Greek Satyr Play CALIFORNIA CLASSICAL STUDIES NUMBER 3 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrolog- ical and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2015) is supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 GREEK SATYR PLAY Five Studies Mark Griffith CALIFORNIA CLASSICAL STUDIES Berkeley, California New material (Preface, Introduction) © 2015 by Mark Griffith. Chapter 1: “Slaves of Dionysos: Satyrs, Audience, and the Ends of the Oresteia.” Classical Antiquity 22 (2002) 195-258. © 2002 The University of California Press. By permission of University of California Press. Chapter 2: “Satyrs, Citizens, and Self-Presentation,” Satyr Drama: Tragedy at Play, ed. G. W. M. Harrison (Swansea 2005) 161-99. © 2005 Mark Griffith. By permission of Anton Powell and the Classical Press of Wales. Chapter 3: “Sophocles’ Satyr-plays and the Language of Romance,” Sophocles and the Greek Language: Aspects of Diction, Syntax and Prag- matics, eds I. J. F. de Jong and A. Rijksbaron (Mnemosyne Supplement 269, Leiden 2006) 51-72. © 2008 Koninklijke Brill NV, Leiden. By Per- mission of Koninklijke Brill NV. http://www.brill.com/publications/ mnemosyne-supplements Chapter 4: “Satyr Play and Tragedy, Face to Face,” The Pronomos Vase and its Context, eds. O. Taplin and R. Wyles (Oxford 2010) 47-63. © 2010 Oliver Taplin and Rosie Wyles. By permission of Oxford Univer- sity Press. www.oup.com Chapter 5: “Greek Middlebrow Drama (Something to Do with Aph- rodite?),” Performance, Iconography, Reception: Studies in Honour of Oliver Taplin, eds. M. Revermann and P. Wilson (Oxford 2008) 59-87. © 2008 Oxford University Press. By permission of Oxford University Press. www.oup.com California Classical Studies c/o Department of Classics University of California Berkeley, California 94720–2520 USA http://calclassicalstudies.org email: [email protected] ISBN 9781939926043 Library of Congress Control Number: 2015935048 CONTENTS Preface vii Abbreviations x List of Figures xii Introduction 1 1. Slaves of Dionysos: Satyrs, Audience, and the Ends of the Oresteia 14 FIGURES appear after page 74 2. Satyrs, Citizens, and Self-Presentation 75 3. Sophocles’ Satyr Plays and the Language of Romance 109 4. Satyr Play and Tragedy, Face to Face (and East to West?): The Pronomos Vase 129 5. Greek Middlebrow Drama (Something to Do with Aphrodite?) 146 Bibliography 170 Index of Authors and Works Discussed 183 General Index 185 Preface This collection of “Five Studies” is intended to make more readily available, and to a wider audience, the journal articles and chapters in conference volumes or Festschrifts that I published on the subject of Greek satyr drama between 2002 and 2010. The five chapters are fairly coherent and coordinated between one an- other, and develop a broadly consistent account of this major performance genre within fifth-century Athenian culture; but I did not write them originally with an eye to their becoming a single monograph, and they do not claim in any sense to be comprehensive in their coverage of this whole topic. These are still just “five studies”; and each of them still bears the marks of its original context of pub- lication. In particular, there is some overlap here and there (especially between Chapters 1 and 2), and some inevitable repetition in the introductory material to each Chapter, as I outline (originally, to quite different audiences/readerships) my overall approach to the study of Greek tragedy and satyr play in their original social context. In preparing these five contributions for re-publication in this volume, I have not attempted any large-scale revisions or updates. Each Chapter is presented essentially as it was originally published, with just a few minor corrections and some cross-references. Thus, for example, the spelling and citation conventions differ in some cases from one chapter to another. I hope this is not found to be too distracting. Occasionally I have indicated within square brackets the existence of more recent work on a particular topic that has been published since the first appearance of my article. For ease of citation and reference back to the original publications, their page numbers are included (likewise in square brackets) within the text throughout. The Introduction has been newly composed for this volume, and there I make note of some of the most important contributions relating to Greek satyr drama that have appeared over the last ten years or so, while also at- tempting to contextualize my own work within the scholarly currents of the 1990s and 2000s. I am very grateful to several individuals and institutions for generously allow- ing me to reproduce in this volume materials (text and/or images) that were orig- vii viii Preface inally published elsewhere: the University of California Press and the Editors of Classical Antiquity (Chapter 1); George W. M. Harrison, along with Anton Powell and the Classical Press of Wales (Chapter 2); Albert Rijksbaron and Irene De Jong, along with Brill Publishers (Chapter 3); Martin Revermann and Peter Wilson, Ol- iver Taplin and Rosie Wyles, along with the Oxford University Press (Chapters 4 and 5). For permission to reproduce particular images I warmly thank the follow- ing: Staatliche Antikensammlungen und Glyptothek, Munich (Fig. 4); Thomas Mannack (Beazley Archive) and the Oxford University Press (Fig. 5c); Kunsthis- torisches Museum, Vienna (Fig. 8a); The Martin von Wagner Museum, Univer- sität Würzburg (Fig. 8b); The Trustees of the British Museum, London (Fig. 10); The Houghton Library, Harvard University (Figs. 11 and 12). In three cases (Figs 1, 2, 7), I have used for this volume drawings of vase-images, rather than the photographs reproduced in the original publications. I am espe- cially indebted and grateful to Elizabeth Wahle (Fig. 2) and François Lissarrague (Fig. 7) for their drawings and for their gracious permission to publish them in this volume. I also thank Eric Csapo for his permission to include E. R. Malyon’s drawing of the Pronomos Vase (Fig. 5b). I would like to take this occasion to thank once again those who, by inviting me to participate in conferences or commemorative volumes, originally spurred me to think more seriously and specifically about various aspects of Greek satyr play, and subsequently to write up the results: in particular, the Ohio State University’s Classics Department (for Chapter 1), George W. M. Harrison and Jane E. Francis (Chapter 2); Albert Rijskbaron and Irene De Jong (Chapter 3); Martin Revermann and Peter Wilson (Chapter 4); Oliver Taplin, Edith Hall, Amanda Wrigley, and Rosie Wyles (Chapter 5). Further acknowledgments to individual scholars whose expertise and advice were helpful to me are appended to particular Chapters, in the form in which these appeared in the original publications. Several of the ideas that made their way into these chapters—especially ideas formulated in the early stages (i.e., during the late 1990s), when I was focusing mainly on tragedy but beginning to notice elements of satyr play that seemed suggestively relevant—eventually emerged and became more coherent and better articulated thanks to the critiques, advice, and example of several of my Berke- ley colleagues and graduate students: in particular, I owe large debts of various kinds to the late Janet Adelman; to Carol Clover, Kathleen McCarthy, and the late Crawford Greenewalt; and to Erik Gunderson, Peter Mostkoff, David Jacobson, Roger Travis, and Victoria Wohl. My good fortune in holding a joint position within two different departments at Berkeley, i.e. Classics and TDPS (Theater, Dance, and Performance Studies), was also crucial, and I am grateful for opportu- nities given me to present informally some portions of this work at various times to both constituencies. PREFACE ix For the practical preparation of this volume for the series California Classical Studies I acknowledge an enormous debt of gratitude to two individuals above all: Anna Pisarello and Donald Mastronarde. I wish to express my thanks and appreciation to five friends and colleagues who have helped me over the years, perhaps more than they each realize, to keep seeking to expand my horizons in the exploration of ancient Greek culture, lit- erature, and mentalities—while also, each of them in different ways, always be- ing willing to offer particular advice, inspiration, and acute, patient correction, as well as their own exemplary scholarly practice: Leslie Kurke, Donald Mastro- narde, Bernd Seidensticker, Victoria Wohl, and Froma Zeitlin. These “Five Stud- ies” could never have come into existence without the distinctive input, example, and encouragement of each of them. Above all, I am grateful to two of these, my long-time Berkeley colleagues Leslie Kurke and Donald Mastronarde, for their unfailing support, advice, and unmatched expertise. I dedicate this book to them. Mark Griffith Berkeley, July 2015 Abbreviations ARV2 = Beazley, J. D., ed. Athenian Red-Figure Vasepainters. 2nd ed. Oxford, 1963. CHCL = Cambridge History of Classical Literature CPG = von Leutsche, E. L., and F.