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| Papposilenos with the baby Dionysos |
It seems that the satyr play was introduced into the Athenian dramatic festival programme at some time between 520 and 510 bc, invented by Pratinas. The three tragedians competing at the Great Dionysia were required to compose four plays: three tragedies composed as a trilogy and another a satyr play which was performed after the trilogy of tragedies. Each of competing tragedians was given one of the final three days of the festival in which to perform his work. The satyr play was a light-hearted play, burlesque in nature which ended the day; one theory about its function was perhaps to offer relief and contrast to the seriousness of the tragedies, perhaps a release of Dionysiac wildness; another theory suggests that as the main dramas evolved so they distanced themselves from drama's Dionysiac origin, the satyr play was therefore a means of giving recognition to Dionysos for this origin. Satyr plays were hugely popular with the Athenian public, evidenced by the huge number of Greek vases that have survived from ancient time depicting them.
In the case of Aeschylus his satyr plays seem to have shared the same topic as his trilogy of tragedies. Not so however, in the cases of Sophocles and Euripides who gave their satyr plays a different theme. Euripides even sometimes substituted a tragedy for the required satyr play.
Aristotle argues that tragedy evolved and outgrew from its satyric stage. It is claimed that satyr plays were perhaps formally instituted in the Athenian dramatic festivals to preserve that which was being lost from the main tragic dramas as their themes and plots turned away from Dionysiac ones.
The chorus of a satyr play typically consisted of a group of performers dressed up as satyrs led by their "father" the drunken Silenus, thereby connecting the play to Dionysos, patron god of the festival. Especially popular were those satyr plays which depicted themes taken from a well known myths and mythological heroes being teased or satirized by the chorus of satyrs, or those where the plot of a well known myth and the characters in it were subjected to satire and the dignity of the various heroes in it being reduced by the earthy preoccupations of the chorus of satyrs.
Satyrs, technically were daemons of the woodlands. Satyrs originally had the features of horse spirits, their tails, their legs and other characteristics of a horse. such as huge erections. All these can be found on vase paintings. However, both then and now people have confused satyrs with other pastoral spirits such as pans and silens. In the plays satyrs were sex-crazed horse spirits with horse tails, with a goat skin cloak. Dionysos was the god of wine and inebriation and release. Satyrs were his adherents.
The Silens in pre-classical times were horse daemons of the woodlands originating in Ionia [modern day west coast of Turkey]. They were not necessarily connected with Dionysos. The Satyrs were similar horse daemons the myths for which which originated in the Peloponnese. Hence the confusion. The Pans were goat daemons
Satyr plays were short, about half the length of a standard tragedy. They were generally composed in a trochaic meter best suiting the dancing performed by the chorus.
In diction, meter and structure, the satyr play is far closer to Tragedy rather than to Comedy, even the speeches of the satyrs and those by Silenus. Some of the typical themes found in satyric drama include an ostensibly happy ending, disaster averted by the intervention of a wandering hero and mildly humorous elements involving gluttony and drunkenness. In summary, the essence of a satyr drama might be said to be a tragedy at play.
A common humorous theme found in satyr drama is the
straight-man, funny-man routine such as that made famous in films by Abbott and Costello. Satyr plays tend to keep to the realm of heroic myth and do not, as a rule, explicitly satirise public figures and contemporary events, as might be found in Comedy. They were not intended to be overtly political in nature.
There is a set of typical motifs running through satyr plays: captivity and eventual liberation of the satyrs, marvellous inventions such as, for example, of wine, the lyre, fire, and so forth, of riddles, emergence from the Underworld, and the care of divine or heroic infants, and athletics.
The satyr play, especially during in the Classical period, has to be considered crucial to the overall experience of theatre by the Athenian audiences at the City Dionysia, as invariably the last set of images and sounds seen or heard by them at the end of a day's watching of four dramas would always generally be the final moments of the satyr play. More than likely the audience would go home with the plot of the satyr play topmost in their conscience rather than the narrative contained in the tragedies.
Only one complete satyr‐play survives from classical times, the 709 lines‐long Euripides'
Cyclops. About half of Sophocles'
Ichneutae (‘Trackers’) satyr play has been found preserved on a papyrus scroll. Beyond that only numerous fragments of the text have survived to the present day.
The popularity of the satyr play with the Athenian audiences can be gauged from the huge number of vases depicting them surviving from the classical era, which have been unearthed and are now found in the various archaeological museums around the world. Perhaps the most notable one has to be the Pronomos vase, to be found in the Naples Archaeological Museum [#3240 Museo Nazionale] which displays the entire cast of a victorious satyr play. This vase can be considered to be the single most important piece of visual evidence for satyr drama and satyric costumes surviving from the classical period.
Satyrs occupy an ambivalent status in the cultural imagination of the Ancient Greeks. In art, predominantly depicted in the vase painting of the sixth and fifth centuries BC and in numerous passages of satyric drama, they are shown indulging in hedonism. The lechery and drunkenness of these creatures is also readily evident. Satyrs have three main habits: laziness, sex and drinking, and an aversion to work remains one of their principal characteristics. Silens are depicted in indulging in another canonical activity or desire of theirs, namely of having sex with nymphs [maenads].
Over-endowed satyrs depicted on vases are thus better to be understood as being grotesquely comical rather than embodiments of enviable virility. Satyrs in sixth and fifth-century vase painting are also (in)famous for their attempts on female figures such as nymphs and maenads, the complete opposite to the Athenian ideal of being
sophrosyne. There are moments in the satyr plays when the lecherous father of the satyrs, Silenus, indulges in absurd fantasies of about having rampant sex with nymphs.
Typically the features/elements which are found in the plots of satyr-plays are "the disguise, the trick, the girl won at the games as a prize, the imputations of lustfulness..." all these are found in satyr-plays (Burnett, p. 45),
References
Satyr play - Wikipedia
Carl Shaw (2014).
Satyric Play: The Evolution of Greek Comedy and Satyr Drama. Oxford University Press.
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Patrick O'Sullivan; C. Collard (30 September 2013).
Euripides: Cyclops: & Major Fragments of Greek Satyric Drama. Liverpool University Press.
ISBN 978-1-80034-613-0.
Euripides: Cyclops and Major Fragments of Greek Satyric Drama - Google BooksEuripides' Cyclops and Major Fragments of Greek Satyric Drama: Patrick O'Sullivan - Academia.edu
Early Greek Comedy and Satyr Plays, Classical Drama and Theatre
Satyr Play - New Pauly
Pratinas - Wikipedia
Pratinas - Perseus
Pratinas - New Pauly
Pratinas, of Phlius - Oxford Classical Dictionary
Richard Seaford
Subject: Greek Literature Online Publication Date: Mar 2016
DOI: 10.1093/acrefore/9780199381135.013.5310
1911 Encyclopædia Britannica:
Pratinas - Wikisource
https://bit.ly/2A5NmLO
Aristotle Poetics:1449a
Ancient Greek Theatre: Dionysos, Maenads [Mainas] and Satyrs [Satyroi]
SATYRS (Satyroi) - Fertility Spirits of Greek Mythology (Roman Fauns)
Satyric Play: The Evolution of Greek Comedy and Satyr Drama by Carl A. Shaw - Google Books
Justina Gregory (2008).
A Companion to Greek Tragedy. Satyr Play: John Wiley & Sons. pp. 44–.
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Philip Whaley Harsh (1944).
A Handbook of Classical Drama. Cyclops, a Satyr-Play: Stanford University Press. pp. 196–.
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Cyclops by Euripides part 1
Guy Michael Hedreen (1992).
Silens in Attic Black-figure Vase-painting: Myth and Performance. University of Michigan Press.
ISBN 0-472-10295-8.
Guy Michael Hedreen (1992).
Silens in Attic Black-figure Vase-painting: Myth and Performance. Pratinas of Pheilous: University of Michigan Press. pp. 161–.
ISBN 0-472-10295-8.
Harvard University Department of Classics (1974).
Harvard Studies in Classical Philology. A Handlist of Greek Satyr Plays: Harvard University Press. pp. 107–.
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M. D. Usher
The American Journal of Philology
Vol. 123, No. 2 (Summer, 2002), pp. 205-228
Published by: Johns Hopkins University Press
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McGraw-Hill Encyclopedia of World Drama: An International Reference Work in 5 Volumes.
satyr play: VNR AG. pp. 253–.
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Susan B. Matheson (1995).
Polygnotos and Vase Painting in Classical Athens. Chapter 8: Tragedies and Satyr Plays: Univ of Wisconsin Press. pp. 259–.
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Justina Gregory (2008).
A Companion to Greek Tragedy. Dithyramb, Comedy and Satyr Play: John Wiley & Sons. pp. 38–.
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Christopher Collard; Patrick Dominic O'Sullivan (2013). Euripides: Cyclops and Major Fragments of Greek Satyric Drama. Aris & Phillips. ISBN 978-1-908343-35-2.
Aeschylus’ Theoroi or Isthmiastai : A Reconsideration | Sutton | Greek, Roman, and Byzantine Studies
Euripides' Cyclops and Major Fragments of Greek Satyric Drama Patrick O'Sullivan - Academia.edu
The Figure of the Paidagogos in Art and Literature
Young, N. H. (1990). The Figure of the Paidagōgos in Art and Literature. The Biblical Archaeologist, 53(2), 80–86. https://doi.org/10.2307/3210099 https://www.jstor.org/stable/3210099
Belfiore, E. (1980). “Elenchus, Epode”, and Magic: Socrates as Silenus. Phoenix, 34(2), 128–137. https://doi.org/10.2307/1087871 https://www.jstor.org/stable/1087871
David Sansone: The_Place_of_the_Satyr-Play_in_the_Tragic_TetralogyDavid Sansone (2018). Socrates, satyrs, and satyr-play in Plato’s symposium. illinois classical studies, 43(1), 58-87. https://doi.org/10.5406/illiclasstud.43.1.0058https://www.jstor.org/stable/10.5406/illiclasstud.43.1.0058Rebecca Lämmle (2013).
Poetik des Satyrspiels. Winter.
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Reconstructing Satyr Drama - Google BooksFunction and Purpose of Satyr Plays at the Dionysian Festivals in Ancient Athens
The Dionysian Festivals held in Ancient Athens were pivotal events in the religious and cultural life of the city, deeply interwoven with the worship of Dionysus, the deity associated with wine, fertility, and theatre.1 These festivals, particularly the City Dionysia, were not merely occasions for entertainment but held profound religious and civic significance, playing a crucial role in shaping Athenian society.1 A central feature of the City Dionysia was the inclusion of dramatic competitions, which showcased the talents of playwrights in the genres of tragedy, comedy, and the distinctive form known as the Satyr play.6 Satyr plays, characterized by their chorus of Satyrs and a lighthearted approach to mythological themes, present an intriguing subject of inquiry regarding their function and purpose within this significant festival context.3 The constant presence of the Satyr chorus, with their unique attributes, suggests a defining role for this genre within the dramatic presentations.9 While their inclusion in the Dionysian Festivals is well-documented, the precise function and purpose of Satyr plays continue to be subjects of scholarly discussion.23
The Dionysian Festivals evolved from earlier rural celebrations dedicated to Dionysus into elaborate urban spectacles, with the City Dionysia becoming a central event in the Athenian calendar.1 This transformation from rural to urban festivities mirrored the increasing importance of Dionysus' worship and the development of a distinct Athenian civic identity.2 The establishment of the City Dionysia, attributed to the tyrant Peisistratus in the 6th century BCE 2, indicates a deliberate incorporation of Dionysiac worship into the political and cultural fabric of Athens. This integration suggests a significant role for the dramatic performances within the festival's overall framework. The City Dionysia followed a structured timeline, with specific days allocated to dramatic performances.1 Typically held in late March or early April 1, the festival spanned several days, with tragic trilogies followed by a Satyr play presented on one day, and comedies on another.15 This deliberate sequencing implies an intended effect on the audience's emotional and thematic journey throughout the festival day. The festivals held profound religious significance, with the worship of Dionysus as the central and unifying element.1 Given these deep religious roots, it is likely that all performances, including Satyr plays, were connected to Dionysiac rituals and beliefs.11 Dionysus, as the god of ecstasy, transformation, and the vital essence of nature 10, may have found a particular resonance in the themes and style of Satyr plays, especially considering the characteristics of the Satyr chorus. Beyond the religious aspects, the Dionysian Festivals also served important civic functions, featuring processions, sacrifices, and the participation of citizens and even representatives from Athenian allies.1 The festival provided a platform for Athens to showcase its power and foster a sense of community cohesion.1 The public nature of the dramatic performances and the diverse audience suggest that Satyr plays could have also contributed to reinforcing social norms or offering a sanctioned space for exploring alternative perspectives.
Satyr plays are primarily defined by their chorus of Satyrs, mythical creatures who were half-man and half-goat, closely associated with Dionysus, and typically led by the figure of Silenus.3 This Satyr chorus, often depicted as crude and driven by their appetites, is the hallmark that distinguishes this dramatic form.9 Their characteristic love of wine, energetic dancing, and diverting banter, frequently expressed in vulgar language, likely shaped the overall tone and thematic content of these plays.17 The plots of Satyr plays were typically drawn from Greek mythology, often featuring the same heroic figures and narratives found in tragedies, but treated with a happy atmosphere and a burlesque style.9 This comedic twist on serious myths suggests a deliberate parody or subversion of traditional heroic tales.9 The description of Satyr plays as a "joking tragedy" or a "reversal of Attic tragedy" 17 indicates that they may have offered a different perspective on profound myths or provided a release from the tension generated by tragic performances. In terms of language and style, Satyr plays bore a closer resemblance to tragedy than to comedy, particularly in diction and metre.17 However, they also incorporated colloquialisms and bawdy humour, elements generally absent from tragedy.17 This linguistic blend of elevated and low registers reflects the hybrid nature of the genre, positioned somewhere between the solemnity of tragedy and the outright farce of comedy.17 This stylistic choice likely contributed to the comedic effect by contrasting the serious with the absurd or by highlighting the base nature of the Satyr chorus in relation to the often noble characters. Ultimately, Satyr plays occupied a unique space within the dramatic landscape of ancient Athens, distinct from both tragedy and comedy.9 They were not merely inferior forms of the other genres but possessed their own set of conventions and served particular purposes within the context of the Dionysian Festivals.24
At the City Dionysia, Satyr plays were typically presented as the fourth and final play in a tragic tetralogy, following a sequence of three tragedies.3 This consistent placement at the conclusion of a day dedicated to tragic performances strongly suggests a function related to the audience's emotional and thematic experience after intense dramatic engagement.3 It is often theorized that this placement served as a form of comic relief, providing a lighter and more jovial conclusion to a day potentially filled with disturbing or emotionally draining tragic narratives.3 However, some evidence indicates that the placement of Satyr plays might not have been entirely rigid. For instance, it has been suggested that Aeschylus may have occasionally placed Satyr plays earlier in the tetralogy, such as the Sphinx in his Theban trilogy and Proteus in his Oresteia.17 This suggests that in the earlier development of the genre, the function might have been more flexible, possibly serving different purposes depending on the thematic connections within the specific tetralogy. Exploring these exceptions offers further insight into the evolving role of Satyr plays. The performance of Satyr plays involved distinct visual and auditory elements that likely contributed to their comedic and Dionysiac atmosphere.11 The Satyr chorus wore characteristic costumes that prominently featured the phallus, directly linking them to Dionysiac worship and themes of fertility and revelry.11 Actors also utilized masks, similar to those in tragedy and comedy 11, and the performances likely included lively music, often featuring the aulos, and energetic dances by the Satyr chorus.11 The Satyr plays were typically shorter in length compared to tragedies, which would have further contributed to their role as a concluding, lighter performance.24
Scholarly interpretations of the function and purpose of Satyr plays at the Dionysian Festivals are diverse, reflecting the complexity of the genre and its place within the broader cultural context. The traditional view posits that Satyr plays primarily served as comic relief following the emotional intensity of tragic trilogies.3 This theory suggests a psychological function, allowing the audience to release pent-up emotions through laughter after experiencing potentially disturbing or cathartic tragic narratives.3 Another prominent interpretation views Satyr plays as offering a thematic contrast and reversal of the serious themes explored in the tragedies.9 This perspective suggests a more integrated function, where the introduction of the base Satyr chorus and the often parodic treatment of mythological material provided a different lens through which to view the preceding tragic narratives.9 The juxtaposition of heroic figures with the crude Satyrs could have created a space for reflection on human nature and societal values, perhaps highlighting the absurdity or the more primal aspects present even in grand myths. The strong presence of the Satyr chorus also supports the theory that Satyr plays served to maintain a direct connection to the Dionysiac origins of theatre.9 Featuring the Satyrs, the constant companions of Dionysus, directly evoked the god and the ecstatic, often unruly elements associated with his worship, reinforcing the festival's dedication to him.9 Some scholars also interpret Satyr plays as a form of social commentary and critique.9 The comedic form could have provided a safe space to explore sensitive or taboo subjects, potentially examining themes of masculinity, gender roles, and societal values through the lens of the Satyr chorus and the parodic treatment of myths.9 The unrestrained behavior and "low" status of the Satyrs might have allowed for the questioning or inversion of established norms. Furthermore, it has been suggested that Satyr plays explored the more primal or "lower" aspects of human nature through the Satyr chorus.9 The Satyrs, embodying laziness, lust, and drunkenness 9, might have allowed the audience to vicariously experience these aspects in a controlled theatrical setting, offering a psychological release related to their own suppressed desires and impulses.9
The work of Mark Griffith offers a nuanced perspective, viewing Satyr plays as a "romantic" middle genre that explored social dynamics between elite and lower-class characters, managed male sexuality, and reaffirmed social order with a degree of irony.27 His analysis emphasizes the complexity of the genre beyond simple comic relief, highlighting its engagement with social and psychological aspects of Athenian life. Griffith's comparison of the audience's relationship with the Satyrs to Neverland and black minstrel shows 35 provides a unique framework for understanding the complex dynamic of identification and repulsion these figures might have evoked. P.E. Easterling's scholarship emphasizes the integral role of Satyr plays in the overall meaning of the dramatic festival.21 She suggests that the total meaning of the day's performances, including the tragedies, must have been understood in anticipation of the Satyr play that was to follow. This perspective highlights the interconnectedness of the genres within the tetralogy, suggesting that the Satyr play was not merely an afterthought but a crucial component of the complete artistic and cultural experience.
The surviving evidence, though limited, offers further insights into the function of Satyr plays. Euripides' Cyclops, the only complete extant Satyr play 17, demonstrates how mythological stories could be adapted for this genre, often featuring a comedic dynamic between heroes and the Satyr chorus.31 The portrayal of Odysseus in Cyclops, who retains the elevated diction of tragedy while interacting with the comedic Satyrs, exemplifies the hybrid nature of the form. Fragments from other Satyr plays, such as Aeschylus' Dictyulci (Net-Fishers) and Sophocles' Ichneutae (Trackers) 17, suggest the presence of "romantic" elements, such as unexpected discoveries and happy endings, and indicate audience identification with the Satyr chorus.35 Vase paintings and other visual evidence inspired by Satyr plays, like the Pronomos vase 23, corroborate descriptions of the Satyrs' appearance and their involvement in Dionysiac revelry and mythological narratives.
In conclusion, the function and purpose of Satyr plays at the Dionysian Festivals in Ancient Athens were multifaceted and continue to be a subject of scholarly inquiry. While they likely provided comic relief after the intense emotional experience of tragedy, their role extended beyond mere light entertainment. Satyr plays offered a thematic contrast and a playful reversal of tragic themes, maintained a vital connection to the Dionysiac origins of theatre through the ever-present Satyr chorus, and potentially served as a vehicle for social commentary and the exploration of the "lower" aspects of human nature. The placement of Satyr plays at the end of the tragic tetralogy underscores their integral role in the Athenian theatrical experience, contributing to the overall meaning and impact of the Dionysian Festivals. The enduring fascination with this unique dramatic genre highlights its complexity and significance within the rich cultural landscape of ancient Athens.
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