%DFNLQWKH&DYHRIWKH&\FORSV $XWKRU V 3XUD1LHWR+HUQ£QGH] 6RXUFH7KH$PHULFDQ-RXUQDORI3KLORORJ\9RO1R $XWXPQ SS 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV 6WDEOH85/http://www.jstor.org/stable/1561773 . $FFHVVHG Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to The American Journal of Philology. http://www.jstor.org This content downloaded from 132.198.157.39 on Sun, 31 Aug 2014 12:20:00 PM All use subject to JSTOR Terms and Conditions AMERICAN JOURNAL OF PHILOLOGY BACK IN THE CAVE OF THE CYCLOPS PURA NlETO HERNANDEZ It is many years now since Denys Page (1955) demonstrated how the story of the Cyclops, as presented in book 9 of the Odyssey, is the prod? uct of a conflation of two distinct folklore themes that are weil attested over a wide geographical area: on the one hand, that of the ogre-type giant who devours human flesh and is, in the end, blinded, and, on the other hand, the "No-man" theme. In his study Page highlighted certain details in which the Odyssey differs from its possible sources: examples are the substitution of a wooden stake for the metal skewer as the in- strument with which the hero blinds the monster, and the use of wine to put the giant to sleep.