the fourth century BC, developing themes that run through the whole play. It also contains lines and phrases taken directly from the Cyclops. The slave Cario, tells the chorus that his master has brought home with him the god Wealth, and because of this they will all now be rich. The chorus wants to dance for joy, so Cario takes the lead by parodying Philoxenus' Cyclops. As a solo performer leading a chorus that sings and dances, Cario recreates the form of a dithyramb. He first casts himself in the role of Polyphemus while assigning to the chorus the roles of sheep and goats, at the same time imitating the sound of a lyre: "And now I wish — threttanello! — to imitate the Cyclops and, swinging my feet to and fro like this, to lead you in the dance. But come on, children, shout and shout again the songs of bleating sheep and smelly goats." The chorus, however, does not want to play sheep and goats, they would rather be Odysseus and his men, and they threaten to blind Cario (as had Odysseus the drunken Cyclops) with a wooden stake. Hellenistic pastoral poets The romantic element, originated by Philoxenus, was revived by later Hellenistic poets, including Theocritus, Callimachus, Hermesianax, and Bion of Smyrna. Theocritus is credited with creating the genre of pastoral poetry. His works are titled Idylls and of these Idyll XI tells the story of the Cyclops' love for Galatea. Though the character of Polyphemus derives from Homer, there are notable differences. Where Homer's Cyclops was beastly and wicked, Theocritus' is absurd, lovesick and comic. Polyphemus loves the sea nymph Galatea, but she rejects him because of his ugliness. However, in a borrowing from Philoxenus’ poem, Polyphemus has discovered that music will heal lovesickness, and so he plays the panpipes and sings of his woes, for "I am skilled in piping as no other Cyclops here”. His longing is to overcome the antithetic elements that divide them, he of earth and she of water: The love of the mismatched pair was later taken up by other pastoral poets. The same trope of music being the cure for love was introduced by Callimachus in his Epigram 47: "How excellent was the charm that Polyphemus discovered for the lover. By Earth, the Cyclops was no fool!" A fragment of a lost idyll by Bion also portrays Polyphemus declaring his