Influence On Modern Works
- Théophile Gautier wrote a story entitled "Le roi Candaule" (published in 1844), which was translated by Lafcadio Hearn.
- "Tsar Kandavl" or "Le Roi Candaule" is a grand ballet with choreography by Marius Petipa, and music by Cesare Pugni, with a libretto by Jules-Henri Vernoy de Saint-Georges, based on the Herodotus version. It was first presented by the Imperial Ballet in St. Petersburg, Russia, in 1868, with Henriette D'or as Queen Nisia, Felix Kschessinsky as King Candaules/Tsar Candavl, Lev Ivanov as Gyges and Klavdia Kantsyreva as Claytia.
- "Le Roi Candaule" is also the title of a comedy by Henri Meilhac and Ludovic Halévy, loosely based on the ancient tale and presenting light sketches of Parisian life in the 1860s and 1870s.
- German playwright Friedrich Hebbel's 1856 tragedy Gyges und sein Ring ("Gyges and his Ring").
- In the novel The English Patient, and the film based on it, Count Almásy (himself a disciple of Herodotus), falls in love with a married woman (Katherine Clifton) as she tells Herodotus' version of the Gyges story around a campfire. The story is harbinger of their own tragic path.
- In the novel Hyperion by Dan Simmons, one of the four evil constructs created by the Core and named by Councillor Albedo is called Gyges.
- One of the chapters in Robertson Davies' novel Fifth Business is called "Gyges and King Candaules". The protagonist, scholar Dunstan Ramsay; his lifelong "friend and enemy", the tycoon Percy "Boy" Staunton; and Staunton's wife Leola who had been Ramsay's childhood sweetheart are throughout the book compared with, respectively, Gyges, King Candaules and the Queen of Lydia. In particular, in one scene where Staunton insists upon showing Ramsay nude photos of his wife, Ramsay tells him the ancient story as a warning (which Staunton ignores).
- In 1990 Frederic Raphael published The Modern I, A Myth Revised, a retelling of the story of Lydia, King Candaules and Gyges.
Read more about this topic: Gyges Of Lydia
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“His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
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