Papposilenus playing the crotals, theatrical type of the satyr play, Louvre Satyr plays were an ancient Greek form of tragicomedy, similar in spirit to the bawdy satire of burlesque. They featured choruses of satyrs, were based on Greek mythology, and were rife with mock drunkenness, brazen sexuality (including phallic props), pranks, sight gags, and general merriment. Satyric drama is one of the three varieties of Athenian drama, the other two being tragedy and comedy. The Satyric style shares many attributes with comedy,Shaw (C. A.) “Satyric Play.
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But the plot of this satyric or Silenic drama has been detected, and you must not allow him, Agathon, to set us at variance.
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This innovation of Pratinas was adopted by his contemporaries; but Pratinas is distinguished by the large proportion of his satyric dramas. He composed, according to the Suda, fifty plays, of which thirty-two were Satyr plays. Böckh, however, from an alternate reading of the Suda, assigns to Pratinas only twelve satyric dramas, thus leaving a sufficient number of tragedies to make three for every satyric drama, that is, twelve tetralogies and two single plays.Trag. Gr. Princ. p. 125 In merit, the satyric dramas of Pratinas were considered the best ever written by his contemporaries, except only those of Aeschylus.Pausanias, Description of Greece 2.13.16 Pratinas ranked high among the lyric, as well as the dramatic poets of his age. He also wrote dithyrambs and the choral odes called hyporchemata, and a considerable fragment of one of these is preserved in Athenaeus.
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His son Aristias was also highly distinguished for his satyric plays, and a monument was erected by the inhabitants of Phlius in honor of him.
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The City Dionysia, an ancient dramatic festival held in March in which tragedy, comedy, and satyric drama originated, was under the direction of one of the principal magistrates, the archon eponymos.
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He also attended to satyric, marital and folklore poetry. He places his writings on the region of Muráň and Gemer. His works are distinguished by musicality and folk language and many of them have become traditional. He died in Chyžné.
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123–124 All these personal deficiencies were mercilessly lampooned by Opposition satirists of the period. 'The Festival of the Golden Rump'. George II is presented as the satyric figure in the centre. On his left and right are Robert Walpole and Queen Caroline, respectively.
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The material for a satyric drama, like that for a tragedy, was taken from an epic or mythology, and the action, which took place under an open sky, in a lonely wood, the haunt of the satyrs, had generally an element of tragedy; but the characteristic solemnity and stateliness of tragedy was somewhat diminished, without in any way impairing the splendour of the tragic costume and the dignity of the heroes introduced. The satyr plays generally took on topics that were popularized within society in the approach of a satyric farce. Satyr plays incorporated aspects of comedy. Some well known examples are Heracles, Agen, and Menedemus.
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Satyros and Prytanis did so, but Eumelos refused. There, Aripharnes proclaimed Eumelos "King of the Cimmerians". He and Eumelos fought Satyrus at the Battle of River Thatis, but they were defeated by the numerically inferior Satyric army. Afterward, he retreated with Eumelos to his settlement Siracena.
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233 Alexander flourished about 280 BC, in the reign of Ptolemy II Philadelphus. He had an office in the Library of Alexandria, and was commissioned by Ptolemy to make a collection of all the tragedies and satyric dramas that were extant. He spent some time, together with Antagoras and Aratus, at the court of Antigonus II Gonatas.Aratus, Phaenomena et Diosem. ii. pp.
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Aristotle said his works were intended for reading, not for representation. According to Suidas, Chaeremon was also a comic poet, and the title of at least one of his plays (Achilles Slayer of Thersites) seems to indicate that it was a satyric drama. His Centaurus (or Centaur) is described by Aristotle as a rhapsody in all kinds of metres. His other known plays are Alphesiboea, Dionysus, Io, Minyae, Odysseus, Oeneus, Thyestes, and The Wounded Man.
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Python of Catana was a dramatic poet of the time of Alexander, whom he accompanied into Asia, and whose army he entertained with a satyric drama, called Agen () when they were celebrating the Dionysia on the banks of the Hydaspes. The drama was in ridicule of Harpalus and the Athenians; fragments of it are preserved by Athenaeus. Identification of the poet with Python of Byzantium, the highly regarded orator in the service of Philip II, is unlikely.
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The few extant fragments of satyr-plays attributed to Aeschylus and Sophocles indicate that these were a loosely structured, simple, and jovial form of entertainment. But, in Cyclops (the only complete satyr-play that survives), Euripides structured the entertainment more like a tragedy, and introduced a note of critical irony, typical of his other work. His genre- bending inventiveness is shown above all in Alcestis, a blend of tragic and satyric elements. This fourth play in his tetralogy for 438 BC (i.e.
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Aristias (), son of Pratinas, was a dramatic poet of ancient Greece whose tomb Pausanias saw at Phlius, and whose Satyric dramas, with those of his father, were considered to be surpassed only by those of Aeschylus.Pausanias, Description of Greece 2.13.5 Aristias is mentioned in the life of Sophocles as one of the poets with whom the latter contended. Besides two dramas, which were undoubtedly Satyr plays, the Keres (Κῆρες) and Cyclops, Aristias wrote three others, Antaeus, Orpheus, and Atalante, which may have been tragedies.Comp. Athen.
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The three centre segments and six rectangular volute panels portray scenes from the satyric novel "Cupid and Psyche". The centre panels depict the marriage of Cupid and Psyche in the presence of the Olympic Gods, while scenes taken from the lives of the two are captured in the rectangular panels. Depicted in the cruciform volute panels are scenes taken from the myth surrounding the "Golden Apples of Hesperides". Interspaced between the ceiling frescoes are the family armorial bearings of the Esterházys (earls and alliances).
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Stratonicus (in Greek Στρατόνικoς; lived 4th century BC), of Athens, was a distinguished musician of the time of Alexander the Great (336-323 BC), of whom scarcely anything is recorded, except the sharp and witty rebuke which he administered to Philotas, when the latter boasted of a victory which he had gained over Timotheus of Miletus. His character is also revealed by another anecdote:Athenaeus. Deipnosophistae, VIII 350a. It is told that Nicocles, king of Cyprus, killed him for some satyric pieces he had composed on Nicocles' sons.
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The main innovation that ancient critics ascribed to Pratinas was the separation of the satyric from the tragic drama.Suda, πρῶτος ἔγραψε ΣατύρουςHelenius Acron, Commentaries on Horace 230, reading Pratinae for Cratini Pratinas is frequently credited as having introduced satyr plays as a species of entertainment distinct from tragedy, in which the rustic merry-makings and the extravagant dances of the satyrs were retained. The change preserved a highly characteristic feature of the older form of tragedy, the entire rejection of which would have met with serious obstacles, not only from the popular taste, but from religious associations, and yet preserved it in such a manner as, while developing its own capabilities, to set free the tragic drama from certain of its genre constraints. A band of Satyrs, as the companions of Dionysus, formed the original chorus of tragedy; and their jests and frolics were interspersed with the more serious action of the drama, without causing any more sense of incongruity than is felt in the reading of those humorous passages of Homer, from which Aristotle traces the origin of the satyric drama and of comedy.
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Some classicists suggest that the fact that he only won a single prize was due to his non-Athenian birth, as the men of Athens were loath to honor any but their own fellow-citizens. Achaeus of Eretria belongs to the classic age, but is not recognized as a classic writer. His satyric plays were much admired for their spirited style, albeit somewhat labored and lacking in clarity. The philosopher Menedemus thought his plays second only to Aeschylus, he was part of the Alexandrian canon, and Didymus wrote a commentary on him.
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Athenaeus, xiv. 617 Hyporcheme was closely related to the satyric drama by the humorous character which it often assumed, and dithyrambs by its ancient choruses of Satyrs. Pratinas may perhaps be considered to have shared with his contemporary Lasus of Hermione the honor of founding the Athenian school of dithyrambic poetry. Some interesting fragments of his hyporchemes are preserved, especially a considerable passage in Athenaeus which gives an important indication of the contest for supremacy which was then going on both between poetry and music, and between the different kinds of music.
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Dochmiac (, from δόχμιος 'pertaining to a δοχμή or hand's-breath'Oxford English Dictionary.) is a poetic meter that is characteristically used in Greek tragedy, expressing extreme agitation or distress. There are examples in satyric drama and Aristophanes, but these are often paratragic in tone and impassioned. The base metrical scheme is: ‿ — — ‿ —, although any of the long syllables may be resolved and either of the two shorts may be replaced by a long (drag-in where the first is replaced, drag-out where the second is replaced, and double drag where both are replaced).
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Midas Island is an island lying north-west of Apéndice Island in Hughes Bay, off the west coast of Graham Land, Antarctica. It was first seen by the Belgian Antarctic Expedition under Gerlache in 1898 and described as an island with two summits "like the ears of an ass". The name, given by the UK Antarctic Place-Names Committee in 1960, derives from this description; Midas, King of Phrygia, was represented in Greek satyric drama with the ears of an ass. The island forms part of the Cierva Point and offshore islands Important Bird Area and Antarctic Specially Protected Area (ASPA) 134.
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The number of his tragedies is variously stated at 12, 30, and 40. We have the titles and a few fragments of eleven plays, namely, Agamemnon; Alcmene; Argeioi; Eurytidai; Laertes; Mega Drama; Omphale; Phoinix or Kaineus; Phoinix Deuteros (The Second Phoenix); Phrouroi; and Teucer. The Omphale was a satyric drama. Pseudo-Longinus describes the style of Ion's tragedies as marked by petty refinements and want of boldness,Pseudo-Longinus, 33 and he adds an expression that no one in his senses would compare the value of the Oedipus with that of all the tragedies of Ion taken together.
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Actor as Papposilenus, around 100 AD, after 4th-century BC original A.E. Haigh writes extensively on costumes for the satyric drama. The chorus members all wore masks in accordance with Bacchic tradition.Haigh (1907, 290) The earliest reliable testimony is supplied by the Pandora Vase dating from the middle of the 5th century BC. On that vase, the satyrs are portrayed as half men and half goats, wearing goat’s horns on their heads, thus referring to the goat deities of the Doric type.Haigh (1907, 293–294) A later representation can be seen on the Pronomos Vase, found in Naples.
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According to the author, he originally planned The Magic Mountain as a novella, a humorous, ironic, satirical (and satyric) follow-up to Death in Venice, which he had completed in 1912. The atmosphere was to derive from the "mixture of death and amusement" that Mann had encountered whilst visiting his wife in a Swiss sanatorium. He intended to transfer to a comedic plane the fascination with death and triumph of ecstatic disorder over a life devoted to order, which he had explored in Death in Venice. The Magic Mountain contains many contrasts and parallels with the earlier novel.
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View of the Theatre and Sanctuary of Dionysus The Theatre of DionysusTravlos, 1971, p.537 (or Theatre of Dionysos, gr: Θέατρο του Διονύσου) is an ancient theatre in Athens on the south slope of the Akropolis hill, built as part of the sanctuary of Dionysos Eleuthereus (Dionysus the LiberatorC. Calame, Aetiological Performance and Consecration in Taplin and Wyles, The Pronomos Vase and Its Context Oxford, 2010, p.70, "As a simple aetiological hypothesis, one can imagine a threefold etymological pun on the epiklesis of the god to whom the satyric drama is dedicated: Dionysos Eleuthereus, Liberator of men who are free, coming from Eleutherai.").
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The number of persons in the chorus is not known, although there were probably either twelve or fifteen, as in tragedy. In accordance with the popular notions about the satyrs, their costume consisted of the skin of a goat, deer, or panther, thrown over the naked body, and besides this a hideous mask and bristling hair. The dance of the chorus in the satyric drama was called sicinnis, and consisted of a fantastic kind of skipping and jumping. The only satyr play to survive in its entirety is Euripides' Cyclops, based on Odysseus' encounter with the cyclops, Polyphemus, in Book 9 of the Odyssey.
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The latest features a contrast between the satyric objectivity in the first part, Diablo mundo (Devil World), and the evocative, subjective and lyrical tone in the second, Días felices (Happy Days). These works were followed by De triunfos y penas (Of Triumph and Sorrow, 1982) and El jardín de las malicias (The Garden of Earthly Malice, 1988), where he collected six tales written at different times in his life. Ayala was also a prolific essay writer, covering political and social aspects, as well as reflections on Spain's past and present, cinema and literature. He wrote his memoirs, Recuerdos y olvidos (Reminiscences and Overlooks, 1982, 1983, 1988, 2006).
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Carlo Maria Maggi, great dramaturge, at the end of the 17th century definitively codifies the writing of Milanese dialect introducing French oeu, so founding the classical Milanese orthography that will be retouched in the centuries till the present version of Circolo Filologico Milanese. At the end of the 18th century you assist at some changing in the linguistic structures, such as the abolition of no (meaning "not") preposed to the verb, on behalf of postposed nò or minga, or the abolishing of past perfect, which you can yet find in Balestrieri and in Maggi. Bosinada is a poetic form of popular composition, written in Insubric on loose sheets, told by storytellers (bositt, sing. bosin) and with often satyric contents.
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