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SATYROI

25/01/2020

Mitología griega >> Bestiario >> Sátiros (Satyroi)
 
 
  Nombre griego

  Σατυρος Σατυροι
 
 
  Transliteración

  Satyros, Satyroi
 

 
  Traducción

  Sátiros, faunos
 
 

 
  Dancing Satyr, psykter ateniense de figura roja C5th B.C., British Museum THE SATYROI (Satyrs) eran espíritus rústicos de fertilidad del campo y la naturaleza. Se asociaron con la Nymphai (Ninfas) y fueron compañeros de los dioses Dionisos , Hermes , Hephaistos , Pan ], Rhea-Kybele y Gaia .
  Los satyroi fueron representados como hombres animalistas con orejas estúpidas, narices, arrugas reclinadas, colas de caballos y miembros erectos. Como compañeros de Dionysos, generalmente se les mostraba bebiendo, bailando, tocando flautas y haciendo deporte con las Mainades (Ménades).
  Algunos de los tipos más específicos de Satyroi fueron los Paneles (sátiros de patas de cabra), Seilenoi (Silencios) (sátiros de ancianos), Satyriskoi (Satyrisci) (sátiros de niños) y Tityroi (sátiros para flauta).
  Los actores vestidos como Satyroi formaron los coros de las llamadas obras de teatro Sátiro que se realizaron en los festivales del dios Dionisos.
  FAMILIA DE LOS SÁBADOS
  PADRES
  [1.1] LOS HEKATERIDES (Fragmentos de Hesiod de posición desconocida 6) [1.2] THE DAKTYLOI & THE HEKATERIDES [45 ] (Strabo 10.3.19) [2.1] Varios dioses rústicos, incluidos HERMES , SEILENOS , PAN y LOS OREAIDES (varias fuentes)
  LISTA DE SÁBADOS NOMBRADOS
  AMPELOS (Ampelus) Un niño sátiro ( satyriskos ) amado por el dios Dionisio que fue ahogado por un toro y transformado por el dios en la primera vid.
  ARISTAIOS (Aristaeus) El dios de los pastores, la caza, el cultivo del olivo y la apicultura como un sátiro.
  ASTRAIOS (Astraeus) Un antiguo semidiós de los pastores Seilen (Silen).
  KERKOPES (Cercopes) Un par de bandidos parecidos a monos, posiblemente Satyroi (Sátiros), que plagaron la tierra de Lidia que Zeus transformó en monos.
  KOMOS (Comus) Un niño sátiro ( satyriskos ) que era el semidiós de los banquetes festivos y el copero de Dionisos.
  KROTOS (Crotus) Un sátiro del monte Helikon en Boiotia (Grecia central) que fue recompensado por los Mousai (Musas) por la invención de ritmos rítmicos para acompañar la música al ser colocado entre las estrellas como el constelación de Saggitarius.
  LENAI (Lenae) Satyroi vinícola en el tren de Dionysos. Probablemente eran los mismos que los Seilenoi (Silens).
  LENEUS Un viejo Seilen (Silen) semi-dios de la vinificación.
  MARSYAS Un sátiro del monte Tmolos en Frigia (Anatolia) que inventó la música de la flauta y fue desollado vivo por desafiar al dios Apollon a un concurso musical.
  PHERESPONDOS (Pherespondus), LYKOS (Lycus) y PRONOMOS (Pronomus) Tres Satyroi Arkadianos que eran hijos de Hermes y Dioneros de los heraldos de los dioses de los heraldos.
  POIMENIOS (Poemenius), THIASOS (Thiasus), HYPSIKEROS (Hypsicerus), ORESTES, PHLEGRAIOS (Phlegraeus), NAPAIOS (Napaeus), GEMON, LYKON (Lycon), PHEREUS, PETRAIOS (Petraeus), LAMIS, LAMIS, LAMIS, LAMIS, LAMIS, LAMIS, LAMIS, LAMIS, LAMIS , SKIRTOS (Scirtus) y OISTROS (Oestrus) Catorce sátiros que lideraron a las tropas sátiras del dios Dioniso en su guerra contra los indios.
  SATYROI LIBYES (Sátiros libios) Tribus de Satyroi salvajes que se cree que habitan en los bosques del Monte Atlas en el noroeste de África. (N.B. Probablemente derivado de los relatos de viajeros de simios africanos).
  SATYROI NESIOI (Island Satyrs) Una tribu de Satyroi salvajes que habitan las Islas Satyrides (en algún lugar de la costa de África) que, según el relato de un marinero, capturaron y violaron horriblemente a una pasajera cuando hicieron recalada.
  SATYROS AITHIOPIKOS (Sátiro etíope) Un sátiro fantasma violento que fue pacificado con vino por el profeta pagano Apolonio de Tyana para poner fin a sus depredaciones en una aldea etíope.
  SATYROS ARGIOS (Sátiro argivo) Un sátiro del manantial de Lernaean cerca de Argos (en el sur de Grecia) que asaltó a la hija del rey Danaus, Amymone, cuando vino a buscar agua.
  SATYROS LEMNIOS (Sátiro lemniano) Un sátiro de la isla egea de Lemnos que tiene una cita escandalosa con una mujer local.
  SEILENOI (Silencios) Tres sátiros ancianos llamados Maron, Leneus y Astraios (Astraeus) que fueron compañeros del dios Dionisos e hijos de los antiguos Seilenos.
  SEILENOS (Silenus) La antigua enfermera sátiro del dios Dionisos y el semidiós del exceso borracho.
  TITYROI (Tityri) Satyroi tocando la flauta en el tren del dios Dionisos.
  ENCICLOPEDIA
  SA’TYRUS (Saturos), el nombre de una clase de seres en la mitología griega, que están inseparablemente conectados con el culto a Dioniso, y representan los exuberantes poderes vitales de la naturaleza. En su apariencia, se parecían un poco a las cabras o los carneros, de donde muchos antiguos creían que la palabra saturos era idéntica a los tituros, un carnero. (Schol. ad Theocrit. iii. 2, vii. 72; Aelian, VH iii. 40; comp. Eustath. ad Hom. p. 1157; Hesych. sv; y Strab. Xp 466.) Homero no menciona a ningún sátiro, mientras que Hesíodo ( Fragm. 94, ed. Göttling) habla de ellos en plural y los describe como una raza que no sirve para nada y que no es apta para el trabajo, y en un pasaje citado por Strabo (xp 471) afirma que los Sátiros, Ninfas y Curetas eran los hijos de las cinco hijas de Hecateo y la hija de Phoroneus. La afirmación más común es que los sátiros eran los hijos de Hermes e Iphthima (Nonn. Dionys. xiv. 113), o de las náyades (Xenoph. Sympos. v. 7) ; Silen también los llama sus propios hijos. (Eurip. Cycl. 13, 82, 269.)
  La aparición de los Sátiros es descrita por escritores posteriores como robusta y áspera, aunque con varias modificaciones, pero sus características generales son las siguientes: el cabello es erizado, la nariz redonda y algo vuelta hacia arriba, las orejas apuntando hacia el arriba como las de los animales (de donde a veces se les llama thêres, Eurip. Cycl. 624 ); generalmente tienen cuernos pequeños, o al menos dos protuberancias similares a cuernos (phêrea), y en o cerca del final de la parte posterior aparece una pequeña cola como la de un caballo o una cabra. En las obras de arte fueron representados en diferentes etapas de la vida; los más viejos, comúnmente llamados Seilens o Silens (Paus. i. 23. § 6), generalmente tienen calvas y barbas, y los más jóvenes se denominan Satyrisci (Saturiskoi, Theocrit. iv. 62, xxvii. 48). Todos los tipos de sátiros pertenecen al séquito de Dioniso (Apolod. Iii. 5. § 1; Strab. Xp 468; Ov. Fast. iii. 737, Ars Am. i. 542, iii. 157), y siempre se describen como aficionados al vino, de donde a menudo aparecen con una copa o un tiros en la mano (Athen. Xi. P. 484), y de todo tipo de placer sensual, de donde son adolescentes que duermen, tocan instrumentos musicales o participan en bailes voluptuosos con ninfas. (Apolod. Ii. 1. § 4; Horat. Carm. ii. 19. 3, i. 1. 30; Ov. Met. i. 692, xiv. 637; Philostr. Vit. Apoll. vi. 27; Nonn. Dionys. xii. 82.) Como todos los dioses que habitaban en bosques y campos, los mortales les temían mucho. (Virg. Eclog. vi. 13; Theocrit. Xiii. 44; Ov. Her. iv. 49.)
  Escritores posteriores, especialmente los poetas romanos, confunden a los sátiros con los sartenes y los faunos italianos, y en consecuencia los representan con cuernos más grandes y patas de cabra (Horat. Carm. ii. 19. 4; Propiedad iii. 15. 34; Ov. Met. I. 193, vi. 392, xiv 637), aunque originalmente eran tipos de seres bastante distintos, y en obras de arte, también, son mantenido bastante distinto. Los sátiros suelen aparecer con flautas, tiros, siringe, bastón de pastor, tazas o bolsas llenas de vino; están vestidos con pieles de animales y llevan coronas de vid, hiedra o abeto. Las representaciones de ellos siguen siendo muy numerosas, pero la más celebrada en la antigüedad fue el Sátiro de Praxiteles en Atenas (Paus. I. 20. § 1; Plin. HN xxxiv. 8, s. 19.) [ 19459013]
  Fuente: Diccionario de Biografía y Mitología Griega y Romana.
  CITAS DE LITERATURA CLÁSICA
  PADRES DE LOS SÁBADOS
 
  Sátiro y ninfa dormida, figura roja ateniense kylix C5th BC, Museo J. Paul Getty Hesiod, Fragmentos de posición desconocida 6 (de Strabo 10.3.19) (trad. Evelyn-White) (griego épico C8th o 7th BC): “Pero de ellos [las hijas de Hekateros (Hecaterus)] nacieron las ninfas divinas de la montaña ( theai nymphai oureiai ) y la tribu ( genos ) de sátiros (sátiros) inútiles e indefensos “.
  Himno homérico 5 a Afrodita 256 ff (traducción Evelyn-White) (épica griega C7th a 4th BC): “La montaña Nymphai [los Oreades] de pecho profundo que habitan este gran y montaña sagrada … con ellos, los Seilenoi (Silens) y los Argeiphontes [Hermes] de ojos afilados se aparean en las profundidades de agradables cuevas “. [N.B. Presumiblemente Satyroi (Sátiros) fueron los descendientes de estas uniones.]
  Strabo, Geography 10. 3. 19 (trad. Jones) (geógrafo griego C1st BC a C1st AD): “Estos Daimones [los Kouretes (Curetes), Satyroi (Satyrs) y Oreiades (Oreads)] … fueron llamados, no solo ministros de dioses, sino también dioses mismos. Por ejemplo, Hesíodo dice que cinco hijas nacieron de Hekateros (Hecaterus) y la hija de Phoroneus, ‘de quien surgió la montaña- Desde Nymphai (ninfas), diosas y la raza de Satyroi (sátiros), criaturas sin valor y no aptas para el trabajo, y también los Kouretes (Curetes), dioses deportivos, bailarines. “”
  Ovidio, Fasti 3. 763 y siguientes (trad. Boyle) (poesía romana C1st BC a C1st AD): “Los Satyri (Satyrs) vienen corriendo y se ríen de los [Seilenos ‘de su padre ] cara hinchada “.
  Nonnus, Dionysiaca 14. 105 ss. (Trans. Rouse) (griego épico C5th AD): “De estos [Leneus, Astraios (Astraeus) y Maron, tres hijos Seilenoi (Silens) de Seilenos (Silenus)] había surgido la generación twiforme de los Satyroi (Sátiros) muy casados ​​”.
  Notables Satyroi individuales (Sátiros) eran hijos de una variedad de dioses rústicos: Seilenos (Silenus) era un hijo de Gaia la Tierra o Hermes o Pan, Krokos (Crocus) era el hijo de Pan, Marsyas de la montaña. dios Olympos, y Komos (Comus) un hijo del dios Dionisos.
  SÁBADOS Y LA GUERRA DE LOS GIGANTES (GIGANTES)
  Pseudo-Hyginus, Astronomica 2. 23 (trans. Grant) (mitógrafo romano C2nd AD): “Según Eratóstenes, se cuenta otra historia sobre los Asnos. Después de Júpiter [Zeus] había declarado la guerra a los Gigantes (Gigantes), convocó a todos los dioses para combatirlos, y el Padre Liber [Dionysos], Vulcanus [Hephaistos (Hephaestus)], los Satyri (Satyrs) y los Sileni (Silens) vinieron montados sobre asnos Como no estaban lejos del enemigo, los asnos estaban aterrorizados e individualmente soltaban un rebuzno como el que los Gigantes nunca habían escuchado. Al oír el ruido, el enemigo se apresuró a huir y, por lo tanto, fueron derrotados “.
  Los Satyroi aparecen como tropas del dios Dionisos en el Cíclope de Eurípides (actualmente no se cita aquí).
  SATYRS EN JUEGOS SATYR
 
  Sátiro con ánfora de vino, kylix ateniense de figura roja C5th BC, Museo de Bellas Artes de Boston Los coros de las antiguas obras de sátiro estaban compuestos por hombres vestidos como Sátiros El único ejemplo sobreviviente de este tipo es el fragmentario Ichneutae (Rastreadores) de Sófocles. También sobreviven algunos fragmentos de algunos de los sátiros dramáticos de Esquilo y Eurípides. Muchas pinturas de jarrones atenienses de la época representan escenas de estas obras, por ejemplo, la escena Satyr-biga (que se muestra arriba) probablemente representa una escena de la obra sátira de Esquilo Isthmiastae en la que las criaturas compiten en el concursos de los Juegos Isthmian.
  ARGUS-PANOPTES & THE ARCADIAN SATYR
  Pseudo-Apollodorus, Bibliotheca 2. 4 (trad. Aldrich) (mitógrafo griego C2nd AD): “Él [Argos Panoptes] también emboscó y mató a un Satyros (Sátiro) que estaba lastimando los Arkadianos (Arcadios) robando sus rebaños “.
  AMYMONE & THE ARGIVE SATYR
  Pseudo-Apollodorus, Bibliotheca 2. 13 (trad. Aldrich) (mitógrafo griego C2nd AD): “[Cuando Danaus llegó a la tierra de Argos] la tierra estaba sin agua, gracias a Poseidón, quien, enojado con Inakhos (Inachus) por testificar que la región pertenecía a Hera, había secado incluso los manantiales. Entonces Danaus envió a sus hijas a buscar agua. Uno de ellos, Amymone, mientras buscaba, arrojó una lanza a un ciervo y golpeó a un Satyros (Sátiro) dormido, quien se despertó, se levantó de un salto y estaba listo para tener sexo con ella. Entonces apareció Poseidón y el Satyros salió corriendo, por lo que el propio Poseidón le hizo el amor “.
  Pseudo-Hyginus, Fabulae 169 (trans. Grant) (mitógrafo romano C2nd AD): “Cuando Amymone, hija de Danaus, estaba cazando ansiosamente en el bosque, golpeó a un Sátiro ( Sátiro) con su dardo. Él quería violarla, pero ella le rogó la ayuda de Neptunus [Poseidón]. Cuando Neptunus llegó allí, alejó al Sátiro y se acostó con ella “.
  Pseudo-Hyginus, Fabulae 169a: “Amymone, hija de Danaus, fue enviada por su padre para obtener agua para realizar ritos sagrados. Mientras la cazaba, se cansó y se durmió. Un sátiro (sátiro) trató de seducirla, pero ella imploró la ayuda de Neptuno [Poseidón]. Cuando Neptuno lanzó su tridente al sátiro, quedó fijo en una roca. Neptuno se alejó del sátiro. Cuando le preguntó a la niña Lo que estaba haciendo en este lugar solitario dijo que su padre la había enviado a buscar agua. Neptuno se acostó con ella “.
  SEDUCCIÓN DE ANTIOPA DE ZEUS COMO SÁTIR
  Ovidio, Metamorfosis 6. 111 ss (trad. Melville) (epopeya romana C1st BC a C1st AD): “Júpiter [Zeus] una vez en un disfraz de Sátiro (Sátiro) había conseguido Nycteis [Antiope hija de Nykteus] con gemelos “.
  Nonnus, Dionysiaca 16. 240 ss. (Trans. Rouse) (griego épico C5th AD): “Has oído hablar del juego de trucos de amor para Antiope, el risa Satyros (Sátiro), la farsa de un compañero engañoso “.
  Nonnus, Dionysiaca 33. 301 y siguientes: “Zeus el Gobernador en lo alto una vez tomó la forma de un Satyros (Sátiro), y cortejó a la doncella Antiope bajo una forma engañosa, en la burla amor de una novia bailando “.
  MISCELANÍA POÉTICA DE SATYRS
 
  Sátiro y Ménade, figura roja ateniense kylix C5th BC, Museo Metropolitano de Arte The Anacreontea, Fragment 4 (trans. Campbell, vol. Griego Lyric Ii) (C5th BC): “[Entre las imágenes que decoran una copa de vino hecha por Hephaistos (Hephaestus):] Ponme vides para mí con racimos de uvas en ellas… El Satyroi ( Sátiros) riendo, Erotes (ama) todo en oro, Kythere (Cytherea) [Afrodita] riendo junto con el guapo Lyaios (Lyaeus) [Dionisos], Eros (Amor) y Afrodita “.
  Esopo, Fábulas 60 (Chambry) (trad. Gibbs) (fábula griega C6º aC): “El hombre y el Satyros (Sátiro). Un hombre y un Satyros bebieron una vez juntos en muestra de un vínculo de alianza que se estaba formando entre ellos. Un día invernal muy frío, mientras hablaban, el hombre se llevó los dedos a la boca y sopló sobre ellos. Cuando el Satyros le preguntó el motivo, le dijo que lo había hecho. para calentarse las manos porque tenían mucho frío. Más tarde en el día se sentaron a comer, y la comida preparada estaba bastante hirviendo. El hombre levantó un poco los platos hacia su boca y sopló. Cuando el Satyros volvió preguntó la razón, dijo que lo hizo para enfriar la carne, que estaba demasiado caliente. “Ya no puedo considerarte un amigo”, dijo el Satyros, “un tipo que con el mismo aliento sopla caliente y frío”. ”
  Pseudo-Apollodorus, Bibliotheca 3. 34 (trad. Aldrich) (mitógrafo griego C2nd AD): “Lykourgos (Lycurgus) … que vivía al lado del río Strymon [en Thrake ( Tracia)], fue el primero en mostrar hybris a Dionisos expulsándolo. Dionisos huyó al mar y se refugió con la hija de Nereo, Thetis, pero sus Bakkhai (Baca) fueron llevados cautivos junto con la congregación de Satyroi (Sátiros) que lo acompañaban. él.”
  Diodorus Siculus, Biblioteca de Historia 4. 5. 3 (trad. Oldfather) (historiador griego C1st BC): “Satyroi (Satyrs) también, según se informa, fueron llevados a cabo por él [Dionysos] en su compañía y le dio al dios un gran deleite y placer en relación con sus bailes y sus canciones de cabra ( tragedoi o tragedias). Y, en general, los Mousai (Musas) que otorgaron beneficios y se deleita con las ventajas que les brindó su educación, y el Satyroi mediante el uso de dispositivos que contribuyen a la alegría, hizo que la vida de Dionysos fuera feliz y agradable “.
  Strabo, Geography 10. 3. 7 (trans. Jones) (geógrafo griego C1st BC a C1st AD): “Al igual que las cuentas de los Satyroi (Satyrs), Silenoi (Silens) , Bakkhai (Bacchae) y Tityroi (Tityri); los Kouretes (Curetes) … se llaman Daimones o ministros de dioses “.
  Strabo, Geografía 10. 3. 10: “Los [daimones llamados] Silenoi (Silens) y Satyroi (Satyrs) y Bakkhai (Bacchae), y también los Lenai y Thyiai (Thyiae) ) y Mimallones y Naïdes Nymphai (Naiad Nymphs) y los seres llamados Tityroi, [son asistentes] de Dionisos “.
  Strabo, Geography 10. 3. 11: “En Krete (Creta), no solo estos ritos [es decir, las Orgías], sino en particular los sagrados para Zeus [asociados con los Kouretes (Curetes)], se llevaron a cabo junto con la adoración orgiástica y con el tipo de ministros que estaban al servicio de Dionisos, me refiero a los Satyroi (Sátiros) “.
  Strabo, Geography 10. 3. 13: “Los siguientes versos [de Pindar]…: ‘Los Korybantes de triple cresta (Corybantes) en sus cavernas inventaron este escondido circunda [la pandereta], y agita su júbilo báquico con el aliento agudo y dulce de las flautas frigias, y en las manos de Rea colocó su estruendoso sonido, para acompañar los gritos de los Bakkhai (Bacchae), y de la Madre Rea frenética Satyroi (Satyrs) lo obtuvo y lo unió a las danzas corales de los Trieterides, en quienes Dionysos se deleita … Y cuando [los poetas] traen [a los Satyroi (Satyrs)] Seilenos (Silenus) y Marsyas y Olympos en una misma conexión [con Rea y Dionisos], y los convierten en los inventores históricos de las flautas, nuevamente, por segunda vez, conectan los ritos Dionisíaco y Frigio “.
 
  Sátiro con cuerno para beber, figura roja ateniense kylix C5th BC, Museo de Bellas Artes de Boston Strabo, Geografía 10. 3. 15: [19459005 ] “Ellos [los poetas] también inventaron algunos de los nombres para designar a los ministros, bailarines corales y asistentes a los ritos sagrados [de Rea y Dionisos], me refiero a Kabeiroi (Cabeiri) y Korybantes (Corybantes) y Panes y Satyroi (Sátiros) y Tityroi “.
  Strabo, Geography 10. 3. 16: “Él [Esquilo] menciona … los asistentes de Dionysos [es decir, Satyroi (Satyrs) y Bakkhai (Bacchae)]: ‘uno, sosteniendo en sus manos las bombas , el trabajo laborioso del cincel de Turner, llena la melodía de los dedos, la llamada que provoca el frenesí, mientras que otra causa resuena las cotilas de bronce ‘ y de nuevo, ‘los instrumentos de cuerda alzan su grito estridente, y los espeluznantes imitadores de algún lugar que no se ven abajo como los toros, y la apariencia de tambores, como truenos subterráneos, avanza, un sonido aterrador’ ”
  Strabo, Geography 10. 3. 17: “Aquellos escritores que han consagrado a toda Asia, hasta la India, a Dionisos, derivan la mayor parte de la música de allí. Y un escritor dice: “golpear el cithara asiático”; otro llama flautas berekyntian y frigio; y algunos de los instrumentos han sido llamados por nombres bárbaros, nablas , sambyce , barbitos , magadis , y varios otros [es decir, estos son instrumentos de Bakkhai (Bacchae) y Satyroi (Satyrs)] “.
  Strabo, Geography 10. 3. 19: “Además, uno también podría encontrar … estos Daimones [los Kouretes (Curetes), Satyroi (Satyrs) y Oreiades (Oreads)] … fueron llamados, no solo ministros de dioses, sino también dioses mismos. Por ejemplo, Hesíodo dice que cinco hijas nacieron de Hekateros (Hecaterus) y la hija de Phoroneus, ‘de quien surgió la ninfa de las montañas, diosas, y la raza de Satyroi (Sátiros), criaturas sin valor y no aptas para el trabajo, y también los Kouretes (Curetes), dioses deportivos, bailarines ‘”
  Pausanias, Descripción de Grecia 1. 23. 6 (trans. Jones) (cuaderno de viaje griego C2nd AD): “También hay una piedra pequeña [en la Akropolis (Acrópolis) en Atenas ] … En ella, la leyenda dice que Silenos descansó cuando Dioniso llegó a la tierra. Los más antiguos de los Satyroi (Sátiros) se llaman Silenoi (Silens) “.
  Ateneo, Deipnosophistae 1. 23d (trad. Gullick) (retórico griego C2nd a 3rd AD): “Un Satyros en [un juego satírico de] Sophokles (Sophocles) usa la palabra (recuéstese) cuando arde con pasión por Herakles: ‘¿Podría saltar directamente sobre su cuello mientras él se acuesta (duerme) allí’ ”
  Aelian, Miscelánea histórica 3. 40 (trad. Wilson) (retórico griego C2nd a 3rd AD): “Tenga en cuenta que los compañeros de Dionysos en el baile eran Satyroi (Satyrs), llamado por algunos Tityroi (Tityri). Recibieron este nombre de los trinos ( teretismata ) que disfrutan los Satyroi, y los Saytroi obtuvieron su nombre de la palabra ‘hacer muecas’ ( sesêrenô ), los Silenoi (Silencios) de la palabra ‘burlarse’ ( sillainô ) – dicen que los silos son críticas con humor desagradable “. [NÓTESE BIEN. Estas etimologías son invenciones tardías.]
  Philostratus the Elder, Imagines 1. 19 (trad. Fairbanks) (retórico griego C3rd AD): “[De una descripción de una pintura griega antigua que representa a Dionisos y los piratas:] A barco de misión y barco pirata. Dionysos dirige el primero, a bordo de este último son tirrenos, piratas que asolan su propio mar. Él [Dionysos] es acompañado solo por mujeres lidias y satyroi (sátiros) y flautistas, y un nártex anciano. portador y vino maroniano, y por el mismo Maron … [y] los paneles navegan con él en forma de cabras …
Los platillos están unidos a él [i.e. el barco] n filas, de modo que, incluso si los Satyroi son vencidos por el vino y se duermen, Dionisos no puede estar sin ruido en su viaje ”
  Philostratus the Elder, Imagines 1. 20: “[De una descripción de una pintura griega antigua:] El lugar es Kelainai (Celaenae), si uno puede juzgar por las fuentes y el cueva, pero Marsyas se ha ido, ya sea para mirar a sus ovejas o porque la competencia ha terminado. No elogie el agua, porque, aunque se ve dulce y plácido, encontrará al Olimpo Olympos más dulce. Duerme después de haber jugado su flauta, un joven tierno acostado sobre flores tiernas, mientras la humedad de su frente se mezcla con el rocío del prado … Las cañas que ya producen música yacen junto a Olympos, y también las herramientas de hierro con las que se taladran los agujeros en las tuberías. Una banda de Satyroi (Sátiros) mira amorosamente al joven, sonrientes criaturas sonrientes, una que desea tocar su pecho, otra que abraza su cuello, otra ansiosa por darle un beso; esparcen flores sobre él y lo adoran como si fuera un divino imagen; y el más inteligente de ellos saca la lengua del segundo pipa que todavía está tibia y se la come, pensando que está besando así a Olympos, y dice que probó el aliento del niño “.
 
  Sátiro y Ménade, figura roja ateniense kylix C5th BC, Harvard Art Museums Philostratus the Elder, Imagines 1. 22: [19459041 ] “[De una descripción de una pintura griega antigua que representa la captura de Seilenos por el Rey Midas:]
Encantador es la vehemencia de Satyroi (Sátiros) cuando bailan, y encanta a sus costillas cuando se ríen; se les da a vivir, criaturas nobles que son, y someten a las mujeres lidias a su voluntad con sus ingeniosos halagos. Y esto también es cierto para ellos: están representados en pinturas como seres resistentes, de sangre caliente, con orejas prominentes, se inclinan sobre los lomos, completamente traviesos y tienen la cola de los caballos “.
  Philostratus the Elder, Imagines 1. 25: “[De una descripción de una pintura griega antigua:] Por acto de Dionisos, la tierra de los andrianos está tan cargada de vino que estalla adelante y envíales un río … El río [Dios del río] yace sobre un lecho de racimos de uvas, derramando su arroyo, un río sin diluir y de aspecto agitado; los tuyos crecen a su alrededor como juncos. cuerpos de agua … Dionysos también navega a las juergas de Andros y, su barco ahora amarrado en el puerto, lidera una multitud mixta de Satyroi (Satyrs) y Lenai (Lenae) y todos los Seilenoi (Silencios) “.
  Philostratus the Younger, Imagines 2 (trad. Fairbanks) (retórico griego C3rd AD): “[De una descripción de una pintura griega antigua que representa el tormento de Marsyas:] Y mira, por favor, en la banda de Satyroi (Sátiros), cómo se les representa como lamentables Marsyas, pero que muestran, junto con su dolor, su espíritu juguetón y su disposición para saltar “.
  Philostratus, Life of Apollonius of Tyana 4. 27 (trad. Conybeare) (biografía griega C1st a 2nd AD): “Tengo un remedio contra estos sabuesos infernales [los Satyroi ( Sátiros)], que se dice que Midas empleó una vez; porque el propio Midas tenía algo de la sangre de Satyroi en sus venas, como quedó claro por la forma de sus orejas; y un Satyros [Seilenos (Silenus)] una vez, traspasando su parentesco con Midas se alegraba a expensas de sus oídos, no solo cantaba sobre ellos, sino que hablaba de ellos. Bueno, Midas, según tengo entendido, había escuchado de su madre que cuando un Satyros es vencido por el vino se duerme, y en tales momentos vuelve a sus sentidos y se hará amigo de usted; entonces mezcló el vino que tenía en su palacio en una fuente y condujo a los Satyros a buscarlo, y este último lo bebió y fue vencido “.
  Himno órfico 54 a Silenus y los sátiros (trans. Taylor) (himnos griegos C3rd BC a 2nd AD): “A Silenos (Silenus), Satyroi (Satyrs), Bakkhai (Bacchae ), Fumigación de Maná … Las enfermeras [de Dionisos] jóvenes y bellas, Naiades y Bakkhai que hiedra soportan, con todos tus Satyroi en nuestro brillo de incienso, Daimones formados en forma salvaje, y bendicen los ritos divinos. Ven, despierta a lo sagrado. alegría, tu rey alumno [Dionysos], y Bakkhai con los ritos que trae Lenaion; nuestras orgías que brillan en la noche inspiran y bendicen, el poder triunfante, el coro sagrado “.
  Ovidio, Metamorfosis 1. 192 ff (trans. Melville) (epopeya romana C1st BC a C1st AD): “Yo [Zeus] tengo mis Demigods ( semidei ), mis Fauni [Panes] y Satyri (Satyrs), mis Nymphae (Ninfas) y Sprites Rústicos ( mumina rustica ) de wold y madera, aún no dignas de ganar el cielo, pero seguro de la tierra, su porción, debemos demostrarnos seguros “.
  Ovidio, Metamorfosis 1. 692 y siguientes: “Una vez allí vivió en las frías laderas de Arcadia a Naias, quien entre los Hamadryades Nonacrinae (de los nobles Nonacris) fue el más famoso. Syrinx the La llamaron Nymphae (Ninfas). Muchas veces frustraba la persecución de los Satyri (Sátiros) y los dioses que atormentan los sombríos cadáveres y las coberteras de la exuberante campiña. En sus actividades, y en su castidad, Syrinx veneraba a Ortigia [Artemisa ] “.
  Ovidio, Metamorfosis 4. 25 y siguientes: “Tú [Dionysos] manejas tu par de linces con reinados de colores brillantes. Bacchae y Satyri (Satyrs) son tus seguidores, y ese viejo borracho [ Seilenos (Silenus)] whose stout staff supports his tottering steps, who sits so insecure upon his sagging ass. Wherever your course leads you, young men’s shouts and women’s cries echo afar with noise of tambourines and clashing bronze and long-bored pipes of box .”
  Ovid, Metamorphoses 6. 392 ff : “The countryfolk, the Sylvan Deities ( Numina Silvarum ), the Fauni [Panes] and brother Satyri (Satyrs) and the Nymphae (Nymphs).”
  Ovid, Metamorphoses 11. 86 ff : “[Dionysos] made for the slopes and vineyards of his own beloved Tmolus and Pactolus’ banks . . . Around him thronged his usual company, Satyri (Satyrs) and Bacchae.”
  Ovid, Metamorphoses 14. 634 ff : “For fear of rustic force she [the Latin Hamadryas Pomona] walled her orchard in to keep away the sex she shunned. What tricks did they not try, the quick young light-foot Satyri (Satyrs), and the Panes who wreathe their horns with pine, and that old rake, Silvanus [Seilenos (Silenus)].”
 
  Satyr with wine-vat, Athenian red-figure kylix C6th B.C., University of Mississippi Museum Ovid, Fasti 1. 391 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : “You were holding, Greece, the feast of grape-crowned Bacchus [Dionysos], celebrated by custom each third winter. The gods who serve Lyaeus [Dionysos] also attended and whoever is not hostile to play, namely Panes and young Satyri (Satyrs) and goddesses who haunt streams [Naiades] and lonely wilds [Dryades]. Old Silenus came, too, on a sway-backed donkey, and the red-groined terror of timid birds [Priapos]. They discovered a grove suitable for party pleasures and sprawled on grass-lined couches. Liber [Dionysos] supplied wine . . . Naiades were there . . . Some generate tender fires inside the Satyri, others in you, whose brow is bound with pine [Pan].”
  Ovid, Fasti 3. 763 ff : “Honey was found by Bacchus [Dionysos], they say. He was leaving sandy Hebrus attended by Satyri, and had reached Rhodope and blooming Pangea; the hand-held cymbals of his companions clashed. Look, the ringing gathers strange aerial things, bees, who trail the sounds of the tinkling brass. Liber [Dionysos] collects the swarm, shuts it in a hollow tree and is rewarded by finding honey. When the Satyri (Satyrs) and the bald old man [Silenos] tasted it, they ransacked every grove for yellow combs . . . [Silenos is attacked by bees and] the Satyri come running and laugh at their father’s bloated face; he limps from an injured knee.”
  Ovid, Fasti 6. 319 ff : “Coroneted Cybele [Rhea], with her crow of turrets, invites the eternal gods to her feast. She invites, too, Satyri (Satyrs) and Nymphae (Nymphs), Rural-Spirits ( rustica numina ); Silenus is present, uninvited.”
  Ovid, Heroides 4. 169 ff (trans. Showerman) (Roman poetry C1st B.C. to C1st A.D.) : “May the agile goddess [Artemis] wait on you [the hunter Hippolytos] in the solitary glade to keep you safe, and the deep forest yield you wild beasts to slay; so may the Satyri (Satyrs) be your friends, and the mountain deities ( numina montanum ), the Panes, and may the boar fall pierced in full front by your spear; so may the Nymphae (Nymphs). . . give you the flowing water to relieve your parching thirst!”
  Ovid, Heroides 5. 133 ff : “Me [the nymphe Oinone], the swift Satyri (Satyrs), a wanton rout with nimble foot, used to come in quest of–where I would lie hidden in covert of the wood–and Faunus [Pan], with hornèd head girt round with sharp pine needles, where Ida swells in boundless ridges.”
  Virgil, Georgics 1. 10 ff (trans. Fairclough) (Roman bucolic C1st B.C.) : “Fauns [Satyroi (Satyrs)], the rustics’ ever present gods–come trip it, Fauns, and Dryad maids withal!–’tis of your bounties I sing.”
  Cicero, De Natura Deorum 3. 17 (trans. Rackham) (Roman rhetorician C1st B.C.) : “If gods exist, are Nymphae also goddesses? If the Nymphae (Nymphs) are, the Panes and Satyri (Satyrs) also are gods; but they are not gods; therefore the Nymphae also are not.”
  Valerius Flaccus, Argonautica 1. 105 ff (trans. Mozley) (Roman epic C1st A.D.) : “They whose labour was in the fields and with the peaceful plough are aroused by the sight of Fauni [Satyrs] about the thickets and ways in the clear light of day, and woodland Goddesses [Dryades] and Rivers [Potamoi] with lofty horns.”
  Statius, Thebaid 4. 680 ff (trans. Mozley) (Roman epic C1st A.D.) : “[To a Nymphe :] I will drive afar the nightly raids of the shameless horn-footed ones [i.e. the Panes], and the lustful rapine of the Fauni (Fauns) [Saytrs].”
  Statius, Thebaid 5. 580 ff : “The Nymphae (Nymphs) who were wont to strew him [the guardian dragon of the Nemean grove] with vernal flowers, and Nemea’s fields whereon he crawled; ye too, ye woodland Fauni (Fauns) [Satyrs], bewailing him in every grove with broken reeds.”
  Statius, Silvae 2. 2. 102 ff (trans. Mozley) (Roman poetry C1st A.D.) : “Often in autumn-time when the grapes are ripening, a Nereis climbs the rocks, and under cover of the shades of night brushes the sea-water from her eyes with a leafy vine-spray, and snatches sweet clusters from the hills. Often is the vintage sprinkled by the neighbouring foam; Satyri (Satyrs) plunge into the waters, and Panes from the mountain are fain to grasp the Sea-Nympha as she flies naked through the waves.”
  Apuleius, The Golden Ass 6. 24 ff (trans. Walsh) (Roman novel C2nd A.D.) : “[At the wedding of Cupid and Psyche :] She [Aphrodite] had organized the performance so that the Musae (Muses) sang in chorus, a Satyrus (Satyr) played the flute, and a Paniscus [a young Pan] sang to the shepherd’s pipes.”
  Suidas s.v. Bakkhai (trans. Suda On Line) (Byzantine Greek lexicon C10th A.D.) : “Bakkhai (Bacchantes): [Bacchantes] and Satyroi (Satyrs) and Panes and Silenoi (Silens), attendants of Dionysos.”
  THE SATYRS OF DIONYSUS IN NONNUS’ DIONYSIACA
 
  Satyr warrior, Athenian red-figure neck amphora C6th B.C., Antikensammlung Berlin Nonnus’ Dionysiaca is an epic poem of late antiquity which describes the story of Dionysos, centering on his campaign against the Indian nation. Satyroi (Satyrs) form the bulk of his army.
  Nonnus, Dionysiaca 10. 142 ff (trans. Rouse) (Greek epic C5th A.D.) : “[Dionysos grows up in the care of the goddess Rhea in Phrygia :] To escape the midday lash of Helios (the Sun) moving on high, he [Dionysos] cleansed his body in the stream of the Meionian River [in Lydia] bubbling gently . . . Playful Satyroi (Satyrs) lifted their heels in air, and tumbled plunging headover into the river; one selfpropelled swam with paddling hands prone on the waves, and imprinted a footstep on the swell, as he pushed with backstretching legs and cut the water rolling in riches; one dived deep down into the underwater caves and hunted for speckled fishy prey down below, stretching a groping hand over the swimming fry–left the deeps again and offered to Bakkhos [Dionysos] the fish purpled with the slime of the opulent river. Seilenos (Silenus) the old vagabond, challenging a Satyros, entwined hands and feet together, and rolling himself into a ball stooped and dived head first into the stream, from the heights into the deeps, till his hair stuck in the slime; then he trod his two feet firmly into the glittering sand hunting for good nuggets or ore in the river. Another left shoulder unwetted and showed his back out of the water in the air as he stood in the deep stream over the hips, immovable. Another lifted the ears bare and plunged the shaggy thighs in the transparent flood, while the tail flogged the water in circles of its own.”
  Nonnus, Dionysiaca 10. 209 ff : “The short-living blood of the horned Satyroi (Satyrs).”
  Nonnus, Dionysiaca 10. 238 ff : “[Dionysos fell in love with the satyriskos (satyriscus) Ampelos :] If Ampelos, was carried away by wild passion for high capers, twirled with dancing paces and joined hands with a sporting Satyros (Satyr) in the round, stepping across foot over foot, Bakkhos (Bacchus) [Dionysos] looked on shaken with envious feeling. If he ever conversed with the Satyroi (Satyrs) . . . Dionysos jealous held him back.”
  Nonnus, Dionysiaca 10. 393 ff : “[Dionysos held a race for the Satyroi (Satyrs):] Bromios [Dionysos] measured the ground for the furlong race . . . Then he urged the Satyroi to go in and win.
Springheel Lyaios (Lyaeus) [Dionysos] cried his summons aloud, and first up leapt windfoot [Seilenos (Silen)] Leneus (Winepress), then on either side of him highstepping Kissos (Cissus, Ivy) and charming Ampelos (Ampelus, Vine) stood up. They stood in a row, confident in the quick soles of their straightfaring feet. Kissos flew with stormy movement of his feet just skimming the top of the ground as he touched it. Leneus was running behind him quick as the winds of heaven and warming the back of the sprinter with his breath, close behind the leader, and he touched footstep with footstep on the dust as it dropped, with following feet: the space between them both was no more than the rod leaves open before the bosom of a girl working at the loom, close to the firm breast. Ampelos came third and last. Dionysos saw them out of the corner of his eye, and melted with jealousy that the two competitors should be in front, afraid they might win and Ampelos [his love] come in behind them; so the god helped him, breathed strength into him, and made the boy swifter than the spinning gale. Then Kissos, first of the two in the race, striving so hard for the prize, stumbled over a wet place on the shore, slipt and fell in the sandy slush; Leneus had to check the course of his feet, and his knees lost their swing: so both competitors were passed and Ampelos carried off the victory. The old Seilenoi (Silenus) shouted Euoi! Amazed at the victory of the youth. He received the first prize with soft hair flowing, Leneus took the second full of envy, for he understood the jealous trick of Lyaios and his passion; Kissos eyed his comrades with look abashed, as he held out his hand for the last prize discontented.”
  Nonnus, Dionysiaca 11. 76 ff : “[Dionysos addresses his beloved, the satyros Ampelos :] ‘When Lyaios (Lyaeus) [Dionysos] touches the feast, join in his feasting, and share my revels when I stir the Satyroi (Satyrs) to revel.’”
  Nonnus, Dionysiaca 11. 113 ff : “[Dionysos equips his companions with musical instruments :] The Panes have their cithern and their melodious tootling pipes; the Satyroi (Satyrs) have the roundrattling tomtom from your patron Dionysos; even the mountainranging Bassarides ride on the backs of lions.”
  Nonnus, Dionysiaca 12. 330 ff : “[Dionysos discovers wine :] When Bakkhos (Bacchus) saw the [wild] grapes with a bellyful of red juice, he bethought him of an oracle which prophetic Rheia had spoken long ago. He dug into the rock, he hollowed out a pit in the stone with the sharp prongs of his earth-burrowing pick, he smoothed the sides of the deepening hold and made an excavation like a winepress; then he made his sharp thyrsus into the cunning shape of the later sickle with curved edge, and reaped the newgrown grapes. A band of Satyroi (Satyrs) was with him: one stooped to gather the clusters, one received them into an empty vessel as they were cut, one pulled off the masses of green leaves from the bilbulous fruit and threw away the rubbish. Another without thyrsus or sharpened steel crouched bending forwards and spying for grapes, and put out his right hand towards the branches to pluck the fruit at the ends of the tangled vine, then Bakkhos (Bacchus) spread the fruitage in the pit he had dug, first heaping the grapes in the middle of the excavation, then arranging them in layers side by side like cornheaps on the threshing-floor, spread out the whole length of the hole. When he had got all into the hollowed place and filled it up to the brim, he trod the grapes with dancing steps. The Satyroi also, shaking their hair madly in the wind, learnt from Dionysos how to do the like. They pulled tight the dappled skins of fawns over the shoulder, they shouted the song of Bakkhos sounding tongue with tongue, crushing the fruit with many a skip of the foot, crying ‘Euoi!’ The wine spurted up in the grapefilled hollow, the runlets were empurpled; pressed by the alternating tread the fruit bubbled out red juice with white foam. They scooped it up with oxhorns, instead of cups which had not yet been seen, so that ever after the cup of mixed wine took this divine name of Winehorn. And one went bubbling the mindcharming drops of Bakkhos as he turned his wobbling feet in zigzag jerks, crossing right over left in confusion as he wetted his hairy cheeks with Bakkhos’s drops. Another skipt up struck with a tippler’s madness when he heard the horrid boom of the beaten drumskin. One again who had drunk too deeply of caredispellingwine purpled his dark beard with the rosy liquor. Another turning his unsteady took towards a tree espied a Nymphe half-hidden, unveiled, close at hand; and he would have crawled up he highest tree in the forest, feet slipping, hanging on by his toenails, had not Dionysos held him back. Near the fountains another driven by the insane impulse of drunken excitement, chased a naked Naias of the waters; he would have seized her with hairy hand as she swam, but she gave the slip and dived into deep water. To Dionysos alone had Rheia given the amethyst, which preserves the windedrinker from the tyranny of madness. Many of the horned Satyroi joined furiously in the festive dancing with sportive steps. One felt within him a new hot madness, the guide to love, and threw a hairy arm round a Bakkhanal (Bacchanal) girl’s waist. One shaken by the madness of min-crazing drink laid hold of the girdle of a modest unwedded maid, and as she would have no love-making pulled her back by the dress and touched her rosy thighs from behind. Another dragged back a struggling mystic maiden while kindling the torch for the god’s nightly dances, laid timid fingers upon her bosom and pressed the swelling circle of her firm breast.”
 
  Satyr warrior, Athenian bilingual eye cup C6th B.C., British Museum Nonnus, Dionysiaca 13. 43 ff : “[Rhea summons rustic daimones to the army of Dionysos for his campaign against the Indians :] The heroic breed of farscatterd champions, the hairy Satyroi (Satyrs), the blood of the Kentauroi (Centaur) tribe, the bushyknee ancient [Seilenos (Silenus)] and his phalanx of Seilenoi (Silens), the regiment of Bassarides–do you sing me these, O Korybantic Mousai (Corybantic Muses)!”
  Nonnus, Dionysiaca 14. 105 ff : “[The army of Dionysos gathers for a campaign against the Indians :] From these [Maron, Astraios (Astraeus) and Leneus, the three Seilenoi (Silens) sons of Seilenos (Silenus),] had sprung the twiform generation of the muchmarried Satyroi (Satyrs). And the horned Satyroi were commanded by these leaders: Poimenios (Poemenius, Pastoral) and Thiasos (Thiasus), Hypsikeros (Hypsicerus, Tall-horn) and Orestes (Mountain-dweller), and Phlegraios (Phlegraeus) with horned Napaios (Napaeus, of the Glen). There was Gemon, there was bold Lykon (Lycon, the Wolfish) armed; playful Phereus followed laughing tippling Petraios (Petraeus, of the Rocks), hillranging Lamis (of the Hollow) marched with Lenobios (Lenobius), and Skirtos (Scirtus) tripped along beside Oistros (Oestrus). With Pherespondos walked Lykos the loudvoiced herald, and Pronomos renowned for intelligence–all sons of Hermes, when he had joined Iphthime to himself in secret union. She was the daughter of Doros (Dorus), himself sprung from Zeus and a root of the race of Hellen, and Doros was ancestor whence came the Akhaian (Achaean) blood of the Dorian tribe. To these three, Eiraphiotes [Dionysos], entrusted the dignity of the staff of the heavenly herald, their father the source of wisdom. The whole tribe of Satyroi (Satyrs) is boldhearted while they are drunken with bumpers of wine; but in battle they are but braggarts who run away from the fight–hares in the battlefield, lions outside, clever dancers, ho know better than all the world how to ladle strong drink from the full mixing-bowl. Few of these have been men of war, to whom bold Ares has taught all the practice of the fray and how to manage a battalion. Here when Lyaios (Lyaeus) [Dionysos] prepared for war, some of them covered their bodies with raw oxhides, others fortified themselves with skins of shaggy lions, others put on the grim pelts of panthers, others equipped themselves with long pointed staves, others girt about their chests the skins of long-antlered stags dappled like stars in the sky. With these creatures, the two horns on the temples right and left strengthened their sharp points, and a scanty fluff grew on the top of the pointed skull over the crooked eyes. When they ran, the winged breezes blew back their two ears, stretched out straight and flapping against their hairy cheeks : behind them a horse’s tail stuck out straight and lashed round their loins on either side.”
  Nonnus, Dionysiaca 14. 247 ff : “Craving the delicious wine even more than a Satyros (Satyr).”
  Nonnus, Dionysiaca 17. 89 ff : “[At the start of Indian War of Dionysos :] He [Dionysos] hasted to a new conflict with Indians in the mountains. Bidding the Satyroi (Satyrs) who were with him to go on at full speed by the upland tracks, he joined himself again to his wild attendant Bakkhantes (Bacchantes).”
  Nonnus, Dionysiaca 17. 192 ff : “[During the Indian War of Dionysos :] Orontes [the Indian chief] dashed hot upon the front ranks, reaping a harvest in both kinds [men and women]. Not one of all the wide front durst abide the adverse onset of so mighty a champion–ot bold fiery [Kabeiroi (Cabeiri)] Eurymedon, not Alkon (Alcon) his kinsman: [the Seilenos] Astraios (Astraeus) chief of the Satyroi (Satyrs) was in flight, none of the Seilenoi themselves would stand . . . The god, seeing the victory pass to the enemy, and the Satyroi cowed, uttered a loud cry in the turmoil, like an army of nine thousand men the thunderous throats.”
  Nonnus, Dionysiaca 17. 350 ff : “[During the Indian War of Dionysos :] A leader of the warmad Satyroi (Satyrs) threw Euian leafage and hit a man [an Indian warrior] : his coat of mail was split by the ivy and vine, and the wearer was wounded.”
  Nonnus, Dionysiaca 14. 247 ff : “[At the close of the first battles of the Indian War:] By this time then . . . the herdsman Pan sang loudly, pouring out his victorious note, drawing on the Satryoi (Satyrs) to dance drunkenly after their war.”
  Nonnus, Dionysiaca 18. 48 ff : “[Dionysos travels to the land of Assyria :] Maron the god’s [Dionysos’s] charioteer took up the golden reins of the Mygdonian chariot, and drove the team of stormswift panthers with yokestraps on their necks, spring not the whip, but whizzing a lavish lash to manage the beasts. Satyroi (Satyrs) ran in front, striking up the dance and skipping round and round the hillranging car of Lyaios (Lyaeus) [Dionysos].”
  Nonnus, Dionysiaca 18. 93 ff : “[Dionysos in the court of the Assyrian king Staphylos (Staphylus) :] The king [Staphylos] harried his servants and stirred up his serfs, to slaughters a herd of fine fat bulls and flocks of sheep for the Saytroi (Satyrs) of bullhorn Dionysos. . . There was dancing too; fragrant air was wafted through a house full of harping, the streets of the city were filled with sweet steamy odours, ample streams of wine made the whole house carouse. Cymbals clanged, panspipes whiffled about the melodious table, double hoboys were droning, the round of the loud-thrumming drum made the hall ring again with its double bangs, there were castanets rattling over that supper! And there in the midst came Maron, heavy with wine, staggering on unsteady feet and moving to and fro as frenzy drove him. He threw his arms over the shoulders of two Satyroi and supported himself between them, then climbed right up from the ground twisting his legs about them. So he was lifted by the dancing feet of the others, with red skin, his whole face emitting ruddy rays and shining between.”
  Nonnus, Dionysiaca 20. 35 ff : “[The goddess Eris (Lady Strife) chides Dionysos for abandoning his war with the Indians :] ‘You weave your web of merriment with Stayphylos and Botrys, inglorious, unarmed, singing songs over the wine; you degrade the earthy generation of Satyroi (Satyrs), since they also have touched the bloodless Bacchanal dance and drowned all warlike hopes in their cups.’”
 
  Satyr and sleeping nymph, Apulian red-figure kylix C4th B.C., Metropolitan Museum of Art Nonnus, Dionysiaca 20. 103 ff : “[Dionysos resumes his war against the Indians :] He [Dionysos] slipt his feet into wellfitting golden shoes. He threw over his unwearied shoulders the royal robe of bright purple cloth, pinning it with a brooch; his father’s proud girdle was round his loins and the sceptre in his hand. Satyroi (Satyrs) yoked the panthers to the red car at the urgent bidding of Dionysos, Seilenoi (Silens) uttered the warcry, Bakkhante (Bacchante) women roared, thrysos in hand. The host gathered and marches line after line to the Indian War; Enyo’s [the war-goddess’] pipes resounded, the leaders arranged the battalions in their places. One mounted with an agile leap on the back of a furious bear, whipping the hairy neck as it rushed on tis course; another astride on a wild bull gripped his two flanks with hanging feet, and pricked his hairy belly with his crook to guide the wandering course; a third rode on the back of a shaggy lion, and pulled the hair of his mane instead of a bridle.”
  Nonnus, Dionysiaca 21. 178 ff : “[Dionysos is driven into the sea by the impious king Lykourgos (Lycurgus) :] The Satyros (Satyr) so full of energy showed a face unsmiling, and languished in sorrow strange to him. The Panes wandered wild through the woods with hillranging hoof, Panes in search of Dionysos, and heard no word of him . . . So they [the companions of Dionysos] were all restless and sad.”
  Nonnus, Dionysiaca 21. 279 ff : “[Dionysos returns from the sea, where he had been driven by Lykourgos (Lycurgus) :] He found the Seilenoi (Silens) in high glee: Dionysos had come up out the waters and joined the Nymphai Oreiades (Oread Nymphs). The Satyroi (Satyrs) skipt, the Bakkhantes (Bacchantes) danced about, Maron with his old legs led the music between two Bakkhantes, with his arms laid round their necks, and bubbles of fragrant wine at his lips. The Mimallon unveiled trilled a song, how the footstep of Dionysos had come that way again.”
  Nonnus, Dionysiaca 22. 1 ff : “[The army of Dionysos crosses the Indian river Hydaspes :] When the footforces of Bakkhos (Bacchus) came to the crossing of the pebbly river Indian Hyadaspes . . . then sounded the womanish song of the Bassarides, making Phrygian festival for Lyaios (Lyaeus) [Dionysos] of the Night, and the hairy company of Satyroi (Satyrs) rang out with mystic voice.”
  Nonnus, Dionysiaca 23. 155 ff : “[The Indian river Hydaspes seeks to drown the army of Dionysos :] [Hydaspes calls out to the hero Aiolos (Aeolus) :] ‘Aiolos–grant me this boon, arm your stormy Winds to be champions against my foes, to fight with the Satyroi (Satyrs), because their host has marched through the waters and made a highroad of Hydaspes for landchariots, because they drive a watery course through my stream! Arm your winds against my ferryman Lyaios (Lyaeus) [Dionysos]! Let the Satyroi’s (Satyrs’) host be caught in the flood, let my river receive the cariot, let the charioteers be rolled in my flood, let the riders be swallowed in the mad waves! I will not suffer this unnatural passage to be unavenged: for both you and me it is a disgrace, when the warriors of Bromios have made a path for footmen and drivers high and dry! I will destroy the water-traversing lions of Dionysos . . .’ As he spoke, he curved his own stream, and leapt upon Bakkhos (Bacchus) with a volley of foaming surf. A storm of watery trumpets bellowed from the battling waves; the River moaned as it raised the water high, battling against the Satyroi … A Satyros (Satyr) paddling the flood with his hands waggled his wet tail straight out through the water.”
  Nonnus, Dionysiaca 24. 100 ff : “[The army of Dionysos crosses the river Hydaspes :] The Satyroi (Satyrs) attended his [Dionysos’s] passage, and with them Bakkhante (Bacchante) women and Panes passed through the water.”
  Nonnus, Dionysiaca 24. 123 ff : “[The army of Dionysos sets up camp in India :] They [the Panes, Satyroi (Satyrs) and Bakkhantes (Bacchantes)] leapt about dancing on the Indian crags, along the rocky paths; then they built shelters undisturbed in the dark forest, and spent the night among the trees. Some went deerhunting with dogs after the long-antlered stags : the Hydriades (Water-Nymphs) of plantloving Dionysos mingled with the Hamadryades of the trees.”
  Nonnus, Dionysiaca 24. 218 ff : “[The army of Dionysos feasts :] In the forest Bakkhos (Bacchus) held a feast with his Satyroi (Satyrs) and Indian-slaying warriors: bulls were slaughtered, rows of heifers were struck with axes and cut up with knives, whole flocks of sheep were killed from the captured Erythraian herds. Seilenoi (Silens) and Satyroi settled in companies round the table with the god of the thyrsus, all with multitudinous hands partook of the same food. Infinite wine was drunk by all in order; the servers emptied endless fragrant jars as they drew the nectarean juice of the perfect grape.”
  Nonnus, Dionysiaca 25. 104 ff : “[The war of Dionysos against King Perseus and the Argives :] Perseus sickle in hand gave way to Bakkhos (Bacchus) [in battle] with his wand, and fled before the fury of Satyroi (Satyrs) cyring Euoi.”
  Nonnus, Dionysiaca 27. 221 ff : “[The troops of Dionysos rally for battle in the Indian war :] With this speech he [Dionysos] gave them [his troops] courage. The Bakkhante (Bacchante) women made haste, the Seilenoi (SIlens) shouted the tune of the battle-hymn, the Satyroi (Satyrs) opened their throats and shouted in accord; the sound of the beating drum rang out, beating time with its terrifying boom, the rattling women clanged their double strokes with alternate hands; the shepherd’s syrinx piped out its Phrygian notes to summon the host.
In front of the army, pushing to the fray, the Mygdonian torch shone leaping through the air, proclaiming the fiery birth of Bakkhos (Bacchus). The horned brow of old Seilenos (Silenus) sparkled with light; snakes were twined in the unplaited hair of the hillranging Bakkhante women. The Satyroi also fought; they were whitened with mystic chalk, and on their cheeks hung the terrifying false mask of a sham voiceless face. One lashing a maddened tiger against his foes scattered the cars of linked elephants.”
  Nonnus, Dionysiaca 27. 259 ff : “[Zeus calls on Apollon to aid Dionysos in his war :] ‘Be gracious to Agreus [i.e. Aristaios (Astraeus)] and Dionysos both: as Nomios (the Herdsman), fight for the generation of Satyroi (Satyr) herdsmen.’”
  Nonnus, Dionysiaca 27. 290 ff : “[Zeus calls on Athena to aid Dionysos in his war :] ‘Come now, raise the lance born along with you, shake your goatcape the aegis, the governor of war, be helper to my Satyroi (Satyrs) [in the War against the Indians], because they also wear hairy skins of the mountain goats.’”
 
  Satyrs with biga chariot, Athenian red-figure stamnos C5th B.C., Museum of Fine Arts Boston Nonnus, Dionysiaca 28. 7 ff : “[The army of Dionysos battles the Indian host :] The host [of Dionysos] came armed in all its many forms, hastening in troops to the Indian War. One [Satyr] with his fleshcutting ivy stormed into battle, guiding a fine car with a team of panthers; one yoked lions of the Erythraian hills to his chariot, and drove the grim pair bristling under the yokestrap. Another sat tight on an unbridled bull, and amused himself by lashing its flanks, as he cast his javelins furiously among the black Indian ranks. Another leapt on the back of the bear of Kybele (Cybele), and attacking the enemy, shaking his vinewrapt thyrsus and scaring the drivers of long-legged elephants. Another shot at the foe with fleshcutting ivy; no sword he had, no round buckler, no deadly spear of bat tle, but shaking clustered leaves of plants he killed the mailed man with a tiny twig. Thunder crashed like sounding pipes: the Seilenoi (Silens) shouted, the Bakkhai (Bacchae) women came to battle with fawnskins thrown across their chests instead of a corselet. And a Satyros of the mountains sat astride on the back of a lioness, as if he were riding a colt. The Indians on their part raised the warcry, and the barbarian pipes of war sounded to summon the host and assemble the fighting men. Garlands knocked against helmets, corselet against goatskin, thrysus rushed upon spear, greaves were matched against buckskins; rows of shields pressed against each other as the ranks which carried them met together, footmen against footmen; Pelasgian helmet pushed Mygdonian helmet with highnodding plume . . .
The warshout resounded together with the worship of Bromios, Euian tambours roared, trumpet blared with harp leading the combat and gathering the people, mingled gore with libation, confused bloodshed with dance.”
  Nonnus, Dionysiaca 30. 135 ff : “[During the Indian War of Dionysos :] Madly he [the Indian Tektaphos (Tectaphus)] pursued the army of Lyaios (Lyaeus) [Dionysos] and sliced through the throat of [the Satyr] Pylaieus the broil-breeder, he struck Onthyrios’ brow with pitiless blade, he destroyed broadbreasted Pithos with bare steel.”
  Nonnus, Dionysiaca 32. 143 ff : “[During the Indian War, Dionysos is driven into a murderous frenzy by the goddess Hera :] Bassarides went scattering and would not come within touch of Lyaios (Lyaeus) [Dionysos], Satyroi (Satyrs) shivered and hid in the sea; they would not come near him, dazed at the threatening onset, lest he dash at them letting out that outlandish roar, spitting snowy foam, the witness of madness.”
  Nonnus, Dionysiaca 34. 128 ff : “[Dionysos driven mad by Hera retreats from the war :] The Satyroi (Satyrs) made no noise, no sound echoed as of yore from the pipes to awaken the conflict. The Seilenoi (Silens) went to battle in sober silence with their wits about them; they had not painted their faces with crimson like fresh blood, nor purpled their yellow skin to deceive and affright, nor daubed their foreheads with white chalk as usual. The Panes had drunk no hot blood fresh from the veins of a lioness of the wilds, and rushed not swift as the wind frenzied into the conflict, but they were mild with fear : hesitating they pawed the ground with gentle noiseless hooves, and ceased the terrible leaps of their highland dance.”
  Nonnus, Dionysiaca 36. 140 ff : “[The Indian king Deriades rallies his troops :] ‘This day either I shall drag Dionysos by the hair, or his assault shall destroy the Indian nation! You, fall on the Satyroi (Satyrs) and check them by main force: let Deriades confront Dionysos. Burn the vine plants and all the various gear of Bakkhos (Bacchus) and set fire to their camp; bring the Mainalides as slaves to triumphant Deriades; consume with fire every thrysus of the enemy; ads for the oxhorned Seilenoi (Silens) and the crowds of Satyroi, shear off like a crop all their heads with devastating steel, and hang the oxhorned skulls in strings round all our hourses. May Phaethon [Helios the Sun] not turn his fireblazing horses to his setting before I bring in the Satyroi, and Bakkhos bound with galling fetters, with his spotted cloak torn to rags on his chest by my spear nad his thyrsus thrown away. Burn to ashes with my brand the long flowing hair of the women and their wreaths of vine!'”
  Nonnus, Dionysiaca 36. 433 ff : “[Morrheus addresses his Indian troops :] ‘You know also what I have done in resisting Dionysos, fighting Satyroi (Satyrs), and cutting of the hateful heads of that oxhorned generation with shearing steel.’”
  Nonnus, Dionysiaca 37. 10 ff : “[During a pause in the fighting during the Indian War :] When Dionysos saw friendly calm instead of war, early in the morning he sent out mules and their attendant men to bring dry wood from the mountains, that he might burn with fire the dead body of Opheltes. Their leader into the forest of pines was Phaunos [Faunus] who was well practised in the secrets of the lonely thickets . . . Parties coming up would often meet, men on the hills traversing different mountain-paths. One saw them up aloft, out in front, coming down, crossing over, with feet wandering in all directions. The sticks were packed in bundles with ropes well twisted and fastened tight and trim, and laid on the mules’ backs; the animals set out in lines, and the hooves rang on the mountain-paths as they hurried along, the surface of the sandy dust was burdened by heavy logs dragged behind. Satyroi (Satyrs) and Panes were busy; some c ut wood with axes, some pulled it from tree after tree with their hands, or lifted trunks with untiring arms and rattled over the rocks with dancing feet.”
 
  Satyr and Maenad, Greco-Roman mosaic from Pompeii C1st A.D., Naples National Archaeological Museum Nonnus, Dionysiaca 38. 1 ff : “[Troops of Dionysos wander trhough the Indian wilds :] The people retired into the recesses of the forest, and entered their huts. The rustic Panes housed themselves under shelter in the ravines, for they occupied at evening time the natural caverns of a lioness in the wilds. The Satyroi (Satyrs) dived into a bear’s cave, and hollowed their little bed in the rock with sharp finger-nails in place of cutting steel; until the light-brining morning shone, and the brightness of Eos (the Dawn) newly risen showed itself peacefully to both Indians and Satyroi.”
  Nonnus, Dionysiaca 39. 328 ff : “[During the Indian War :] Korymbasos (Corymbasus) [king of the Aithiopians (Ethiopians)] cast a lance at a Satyros’ (Satyr’s) tail, but the lance missed him.”
  Nonnus, Dionysiaca 40. 151 ff : “[The Indian princess Kheirobie (Chirobia) speaks :] ‘Save me from sleeping in the arms of a horned Satyros (Satyr).’”
  Nonnus, Dionysiaca 43. 307 ff : “[Poseidon led the gods of the sea against the companions of Dionysos in the contest for maiden Beroe :] Satyroi (Satyrs) also bustled about in dancing tumult, trusting to the horns on their bull-heads, while the straight tail draggled from their loins for a change as they hurried.”
  Nonnus, Dionysiaca 45. 318 ff : “A Satyros (Satyr) rushed along carrying a snarling beast, a dangerous tiger which sat on his back, which for all its wild nature did nit touch the bearer.”
  Nonnus, Dionysiaca 47. 478 ff : “[Dionysos and his companions are driven out of Argos by King Perseus :] The people [of Argos] would not receive him [Dionysos]; they chased away the danceweaving women and Satyroi (Satyrs); they repudiated the thyrsus, lest Hera should be jealous and destroy her Pelasgian seat [of Argos] . . . [Hera urges Perseus to fight :] ‘Make war on the Satyroi too: turn towards battling Lyaios (Lyaeus) the deadly eye of snakehair Medousa (Medusa), and let me see a new Polydektes (Polydectes) made stone . . .
Kill the array of bull-horned Satyroi (Satyrs), change with the Gorgon’s eye the human countenances of the Bassarides into like images selfmade; with the beauty of the stone copies adorn your streets, and make statues like an artist for the Inakhian market-places.’”
  Nonnus, Dionysiaca 48. 188 ff : “[The wedding of Dionysos and Pallene :] That was a wedding of many songs: the bridechamber was never silent, Seilenoi (Silens) chanted, Bakkhantes (Bacchantes) danced, drunken Satyroi (Satyrs) wove a hymn of love and sang the alliance which came of this victorious match.”
  NAMES OF DIONYSUS’ SATYRS IN NONNUS’ DIONYSIACA
 
 
  Nombre griego
  Ποιμενιος
  Θιασος
  Ὑπσικερως
  Ορεστης
 
 
  Transliteración
  Poimenios
  Thiasos
  Hypsikerôs
  Orestês
 
 
  Ortografía latina
  Poemenius
  Thiasus
  Hypsicerus
  Orestes
 
 
  Traducción
  Of Shepherds ( poimenios )
  Religious Troop ( thiasos )
  High-Horned ( hypo-, keras )
  Of the Mountains ( orestias )
 
 
 
 
  Nombre griego
  Φλεγραιος
  Ναπαιος
  Γεμον
  Λυκων
 
 
  Transliteración
  Phlegraios
  Napaios
  Gemon
  Lykôn
 
 
  Ortografía latina
  Phlegraeus
  Napaeus
  Gemon
   
 
 
  Traducción
  Burning Passion ( phlegô )
  Of the Wooded Vale ( napaios )
  Of the Load ( gemos )
  Of the Wolf, Wolfish ( lykos )
 
 
 
 
  Nombre griego
  Φερευς
  Πετραιος
  Λαμις
  Ληνοβιος
 
 
  Transliteración
  Phereus
  Petraios
  Lamis
  Lênobios
 
 
  Ortografía latina
  Phereus
  Petraeus
  Lamis
  Lenobius
 
 
  Traducción
  Of the Wild Beasts ( phêr, thêr )
  Of the Rocks ( petraios )
  Of the Hollows, Gluttonous ?
  Wine-Vat Treader (lênos, batês )
 
 
 
 
  Nombre griego
  Σκιρτος
  Οιστρος
  Προνομος
  Φερεσπονδος
 
 
  Transliteración
  Skirtos
  Oistros
  Pronomos
  Pherespondos
 
 
  Ortografía latina
  Scirtus
  Oestrus
  Pronomus
  Pherespondus
 
 
  Traducción
  Leaping, Bounding ( skirtaô )
  Sting, Passion, Frenzy ( oistros )
  Forward Grazing ( pro-, nomos )
  Bringing Offerings ( pherô, spondê )
 
 
 
 
  Nombre griego
  Λυκος
  Αμπελος
  Κισσος
 
 
  Transliteración
  Lykos
  Ampelos
  Kissos
 
 
  Ortografía latina
  Lycus
  Ampelus
  Cissus
 
 
  Traducción
  Wolf ( lykos )
  Grapevine ( ampelos )
  Ivy ( kissos )
 
 
  SATYRS OF THE SATYRIDES ISLANDS
 
  Reclining Satyr “Barberini Faun”, Greco-Roman marble statue from Mausoleum of Hadrian, Glyptothek Pausanias, Description of Greece 1. 23. 6 (trans. Jones) (Greek travelogue C2nd A.D.) : “Wishing to know better than most people who the Satyroi (Satyrs) are I have inquired from many about this very point. Euphemos the Karian (Carian) said that on a voyage to Italia he was driven out of his course by winds and was carried into the outer sea, beyond the course of seamen. He affirmed that there were many uninhabited islands, while in others lived wild men. The sailors did not wish to put in at the latter, because, having put in before, they had some experience of the inhabitants, but on this occasion they had no choice in the matter. The islands were called Satyrides by the sailors, and the inhabitants were red haired, and had upon their flanks tails not much smaller than those of horses . As soon as they caught sight of their visitors, they ran down to the ship without uttering a cry and assaulted the women in the ship. At last the sailors in fear cast a foreign woman on to the island. Her the Satyroi (Satyrs) outraged not only in the usual way, but also in a most shocking manner.”
  SATYRS IN CULT ART
  Strabo, Geography 14. 2. 5 (trans. Jones) (Greek geographer C1st B.C. to C1st A.D.) : “The city of the Rhodians lies on the eastern promontory of Rhodes . . . [and it] has been adorned with many votive offerings, which for the most part are to be found in the Dionysion (Temple of Dionysos) . . . and there are also the paintings of Protogenes, his Ialysos and also his Satyros (Satyr), the latter standing by a pillar, on top of which stood a male partridge. And at this partridge, as would be natural, the people were so agape when the picture had only recently been set up, that they would behold him with wonder but overlook the Satyros, although the latter was a very great success.”
  Pausanias, Description of Greece 1. 43. 5 (trans. Jones) (Greek travelogue C2nd A.D.) : “[The temple of Dionysos in Megara :] By the side of it is a Satyros (Satyr) of Parian marble.”
  Callistratus, Descriptions 1 (trans. Fairbanks) (Greek rhetorician C4th A.D.) : “[A description of an ancient Greek statue :] On a Satyros (Satyr). There was a certain cave near Thebes in Egypt which resembled a shepherd’s pipe, since as it followed its winding course in the depths of the earth it formed a natural spiral; for it did not take a straight course at the opening and then branch off into straight-running corridors, but winding about under the mountain it made a huge spiral, ending in a most difficult maze. In it was set up an image of a Satyros wrought in marble. He stood on a base in the attitude of one making ready to dance, and lifting the sole of his right foot backward he not only held a flute in his hand but also was being the first to leap up at its sound; though in reality the flute’s note was not reaching the player’s ear, nor yet was the flute endowed with voice, but the physical effect which flute-players experience had been transferred to the stone by the skill of the artist. You could have seen the veins standing out as though they were filled with a sort of breath, the Satyros drawing the air from his lungs to bring notes from the flute, the statue eager to be in action, and the stone entering upon strenuous activity–for it persuaded you that the power to blow the flute was actually inherent in it, and that the indication of breathing was the result of its own inner powers–finding a way to accomplish the impossible. The body had no trace of delicacy, but the hardness of the members had stolen away their beauty, making the form rugged with the symmetry of manly limbs. For though soft skin and dainty limbs befit a beautiful girl, the appearance of a Satyros is unkempt, as of a mountain spirit ( daimon oreios ) that leaps in honour of Dionysos. The statue was wreathed with ivy, though the sculptor’s art did not cull real berries from a meadow, nay, rather, it was the stone which for all its hardness spread out into sprays and encircled the hair, creeping back from the forehead till the ends met at the sinews of the neck. Pan stood beside him, delighting in the music of the flute and embracing Ekho (Echo), in fear, I suppose, lest the flute set in motion some musical sound and induce the Nymphe to make an echoing response to the Satyros.”
 
  ANCIENT GREEK & ROMAN ART
 
 
 
 
  T60.9 Satyr with Wine Jug
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  K12.6 Dionysus & Satyriscus
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  T60.8 Satyr with Rhyton
  Figura roja ateniense Florero Pintura C6th B.C.
 
 
 
 
 
 
  T60.15 Satyr Chariot
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
 
 
  T60.6 Satyr with Wineskin
  Figura roja ateniense Florero Pintura C6th B.C.
 
 
 
 
 
 
  T60.7 Satyr with Wine Jug
  Figura roja ateniense Florero Pintura C6th B.C.
 
 
 
 
 
 
  T60.3 Satyr with Wineskin
  Figura roja ateniense Florero Pintura C6th B.C.
 
 
 
 
 
 
  T60.11 Satyr with Wineskin
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
 
 
  T60.17 Satyr Herald
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  T60.16 Satyr Dancer
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  T60.18 Satyr Warrior
  Athenian Bilingual Vase Painting C6th B.C.
 
 
 
 
 
 
  T60.5 Satyr Warrior
  Figura roja ateniense Florero Pintura C6th B.C.
 
 
 
 
 
 
 
 
  T60.2 Satyr & Maenad Nymph
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  T60.10 Satyr & Maenad Nymph
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  T60.12 Satyr & Sleeping Nymph
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  T60.1 Satyr & Maenad Nymph
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
 
 
  T60.13 Satyr & Sleeping Nymph
  Apulian Red Figure Vase Painting C4th B.C.
 
 
 
 
 
 
  K12.3 Dionysus & Satyr
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  K12.4 Dionysus & Satyr
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
  K12.2B Dionysus & Satyriscus
  Paestan Red Figure Vase Painting C4th B.C.
 
 
 
 
 
 
 
 
  K12.7 Dionysus & Satyrs
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  T60.14 Dionysus & Satyr
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  K12.5 Dionysus & Satyr
  Apulian Red Figure Vase Painting C4th B.C.
 
 
 
 
 
 
  K12.12 Dionysus & Satyrs
  Athenian Bilingual Vase Painting C6th B.C.
 
 
 
 
 
 
 
 
  T60.4 Satyr with Double-Flute
  Figura ateniense negra Jarrón Pintura C6th B.C.
 
 
 
 
 
 
  K22.3 Pan & Satyriscus
  Paestan Red Figure Vase Painting C4th B.C.
 
 
 
 
 
 
  K11.4 Hermes, Satyr, Deer
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  K7.2 Hephaestus & Satyrs
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
 
 
  K7.11 Hephaestus & Satyrs
  Ionian Black Figure Vase Painting C6th B.C.
 
 
 
 
 
 
  K7.12 Hephaestus & Satyrs
  Figura ateniense negra Jarrón Pintura C6th B.C.
 
 
 
 
 
  K7.5B Hephaestus & Satyr
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
  K7.5 Hephaestus & Satyrs
  Figura roja ateniense Florero Pintura C5th B.C.
 
 
 
 
 
 
 
 
  Z39.2 Satyr & Maenad Nymph
  Greco-Roman Samandag Mosaic C3rd A.D.
 
 
 
 
 
 
  Z12.7 Dionysus & Satyr
  Greco-Roman Antioch Floor Mosaic C4th A.D.
 
 
 
 
 
 
  Z1.7 Zeus as Satyr & Antiope
  Greco-Roman Zeugma Floor Mosaic A.D.
 
 
 
 
 
 
  Z1.6 Zeus as Satyr & Antiope
  Greco-Roman Zeugma Mosaic C2nd A.D.
 
 
 
 
 
 
 
 
  Z39.1 Satyr & Maenad Nymph
  Greco-Roman Pompeii Fresco C1st A.D.
 
 
 
 
 
 
  Z12.3 Dionysus & Satyrs
  Greco-Roman Sousse Floor Mosaic C3rd A.D.
 
 
 
 
 
 
  Z12.4 Dionysus & Satyrs
  Greco-Roman El Jem Floor Mosaic C2nd A.D.
 
 
 
 
 
 
 
 
  S39.1 Reclining Satyr
  Greco-Roman Marble Statue A.D.
 
 
 
 
 
 
  S39.7 Satyr with Flute
  Greco-Roman Marble Statue A.D.
 
 
 
 
 
 
  S39.4 Satyr with Grapes
  Greco-Roman Marble Statue A.D.
 
 
 
 
 
 
  R12.1 Dionysus & Satyr
  Greco-Roman Bas-relief C2nd A.D.
 
 
 
 
 
 
 
 
  S39.2 Pan & Satyr
  Greco-Roman Marble Statue A.D.
 
 
 
 
 
 
  S39.3 Pan & Satyr
  Greco-Roman Marble Statue A.D.
 
 
 
 
 
 
  S39.5 Satyr at Rest
  Greco-Roman Statue C2nd A.D.
 
 
 
 
 
 
  S39.6 Pan & Satyr
  Greco-Roman Statue C2nd A.D.
 
 
 
 

  SOURCES
  GRIEGO
  Hesiod, Fragments – Greek Epic C8th – 7th B.C.
  The Homeric Hymns – Greek Epic C8th – 4th B.C.
  Aesop, Fables – Greek Fables C6th B.C.
  Greek Lyric II Anacreontea, Fragments – Greek Lyric C5th – 4th B.C.
  Apollodorus, The Library – Greek Mythography C2nd A.D.
  Diodorus Siculus, The Library of History – Greek History C1st B.C.
  Strabo, Geography – Greek Geography C1st B.C. – C1st A.D.
  Pausanias, Description of Greece – Greek Travelogue C2nd A.D.
  The Orphic Hymns – Greek Hymns C3rd B.C. – C2nd A.D.
  Aelian, Historical Miscellany – Greek Rhetoric C2nd – 3rd A.D.
  Athenaeus, Deipnosophistae – Greek Rhetoric C3rd A.D.
  Philostratus the Elder, Imagines – Greek Rhetoric C3rd A.D.
  Philostratus the Younger, Imagines – Greek Rhetoric C3rd A.D.
  Callistratus, Descriptions – Greek Rhetoric C4th A.D.
  Philostratus, Life of Apollonius of Tyana – Greek Biography C2nd A.D.
  Nonnus, Dionysiaca – Greek Epic C5th A.D.
  ROMAN
  Hyginus, Fabulae – Latin Mythography C2nd A.D.
  Hyginus, Astronomica – Latin Mythography C2nd A.D.
  Ovid, Metamorphoses – Latin Epic C1st B.C. – C1st A.D.
  Ovid, Fasti – Latin Poetry C1st B.C. – C1st A.D.
  Ovid, Heroides – Latin Poetry C1st B.C. – C1st A.D.
  Virgil, Georgics – Latin Bucolic C1st B.C.
  Cicero, De Natura Deorum – Latin Rhetoric C1st B.C.
  Valerius Flaccus, The Argonautica – Latin Epic C1st A.D.
  Statius, Thebaid – Latin Epic C1st A.D.
  Statius, Silvae – Latin Poetry C1st A.D.
  Apuleius, The Golden Ass – Latin Novel C2nd A.D.
  BYZANTINE
  Suidas, The Suda – Byzantine Greek Lexicon C10th A.D.
  BIBLIOGRAPHY
  A complete bibliography of the translations quoted on this page.