has been put out by that vile wretch, Nobody?" So the Cyclops speaks, without seeing or knowing, yet with a touch which excites sympathy for his misfortune.

The special characteristic of this scene is that Ulysses does not now destroy, but employs Polyphemus and his property. Nature must be used by intelligence to overcome nature; the strength of the giant must be directed to rolling away the big stone; his herds are taken to bring about the escape of his foes, and he is turned into an instrument against himself. Thus he is no longer negated as in the last scene, but utilized; having been subdued, he now must serve.

Ulysses and his companions are outside the cave, having gotten rid of those dark and fearful limits which walled them in with a monster. Mind, thought has released them; soon they are on their ship in a free element. But the end is not yet; even Polyphemus, the natural man, must come to know who and what has subjected him, he too is in the grand discipline of the time.

4. Two things Ulysses is now to tell to the Cyclops in the distance. The first is the wrong and the penalty thereof: "Amply have thy evil deeds been returned to thee," namely, his treatment of men. "Zeus and the other Gods have punished thee," there is a divine order in the world, which looks after the wrong-doer. Thus Polyphemus the anarchist, atheist, and cannibal gets a short missionary sermon on justice, religion and humanity. But he does not receive it kindly, he "hurls a fragment of a mountain peak," and almost strikes the ship. The line of danger is not yet passed.

Still Ulysses must tell something else though his frightened companions try to dissuade him. But he must, he cannot help it: "If any one ask thee, say it was Ulysses, the city-destroyer, who put out thine eye." A great light this word brings to the poor blind Cyclops, almost the light of self-consciousness. He recalls, he knows his conqueror, and therein begins to know himself, to recognize his error. "Ah, woe is me! the ancient oracles about me are fulfilled!" Of old there had been prophecies concerning his destiny, but he did not understand them, seemingly did not regard them. How could he, with his bent toward the godless? The prophet Telemus had foretold "that I would lose my sight at the hands of Ulysses." How shall we consider this prophecy? A dim, far-off presentiment among the Cyclops themselves that they were to be subjected to a higher influence; their limited, one-eyed vision was to vanish through a more universal, two-eyed vision. Such a presentiment nature everywhere shows, a presentiment of the power beyond her, of the spiritual. What else indeed is Gravitation? A longing, a seeking which even the clod manifests in its fall earthward, a prophetic intimation; so the Cyclops, the natural man, had his prophet whom he now begins rightly to recognize; truly he is getting religious, quite different is his present utterance from his previous blasphemy: "we are better than the Gods." Nay, he offers to intercede with his father Neptune, praying the God to give a sending of the stranger over the sea. Moreover he recognizes his divine father as the only one who can heal him in his present distress. Possibly the words are spoken to beguile, but Polyphemus here offers to do his duty to the stranger on his shores, and he recognizes the Gods.

Manifestly we witness in this passage a striking development of the rude Cyclops under the tough discipline of experience. He acknowledges first his mistake in regard to the prophecy: "I expected to see a man tall and beautiful and of vast strength, not this petty worthless weakling who has put out mine eye." A hero of visible might, a giant like himself, not a man of invisible intelligence, he imagined he was to meet; great was his mistake. The conflict between Brain and Brawn was settled long ago before Troy, and has been sung of in the preceding Book. Here then is certainly a confession of his mistake, and, if his words are sincere, an offer to undo his wrong.

5. At this point there is a change in Ulysses, his victory has begotten insolence, he becomes a kind of Cyclops in his turn. Such is the demon ever lurking in success. Listen to his response to the confession and supplication of his wretched victim: "Would that I were as sure of taking thy life and sending thee down to Hades, as that the Earth-shaker shall never heal thine eye." The implication is that the God cannot do it--an act of blasphemy which the God will not be slow to avenge. But how true to human nature is this new turn in Ulysses, how profound! No sooner has he escaped and experiences the feeling of triumph, than his humanity, nay his religion vanishes, he sweeps over into his opposite and becomes his savage enemy. What follows? The law must be read to him too, his own law; he will hear it from the mouth of Polyphemus, and it is essentially this: As thou hast done to me, so shall it be done to thee.

Accordingly we have next the curse of the Cyclops denounced upon the head of the transgressor. This curse is to be fulfilled to the letter, the poet has fully shown the ground of it, Ulysses has really invoked it upon himself, it lies in his deed. Possibly Polyphemus, when he offered to give the dues of hospitality and to send the guest home, was merely using the words of deception, which he had just had the opportunity of learning, and was trying to get possession of his enemy's body. Doubtless it was well for Ulysses to keep out of the giant's hands. But that does not justify his speech, which was both cruel and blasphemous.