DOCSLIB.ORG

THE SATYR PLAYS of SOPHOCLES Bernd Seidensticker in the Heyday of the Ancient Greek Theatre Each of the Three Poets Who Were

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE SATYR PLAYS of SOPHOCLES Bernd Seidensticker in the Heyday of the Ancient Greek Theatre Each of the Three Poets Who Were THE SATYR PLAYS OF SOPHOCLES Bernd Seidensticker In the heyday of the ancient Greek theatre each of the three poets who were elected to participate in the tragic contest at the most important Athenian theatre contest, the City or Great Dionysia, had to present not only three tragedies but also a satyr play. The large number of plays that are attested for Sophocles suggests that, over the course of the six decades in which he wrote plays, he produced no fewer than 30 satyr plays.1 In the book fragments, however, only thirteen plays are identi ed as satyr plays.2 Since we know the titles of almost all of Sophocles’ works, the missing satyr plays must be hidden among the preserved titles.3 The generic term satyroi or satyrikós/ê, which in the o cial records of the performances was added to the title, appears not to have been an indispensable component of the title. In the catalogue of Aeschylus’ plays, which probably traces back to Callimachus’ Pinaces, only one of the poet’s ten certain satyr plays, Circe, is classi ed as such;4 in most cases where we possess more than one book fragment of a satyr play, only one of the authors who preserve the fragments adds the information that he is quoting from a satyr play. The title alone rarely tells us that a given play was a satyr play. Some titles, however, ofer indirect clues: we may suspect a satyr play when its title suggests the birth or upbringing of a god or hero, such as Heracleiscus or Dio- nysiscus. And since tragedians did not use abstract terms as titles, we may assume that not only Crisis, Momus, and Hybris—for which we have explicit testimonia—but also Eris were satyr plays.5 Furthermore, since the satyrs 1 TrGF T 1, 76f. (Vita): 130; T 2,9 (Suda): 123. 2 In the cases of Kedalion and Momus the explicit identi cation hinges on conjectures of the titles in one of the book fragments (Kedalion fr. 328; Momus fr. 424). 3 Cf. the list in Radt (1982) 217f. 4 TrGF III T 78, l. 8. 5 Pearson (1917) I.139 and Sutton (1974) 133 believe that Eris was a tragedy. But besides the title the tone of the only fragment suggests that it was a satyr play: ‘I (fem.) again look hungrily at the cakes’ (fr. 199); Krumeich/Pechstein/Seidensticker (1999) 390f. 212 bernd seidensticker and their old father Silenus are obligatory elements of the genre, we can be certain that plays in which their presence is testi ed were satyr plays.6 Thus we know that TheLoversofAchilles (AchilleôsErastai; cf. fr. 153), the so-called Oeneus play (fr. 1130) and probably also Helen’s Wedding (Helenês Gamos)7 were satyr plays. Indications of this genre can also be seen in typical motifs and themes (as in the case of Daedalus and Cerberus8) and in the metre,9 language, and style of a fragment.10 In particular, we can expect colloquial, scatological, and obscene words and phrases. Opinions as to what is possible in tragedy difer widely. But if there is reason to believe that a certain play could be a satyr play, linguistic and stylistic observations can help to con rm our suspicion. With the help of these criteria and considerations we can establish the following lists of (a) certain, (b) probable, and (c) possible Sophoclean satyr plays: a) Certain: The Lovers of Achilles (Achilleôs Erastai), Amycus, Amphiarëus, Dionysiscus, (Heracles) At Taenarum (Epi Tainaro), Heracleiscus, Hera- cles, Hybris, Trackers (Ichneutae), Cedalion, The Judgement (Krisis), The Dumb Ones (Kôphoi), Momus, Oeneus play, Salmoneus.11 b) Probable: Admetus, Daedalus, The Strife (Eris), Nausicaa, Helen’s Wedding (Helenês Gamos), Inachus, Cerberus, Pandora or Hammerers (Sphyrokopoi).12 6 Cf. e.g. Aesch. Isthmiasthae and Dictyulci. 7 The orator Aristides (46, 307, 14; cf. Radt, TrGF III, 181), in a comparison of philosophers with satyrs, says that the satyrs in a play by Sophocles were overcome by lust when they saw Helen. But his words prove that Helenes Gamos was a satyr play only if he had this play in mind. 8 Satyr-drama is a genre of recurrent typical themes and motifs; cf. Guggisberg (1941) 60– 74; Seidensticker (1979) 243–247; Sutton (1980) 145–159; Seaford (1984) 33–44; Lämmle (2012 forthcoming). 9 There are a number of respects in which the trimeter of satyr drama deviates from that of tragedy: comic anapaests (resolution of breve or anceps outside the rst foot and not in names); breach of Porson’s law (no word-ending after a long third anceps) and three consecutive tribrachs; the trimeters of Ichneutae, however, are (almost) indistinguishable from tragedy (one rst foot anapaest: 230; four violations of Porson’s law: 114, 120, 341, 353; in addition the play contains iambic trimeters (298–329), which are not found in tragedy or comedy). 10 Cf. pp. 234–237. 11 For diferent lists, see Radt (1982) 190n7. 12 Many other plays have been nominated as potential candidates..
Load more

Recommended publications
  • Naming the Extrasolar Planets
    Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named.
    [Show full text]
  • Educator's Guide: Orion
    Legends of the Night Sky Orion Educator’s Guide Grades K - 8 Written By: Dr. Phil Wymer, Ph.D. & Art Klinger Legends of the Night Sky: Orion Educator’s Guide Table of Contents Introduction………………………………………………………………....3 Constellations; General Overview……………………………………..4 Orion…………………………………………………………………………..22 Scorpius……………………………………………………………………….36 Canis Major…………………………………………………………………..45 Canis Minor…………………………………………………………………..52 Lesson Plans………………………………………………………………….56 Coloring Book…………………………………………………………………….….57 Hand Angles……………………………………………………………………….…64 Constellation Research..…………………………………………………….……71 When and Where to View Orion…………………………………….……..…77 Angles For Locating Orion..…………………………………………...……….78 Overhead Projector Punch Out of Orion……………………………………82 Where on Earth is: Thrace, Lemnos, and Crete?.............................83 Appendix………………………………………………………………………86 Copyright©2003, Audio Visual Imagineering, Inc. 2 Legends of the Night Sky: Orion Educator’s Guide Introduction It is our belief that “Legends of the Night sky: Orion” is the best multi-grade (K – 8), multi-disciplinary education package on the market today. It consists of a humorous 24-minute show and educator’s package. The Orion Educator’s Guide is designed for Planetarians, Teachers, and parents. The information is researched, organized, and laid out so that the educator need not spend hours coming up with lesson plans or labs. This has already been accomplished by certified educators. The guide is written to alleviate the fear of space and the night sky (that many elementary and middle school teachers have) when it comes to that section of the science lesson plan. It is an excellent tool that allows the parents to be a part of the learning experience. The guide is devised in such a way that there are plenty of visuals to assist the educator and student in finding the Winter constellations.
    [Show full text]
  • On the Months (De Mensibus) (Lewiston, 2013)
    John Lydus On the Months (De mensibus) Translated with introduction and annotations by Mischa Hooker 2nd edition (2017) ii TABLE OF CONTENTS Abbreviations .......................................................................................... iv Introduction .............................................................................................. v On the Months: Book 1 ............................................................................... 1 On the Months: Book 2 ............................................................................ 17 On the Months: Book 3 ............................................................................ 33 On the Months: Book 4 January ......................................................................................... 55 February ....................................................................................... 76 March ............................................................................................. 85 April ............................................................................................ 109 May ............................................................................................. 123 June ............................................................................................ 134 July ............................................................................................. 140 August ........................................................................................ 147 September ................................................................................
    [Show full text]
  • Greek Mythology
    Greek Mythology The Creation Myth “First Chaos came into being, next wide bosomed Gaea(Earth), Tartarus and Eros (Love). From Chaos came forth Erebus and black Night. Of Night were born Aether and Day (whom she brought forth after intercourse with Erebus), and Doom, Fate, Death, sleep, Dreams; also, though she lay with none, the Hesperides and Blame and Woe and the Fates, and Nemesis to afflict mortal men, and Deceit, Friendship, Age and Strife, which also had gloomy offspring.”[11] “And Earth first bore starry Heaven (Uranus), equal to herself to cover her on every side and to be an ever-sure abiding place for the blessed gods. And earth brought forth, without intercourse of love, the Hills, haunts of the Nymphs and the fruitless sea with his raging swell.”[11] Heaven “gazing down fondly at her (Earth) from the mountains he showered fertile rain upon her secret clefts, and she bore grass flowers, and trees, with the beasts and birds proper to each. This same rain made the rivers flow and filled the hollow places with the water, so that lakes and seas came into being.”[12] The Titans and the Giants “Her (Earth) first children (with heaven) of Semi-human form were the hundred-handed giants Briareus, Gyges, and Cottus. Next appeared the three wild, one-eyed Cyclopes, builders of gigantic walls and master-smiths…..Their names were Brontes, Steropes, and Arges.”[12] Next came the “Titans: Oceanus, Hypenon, Iapetus, Themis, Memory (Mnemosyne), Phoebe also Tethys, and Cronus the wily—youngest and most terrible of her children.”[11] “Cronus hated his lusty sire Heaven (Uranus).
    [Show full text]
  • Dionysiac Imagery in Archaic Etruria Dimitris Paleothodoros University of Thessaly
    Etruscan Studies Journal of the Etruscan Foundation Volume 10 Article 15 2007 Dionysiac Imagery in Archaic Etruria Dimitris Paleothodoros University of Thessaly Follow this and additional works at: https://scholarworks.umass.edu/etruscan_studies Recommended Citation Paleothodoros, Dimitris (2007) "Dionysiac Imagery in Archaic Etruria," Etruscan Studies: Vol. 10 , Article 15. Available at: https://scholarworks.umass.edu/etruscan_studies/vol10/iss1/15 This Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Etruscan Studies by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Dionysiac Imagery in Archaic Etruria by Dimitris Paleothodoros he emergence of Etruscan Dionysiac iconography was made possibLe by the adop - tion and imitation of prototypes found on imported Attic vases 1. The first TDionysiac images produced by Etruscan craftsmen date to 550 BC and are found on bLacK-figured vases by the Paris Painter, and the painters of the Ivy-Leaf and the La ToLfa Groups. Between the mid 6th and mid 5th centuries BC, Etruscan artists decorate aLmost 170 bLacK-figured and added-red vases with Dionysiac images, 13% of the totaL pro - duction of figured vases. 2 This group of images, suppLemented by other pieces of evidence, such as mirror engravings and bronze statuettes, forms the basis of the present study, which is the preLiminary report of a thorough investigation of Dionysus in archaic Etruria. In the recent past, schoLars have deveLoped the concept of “Dionysism without Dionysus,” to account for the paradox of the scarcity of Dionysus’ images in archaic Etruria, in contrast to the great popuLarity of images of his foLLowers, i.e.
    [Show full text]
  • Naked and Unashamed: a Study of the Aphrodite
    Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 ABSTRACT Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 Copyright by Marianne Eileen Wardle 2010 Abstract This dissertation presents a study of the Aphrodite Anadyomene type in its cultural and physical contexts. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but with arms raised, naked and unashamed, exposing the goddess’ body to the gaze. Depictions of the Aphrodite Anadyomene present the female body as an object to be desired. The Anadyomene offers none of the complicated games of peek-a- boo which pudica Venuses play by shielding their bodies from view. Instead, the goddess offers her body to the viewer’s gaze and there is no doubt that we, as viewers, are meant to look, and that our looking should produce desire.
    [Show full text]
  • Art Concepts
    ANCIENT ART - Greece Acropolis Greek, “high city.” In ancient Greece, usually the site of the city’s most important temple(s). Amphora A two-handled jar used for general storage purposes, usually to hold wine or oil. Archaic Smile In Archaic Greek sculpture, the smile sculptors represented on faces as a way of indicating that the person portrayed is alive. Atlant (Atlas) A male figure that functions as a supporting column. Black-Figure In early Greek pottery, the silhouetting of dark Painting figures against a light background of natural, reddish clay, with linear details incised through the silhouettes. Capital The uppermost member of a column, serving as a transition from the shaft to the lintel. In classical architecture, the form of the capital varies with the order. Caryatid A female figure that functions as a supporting column. Cella The chamber at the center of an ancient temple; in a classical temple, the room (Greek, naos) in which the cult statue usually stood. ANCIENT ART - Greece Centaur In ancient Greek mythology, a fantastical creature, with the front or top half of a human and the back or bottom half of a horse. Contrapposto The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called “weight shift” because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other. Corinthian Corinthian columns are the latest of the three Greek styles and show the influence of Egyptian columns in their capitals, which are shaped like inverted bells.
    [Show full text]
  • Collection of Hesiod Homer and Homerica
    COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr.
    [Show full text]
  • The Night Sky This Month
    The Night Sky (January 2020) UT (Universal Time) or GMT is used this month. Northern Horizon Eastern Western Horizon Horizon 2 2:00 at beginning of the month. 21 :00 in middle of month 20 :00 at end of month Southern Horizon The General Weather Pattern January is often a windy month. Rain is usually less than in the previous month, but it is the second wettest month of the year. January is typically the coldest month of the year and normally gets colder as the month ages; it can therefore be very cold at night, often reaching freezing temperatures with clear skies. Snow can be expected in cold years. Wrap up warm with a warm hat, gloves, socks and shoes and wear multiple layers of clothes; wind chill is a factor in January. An energy snack and a flask containing a warm non-alcoholic drink wouldn’t go amiss. Should you be interested in obtaining a detailed weather forecast for observing in the Usk area, log on to https://www.meteoblue.com/en/weather/forecast/seeing/usk_united -kingdom_2635052 From Earth Orion culminates at 22:00 a third of the way through the month and can be observed almost all night. The Earth is at perihelion (closest to the sun) in its elliptical orbit on the morning of the 5th of January. The word perihelion derives from the Greek words, peri meaning ‘near’ and Helios the Greek god of the sun. The winter sky, dominated by Orion, presents itself due south, late in the evenings for most of this month.
    [Show full text]
  • Greek Mythology / Apollodorus; Translated by Robin Hard
    Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard.
    [Show full text]
  • Theriomorphic Forms: Analyzing Terrestrial Animal- Human Hybrids in Ancient Greek Culture and Religion
    Theriomorphic Forms: Analyzing Terrestrial Animal- Human Hybrids in Ancient Greek Culture and Religion Item Type text; Electronic Thesis Authors Carter, Caroline LynnLee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 21:29:46 Link to Item http://hdl.handle.net/10150/633185 THERIOMORPHIC FORMS: ANALYZING TERRESTRIAL ANIMAL-HUMAN HYBRIDS IN ANCIENT GREEK CULTURE AND RELIGION by Caroline Carter ____________________________ Copyright © Caroline Carter 2019 A Thesis Submitted to the Faculty of the DEPARTMENT OF RELIGIOUS STUDIES AND CLASSICS In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 THE UNIYERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master's Committee, we certi$ that we have read the thesis prepared by Caroline Carter titled Theriomorphic Forms: Analyzing Terrestrial Animal-Humøn Hybrids in Ancíent Greek Culture and Religion and reç¡¡ü¡sr6 that it be accepted as firlfilling the disse¡tation requirement for the Master's Degree. G Date: + 26 Z¿f T MaryV o 1.011 ,AtÌ.r.ln Date: \l 41 , Dr. David Gilman Romano - 4*--l -r Date; { zé l2 Dr. David Soren r) øate:4'2 6 - l\ Dr. Kyle Mahoney Final approval and acceptance of this thesis is contingent upon the candidate's submission of the final copies of the thesis to the Graduate College.
    [Show full text]
  • The Story of Marsyas
    Student Page The Story of Marsyas (MAHR-see-uhs) One day, the goddess Athena found Suspecting nothing of the curse, he was so perfect that neither god nor the beautiful, long thighbone of a picked the flute up, liked the look of man could better it. Next, it was deer. It was a pleasing object, and it, and decided to keep it. In time, he Apollo’s turn. Though his music was she wanted to make something both grew fond of the flute and learned as good as Marsyass’ in every way, attractive and useful from it. She to play it so well that whoever it was not better. And so the Muses soon decided what she would make heard him said that not even Apollo were unable to declare either of and began to work on the bone with could play so beautifully. How was them the winner. great care and art. She cut off both unlucky Marsyas to know that the ends, cleaned it out well inside, and curse of Athena hung over him? He By now Apollo was boiling with then drilled holes down its length. had never been one to boast, but rage. He was determined to be Finally, she fashioned a handsome now he began to tell everyone that revenged on the satyr who had belit- mouthpiece at the top. When she he could make music even better tled him—by means fair or foul. had finished, she placed the mouth- than golden-haired Apollo. piece between her lips and began “Very well,” he snarled, “now we to blow, placing her fingers up and It was not long before the great shall play with our instruments down on the holes.
    [Show full text]