Satyr - Knowledge

981: 2245: 1057: 1927: 2665: 1890: 2032: 731: 2347: 722:'s domain. In some cases, satyrs are portrayed as very human-like, lacking manes or tails. As time progressed, this became the general trend, with satyrs losing aspects of their original bestial appearance over the course of Greek history and gradually becoming more and more human. In the most common depictions, satyrs are shown drinking wine, dancing, playing flutes, chasing nymphs, or consorting with Dionysus. They are also frequently shown masturbating or copulating with animals. In scenes from ceramic paintings depicting satyrs engaging in orgies, satyrs standing by and watching are often shown masturbating. 2623: 2507: 2779: 2609:, which depicts a satisfied satyr and nymph lasciviously fondling each other after engaging in obviously consensual sex. Both are smiling and the nymph is showing her teeth, a sign commonly used by painters of the era to signify that the woman in question is of loose morals. The satyr's tongue is visible as the nymph playfully tugs on his goat beard and he strokes her chin. Even during this period, however, depictions of satyrs uncovering sleeping nymphs are still common, indicating that their traditional associations with rape and sexual violence had not been forgotten. 2491: 2371: 58: 2414:(1497). Renaissance satyrs still sometimes appear in scenes of drunken revelry like those from antiquity, but they also sometimes appear in family scenes, alongside female and infant or child satyrs. This trend towards more familial, domestic satyrs may have resulted from conflation with wild men, who, especially in Renaissance depictions from Germany, were often portrayed as living relatively peaceful lives with their families in the wilderness. The most famous representation of a domestic satyr is 707: 1910: 2925: 861: 3087: 2225: 2048:. Although generally similar to satyrs, fauns differed in that they were usually seen as "shy, woodland creatures" rather than the drunk and boisterous satyrs of the classical Greeks. Also, fauns generally lacked the association Greek satyrs had with secret wisdom. Unlike classical Greek satyrs, fauns were unambiguously goat-like; they had the upper bodies of men, but the legs, hooves, tail, and horns of goats. The first-century BC Roman poet 1958:(323–31 BC), satyrs were beginning to sometimes be shown with goat-like features. Meanwhile, both satyrs and Pans also continued to be shown as more human and less bestial. Scenes of satyrs and centaurs were very popular during the Hellenistic Period. They often appear dancing or playing the aulos. The maenads that often accompany satyrs in Archaic and Classical representations are often replaced in Hellenistic portrayals with wood nymphs. 2066: 441: 2112:, the king of the gods, express worry that the viciousness of humans will leave fauns, nymphs, and satyrs without a place to live, so he gives them a home in the forests, woodlands, and mountains, where they will be safe. Ovid also retells the story of Marsyas's hubris. He describes a musical contest between Marsyas, playing the aulos, and the god Apollo, playing the lyre. Marsyas loses and Apollo flays him as punishment. 2821: 317:, satyrs have been most often represented with the legs and horns of goats. Representations of satyrs cavorting with nymphs have been common in western art, with many famous artists creating works on the theme. Since the beginning of the twentieth century, satyrs have generally lost much of their characteristic obscenity, becoming more tame and domestic figures. They commonly appear in works of 3101: 2305:. Both satyrs and wild men were conceived as part human and part animal and both were believed to possess unrestrained sexual appetites. Stories of wild men during the Middle Ages often had an erotic tone and were primarily told orally by peasants, since the clergy officially disapproved of them. In this form, satyrs are sometimes described and represented in 2557:. In Canto VI, Una is wandering through the forest when she stumbles upon a "troupe of Fauns and Satyrs far away Within the wood were dancing in a round." Although Satyrs are often negatively characterized in Greek and Roman mythology, the Satyrs in this poem are docile, helpful creatures. This is evident by the way they help protect Una from Sansloy. 2646: 2738:, which depicts four nude nymphs dancing around "an unusually submissive satyr", gently coaxing him into the water of a nearby stream. This painting was bought that same year by an American named John Wolfe, who displayed it publicly in a prominent location in the bar at the Hoffman House, a hotel he owned on 572:. West notes that satyrs, elves, and other nature spirits of this variety are a "motley crew" and that it is difficult to reconstruct a prototype behind them. Nonetheless, he concludes that "we can recognize recurrent traits" and that they can probably be traced back to the Proto-Indo-Europeans in some form. 956:. A number of vase paintings depict scenes from satyr plays, including the Pronomos Vase, which depicts the entire cast of a victorious satyr play, dressed in costume, wearing shaggy leggings, erect phalli, and horse tails. The genre's reputation for crude humor is alluded to in other texts as well. In 776:

and are described as "good-for-nothing, prankster Satyrs". Satyrs were widely seen as mischief-makers who routinely played tricks on people and interfered with their personal property. They had insatiable sexual appetites and often sought to seduce or ravish both nymphs and mortal women alike, though

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On the other hand, a number of commentators have noted that satyrs are also similar to beings in the beliefs of ancient Near Eastern cultures. Various demons of the desert are mentioned in ancient Near Eastern texts, although the iconography of these beings is poorly-attested. Beings possibly similar

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was either unaware of or chose to ignore the fact that, in all the earliest representations, satyrs are depicted as horse-like. He accordingly defined a satyr as a "bearded" creature "who derived his name and attributes from the goat." Nietzsche excluded the horse-like satyrs of Greek tradition from

2704:, the Italian count Donatello is described as bearing a remarkable resemblance to one of Praxiteles's marble satyr statues. Like the satyrs of Greek legend, Donatello has a carefree nature. His association with satyrs is further cemented by his intense sexual attraction to the American woman Miriam. 796:

were invariably made up of satyrs. These satyrs are always led by Silenus, who is their "father". According to Carl A. Shaw, the chorus of satyrs in a satyr play were "always trying to get a laugh with their animalistic, playfully rowdy, and, above all, sexual behavior." The satyrs play an important

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activity. Nietzsche's rejection of the early evidence for horse-like satyrs was a mistake his critics severely excoriated him for. Nonetheless, he was the first modern scholar to recognize the full importance of satyrs in Greek culture and tradition, as Dionysian symbols of humanity's close ties to

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Satyrs occupied a paradoxical, liminal space in Renaissance art, not only because they were part human and part beast, but also because they were both antique and natural. They were of classical origin, but had an iconographical canon of their own very different from the standard representations of

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satyr was deeply enamored with the women from the local village and had killed two of them. Then, the philosopher Apollonius of Tyana set a trap for it with wine, knowing that, after drinking it, the ghost-satyr would fall asleep forever. The wine diminished from the container before the onlookers'

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are reported to have captured a satyr sleeping during a military campaign in Greece in 89 BC. Sulla's men brought the satyr to him and he attempted to interrogate it, but it spoke only in an unintelligible sound: a cross between the neighing of a horse and the bleating of a goat. The second-century

2009:. The satyr had short, boyish locks, derived from those of earlier Greek athletic sculpture. Although the original statue has been lost, a representation of the pouring satyr appears in a late classical relief sculpture from Athens and twenty-nine alleged "copies" of the statue from the time of the 2271:

on account of their lasciviousness. Despite this, however, satyrs were sometimes clearly distinguished from demons and sometimes even portrayed as noble. Because Christians believed that the distinction between humans and animals was spiritual rather than physical, it was thought that even a satyr

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Many names of the satyrs that appear in Nonnos' Dionysiaca are heavily assumed to have been coined by the author, and are nothing more than plot devices with no mythological significance. Four names listed in the epic, when translated, are merely adjectives associated to the character ("Pastoral",

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to a musical contest. They both agreed beforehand that whoever won would be allowed to do whatever he wanted to the loser. Marsyas played the aulos and Apollo played the lyre. Apollo turned his lyre upside-down and played it. He asked Marsyas to do the same with his instrument. Since he could not,

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by comparing him to the famous satyr Marsyas. He resembles him physically, since he is balding and has a snub-nose, but Alcibiades contends that he resembles him mentally as well, because he is "insulting and abusive", in possession of irresistible charm, "erotically inclined to beautiful people",

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in a cave. In the play, Polyphemus has captured a tribe of satyrs led by Silenus, who is described as their "Father", and forced them to work for him as his slaves. After Polyphemus captures Odysseus, Silenus attempts to play Odysseus and Polyphemus off each other for his own benefit, primarily by

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In archaic and classical Greek art, satyrs are shown with the ears and tails of horses. They walk upright on two legs, like human beings. They are usually shown with bestial faces, snub noses, and manelike hair. They are often bearded and balding. Like other Greek nature spirits, satyrs are always

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painting, in which the animal nature of the satyr is drastically minimized. The satyr is given human legs, but is exceptionally hairy. The seduction element is removed altogether; the satyr simply extends his arms towards the nymph, who lies on the ground, defeated. Penny Florence writes that the

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of his characters in order to successfully portray them on stage. In lines 157–158, Euripides's unnamed relative retorts: "Well, let me know when you're writing satyr plays; I'll get behind you with my hard-on and show you how." This is the only extant reference to the genre of satyr plays from a

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Artists also began to widely represent scenes of nymphs repelling the unwanted advances of amorous satyrs. Scenes of this variety were used to express the dark, beastly side of human sexuality at a remove by attributing that sexuality to satyrs, who were part human and part animal. In this way,

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wrote "The Afternoon of a Faun", a first-person narrative poem about a faun who attempts to kiss two beautiful nymphs while they are sleeping together. He accidentally wakes them up. Startled, they transform into white water birds and fly away, leaving the faun to play his pan pipes alone.

214:. Early artistic representations sometimes include horse-like legs, but, by the sixth century BC, they were more often represented with human legs. Comically hideous, they have mane-like hair, bestial faces, and snub noses and they always are shown naked. Satyrs were characterized by their 2404:, satyrs and fauns began to reappear in works of European art. During the Renaissance, no distinction was made between satyrs and fauns and both were usually given human and goat-like features in whatever proportion the artist deemed appropriate. A goat-legged satyr appears at the base of 603:', but it could also apparently sometimes refer to demons in the forms of goats. They were evidently subjects of veneration, because Leviticus 17:7 forbids Israelites from making sacrificial offerings to them and 2 Chronicles 11:15 mentions that a special cult was established for the 2131:. He characterizes them as "a savage and wild people; distinct voice and speech they have none, but in steed thereof, they keep a horrible gnashing and hideous noise: rough they are and hairie all over their bodies, eies they have red like the houlets and toothed they be like dogs." 1977:

represented the eponymous satyr as very human-like. The satyr was shown as very young, in line with Praxiteles's frequent agenda of representing deities and other figures as adolescents. This tendency is also attested in the descriptions of his sculptures of Dionysus and the Archer

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looked in the mirror while she was playing it. She saw how blowing into it puffed up her cheeks and made her look silly, so she threw the aulos away and cursed it so that whoever picked it up would meet an awful death. The aulos was picked up by the satyr Marsyas, who challenged

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in which the satyr Marysas is flayed alive. According to Campbell, the people performing the flaying are shown calmly absorbed in their task, while Marsyas himself even displays "an unlikely patience". The painting reflects a broad continuum between the divine and the bestial.

2325:'s club and leaning back, crossing his legs. Satyrs are sometimes juxtaposed with apes, which are characterized as "physically disgusting and akin to the Devil". In other cases, satyrs are usually shown nude, with enlarged phalli to emphasize their sexual nature. In the 3067:. Though consistently referred to as a "satyr", Grover is described as having goat legs, pointed ears, and horns. Grover is not portrayed with the sexually obscene traits that characterized classical Greek satyrs. Instead, he is the loyal protector to the main character 6131:(14th ed.), New York City, New York, Grand Rapids, Michigan, Philadelphia, Pennsylvania, St. Louis, Missouri, San Francisco, California, London, England, Singapore, Singapore, Sydney, Australia, Tokyo, Japan, and Toronto, Canada: Harper & Row Publishers, 2546:

as 'satyr'. Edwards states that the King James Version's translation of this phrase and others like it was intended to reduce the strangeness and unfamiliarity of the creatures described in the original Hebrew text by rendering them as names of familiar entities.

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these attempts were not always successful. Satyrs almost always appear in artwork alongside female companions of some variety. These female companions may be clothed or nude, but the satyrs always treat them as mere sexual objects. A single elderly satyr named

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role in driving the plot of the production, without any of them actually being the lead role, which was always reserved for a god or tragic hero. Many satyr plays are named for the activity in which the chorus of satyrs engage during the production, such as

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MacDonald, D.B., Massé, H., Boratav, P.N., Nizami, K.A. and Voorhoeve, P., "Ḏj̲inn", in: Encyclopaedia of Islam, Second Edition, Edited by: P. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel, W.P. Heinrichs. Consulted online on 21 September 2018

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In spite of their bawdy behavior, however, satyrs were still revered as semi-divine beings and companions of the god Dionysus. They were thought to possess their own kind of wisdom that was useful to humans if they could be convinced to share it. In

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as a ballet and danced in it as the lead role of the faun. The choreography of the ballet and Nijinsky's performance were both highly erotic and sexually charged, causing widespread scandal among upper-class Parisians. In the 1980 biographical film

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at someone." The character Cyllene scolds them: "All you do you do for the sake of fun!... Cease to expand your smooth phallus with delight. You should not make silly jokes and chatter, so that the gods will make you shed tears to make me laugh."

1998:. Antonio Corso describes the satyr in this sculpture as a "gentle youth" and "a precious and gentle being" with "soft and velvety" skin. The only hints at his "feral nature" were his ears, which were slightly pointed, and his small tail. 1962:

satyrs became vehicles of a metaphor for a phenomenon extending far beyond the original narrative purposes in which they had served during earlier periods of Greek history. Some variants on this theme represent a satyr being rebuffed by a

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Over the course of Greek history, satyrs gradually became portrayed as more human and less bestial. They also began to acquire goat-like characteristics in some depictions as a result of conflation with the Pans, plural forms of the god

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eyes, but the ghost-satyr himself remained invisible. Once all the wine had vanished, the ghost-satyr fell asleep and never bothered the villagers again. Amira El-Zein notes similarities between this story and later Arabic accounts of

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to the Greek word for "penis". Macrobius explains that this is on account of satyrs' sexual lewdness. Macrobius also equates Dionysus and Apollo as the same deity and states that a festival in honor of Bacchus is held every year atop

2561:, the leader, and the rest of the Satyrs become enamored by Una's beauty and begin to worship her as if she is a deity. However, the Satyrs prove to be simple-minded creatures because they begin to worship the donkey she was riding. 3017:(2003) presented the satyr as both a race and a playable class. The satyr appears in the revised Monster Manual for version 3.5 and also appears in the Monster Manual for the 4th edition, and as a playable character race in the 1076:, although satyrs were popular in classical art, they rarely appear in surviving mythological accounts. Different classical sources present conflicting accounts of satyrs' origins. According to a fragment from the Hesiodic 2021:

is widely accepted as a genuine work of Praxiteles, it may not have been a single work at all and the supposed "copies" of it may merely be Roman sculptures repeating the traditional Greek motif of pouring wine at

2446:, inspired by Lucretius. Satyrs became seen as "pre-human", embodying all the traits of savagery and barbarism associated with animals, but in human-like bodies. Satyrs also became used to question early modern 2580:. In this account, Tyson argued that stories of satyrs, wild men, and other hybrid mythological creatures had all originated from the misidentification of apes or monkeys. The French materialist philosopher 2430:

gods and heroes. They could be used to embody what Stephen J. Campbell calls a "monstrous double" of the category in which human beings often placed themselves. It is in this aspect that satyrs appear in

2959:. Mr. Tumnus has goat legs and horns, but also a tail long enough for him to carry it draped over his arm to prevent it from dragging in the snow. He is a domesticated figure who lacks the bawdiness and 6819: 2909:. Their goat-legs are portrayed as brightly colored, but their hooves are black. They play the Pan pipes and, like traditional satyrs and fauns, are portrayed as mischievous. One young faun plays 718:

Satyrs' genitals are always depicted as either erect or at least extremely large. Their erect phalli represent their association with wine and women, which were the two major aspects of their god

2990:(1976), then in the first edition of the Monster Manual (1977), where it is described as a sylvan woodland inhabitant primarily interested in sport such as frolicking, piping, and chasing wood 1106:." The classical Greeks recognized that satyrs obviously could not self-reproduce since there were no female satyrs, but they seem to have been unsure whether satyrs were mortal or immortal. 2592:

describe the males as being sexually aggressive towards human women and towards females of its own species, much like classical Greek satyrs. The first scientific name given to this ape was

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depicted nude. Sometimes they also have the legs of horses, but, in ancient art, including both vase paintings and in sculptures, satyrs are most often represented with human legs and feet.

466:, satyrs and silenoi in Greek mythology are similar to a number of other entities appearing in other Indo-European mythologies, indicating that they probably go back, in some vague form, to 2854:"generic scene displays little sensuality" and that the main factor distinguishing it is its tone, because "t does not seem convincing as a rape, despite the nymph's reluctance." In 1912, 1212:. Scenes of one or more satyrs chasing Amymone became a common trope in Greek vase paintings starting in the late fifth century BC. Among the earliest depictions of the scene come from a 910:

tricking them into giving him wine. As in the original scene, Odysseus manages to blind Polyphemus and escape. Approximately 450 lines, most of which are fragmentary, have survived of

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about two boys who tied up the satyr Silenus while he was in a drunken stupor and forced him to sing them a song about the beginning of the universe. The first-century AD Roman poet

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one of the leaders of the satyrs who joined the army of Dionysus in his campaign against India; character is likely a fabrication of Nonnus' (name translates to "cult-association")

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one of the leaders of the satyrs who joined the army of Dionysus in his campaign against India; character is likely a fabrication of Nonnus' (name translates to "mountain-dweller")

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Papers on the Amasis Painter and His World: A Colloquium Sponsored by the Getty Center for the History of Art and the Humanities and Symposium Sponsored by the J. Paul Getty Museum

6192: 1098:, however, is described by mythographers as the son of either Olympos or Oiagros. Hansen observes that "there may be more than one way to produce a satyr, as there is to produce a 470:. Like satyrs, these other Indo-European nature spirits are often human-animal hybrids, frequently bearing specifically equine or asinine features. Human-animal hybrids known as 4882:

Nonnos, of Panopolis; Frye, Northrop. Marginalia; Rouse, W. H. D. (William Henry Denham), 1863–1950; Rose, H. J. (Herbert Jennings), 1883–1961; Lind, L. R. (Levi Robert), 1906-

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one of the leaders of the satyrs who joined the army of Dionysus in his campaign against India; character is likely a fabrication of Nonnus' (name translates to "tall-horn")

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one of the leaders of the satyrs who joined the army of Dionysus in his campaign against India; character is likely a fabrication of Nonnus' (name translates to "Pastoral")

1030:, because, at first, his questions seem ridiculous and laughable, but, upon closer inspection, they are revealed to be filled with much wisdom. One story, mentioned by 4452: 2963:

that characterized classical satyrs and fauns. Instead, Mr. Tumnus wears a scarf and carries an umbrella and lives in a cozy cave with a bookshelf with works such as

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Satyrs and nymphs provided a classical pretext which allowed sexual depictions of them to be seen as objects of high art rather than mere pornography. The

1816: 1966:, who, from the satyr's perspective, appears to be a beautiful, young girl. These sculptures may have been intended as kind of sophisticated erotic joke. 613:. Like satyrs, they were associated with desolate places and with some variety of dancing. Isaiah 13:21 predicts, in Karen L. Edwards's translation: "But 1852: 545:

also bears similarities to satyrs, since he is described as being covered in hair and having "goat's horns, ears, feet, and long clawlike fingernails."

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the animal kingdom. Like the Greeks, Nietzsche envisioned satyrs as essentially humans stripped down to their most basic and bestial instincts.

2767: 289:. Although superficially ridiculous, satyrs were also thought to possess useful knowledge, if they could be coaxed into revealing it. The satyr 6325:, translated by Baker, Patrick, Cambridge, Massachusetts and London, England: The Belknap Press of Harvard University Press, pp. 359–360, 6166: 710:

The goat on the left has a short goat tail, but the Greek satyr on the right has a long horse tail, not a goat tail (Attic ceramic, 520 BC).

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Relationships between satyrs and nymphs of this period are often portrayed as consensual. This trend is exemplified by the 1623 painting

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and "acts as if he knows nothing". Alcibiades concludes that Socrates's role as a philosopher is similar to that of the paternal satyr

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Like satyrs, these similar creatures in other Indo-European mythologies are often also tricksters, mischief-makers, and dancers. The

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and were believed to inhabit remote locales, such as woodlands, mountains, and pastures. They often attempted to seduce or rape

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During the nineteenth century, satyrs and nymphs came to often function as a means of representing sexuality without offending

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The Art of Praxiteles: The Development of Praxiteles' Workshop and Its Cultural Tradition Until the Sculptor's Acme (364–1 BC)

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as in satyr-plays, when satyrs appear in myths it is usually in the form of a single, famous character. The comic playwright

2062:) satyrs, along with nymphs who lived in the mountains and fauns who played rustic music on stringed instruments and pipes. 837:, satyr plays were set in the distant past and dealt with mythological subjects. The third or second-century BC philosopher 11243: 6503: 6294: 3124: 2951: 6422: 2917:

and imitates a statue of a faun atop a pedestal. Though the fauns are not portrayed as overtly sexual, they do assist the

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work of ancient Greek comedy and, according to Shaw, it effectively characterizes satyr plays as "a genre of 'hard-ons.'"

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his consideration entirely and argued that tragedy had originated from a chorus of men dressed up as satyrs or goats (

2664: 679:, which also means 'hairy'. Jerome, the translator of the Vulgate, equated these figures with satyrs. Both satyrs and 12252: 6645: 6368: 6212: 2840: 7682: 7145: 6721: 6582: 6340: 6274: 182: 10540: 10510: 7774: 7309: 7095: 4448: 3063: 2031: 1182: 1159: 6678:

Theatre World: Critical Perspectives on Greek Tragedy and Comedy. Studies in Honour of Georgia Xanthakis-Karamenos

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No. 155 (March 1990), in "The Ecology of the Satyr". The satyr was later detailed as a playable character race in

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for help and he launched his trident at the satyr, knocking him to the ground. This myth may have originated from

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in daring to challenge one of the gods. Later, this story became accepted as canonical and the Athenian sculptor

785:. After Dionysus grew to maturity, Silenus became one of his most devout followers, remaining perpetually drunk. 1889: 1267:

son of Silenus and brother of Leneus and Maron; chief of the satyrs who came to join Dionysus in the Indian War

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portion of bearded satyr, emptying a wine-skin, Ceramic, Arretine ware, Roman, Augustan Period 31 B.C.–A.D. 14

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refers to a medical condition in males characterized by excessive sexual desire. It is the male equivalent of

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were understood by at least some ancient commentators to be goat-like demons of the wilderness. In the Latin

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Starting in late antiquity, Christian writers began to portray satyrs and fauns as dark, evil, and demonic.

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herald of Dionysus during the Indian War and son of Hermes and Iphthime, and brother of Lycus and Pronomous

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Janowski, B. (1999), "Satyrs", in van der Toorn, Karel; Becking, Bob; van der Horst, Pieter Willem (eds.),

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in the style of the Peleus Painter from Syracuse (PEM 10, pl. 155) and a bell krater in the style of the

1073: 924:). In the surviving portion of the play, the chorus of satyrs are described as "lying on the ground like 8597: 7540: 6445:(second ed.), Grand Rapids, Michigan: William B. Eerdman's Publishing Company, pp. 1381–1382, 2082:

In Roman-era depictions, satyrs and fauns are both often associated with music and depicted playing the

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Scobey, David (2002), "Nymphs and Satyrs: Sex and the Bourgeois Public Sphere in Victorian New York",

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depicting a fight between a satyr and a nymph, a theme which became popular during the Hellenistic Era

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created a group of bronze sculptures based on it, which was installed before the western front of the

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son of Silenus and brother of Astraeus and Maron; a satyr who contested in footrunning with Ampelus

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The iconography of satyrs was gradually conflated with that of the Pans, plural forms of the god

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with the legs and horns of goats. The Romans identified satyrs with their native nature spirits,

2309:, where a satyr is often shown dressed in an animal skin, carrying a club and a serpent. In the 361:) is unclear, and several different etymologies have been proposed for it, including a possible 12005: 10515: 10260: 8690: 7692: 7464: 6973: 6956: 6866: 5213: 4456: 2754: 2410: 2188: 2156: 2152: 1983: 1746: