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Frontmatter -- Editors’ Preface -- Contents -- List of Figures -- List of Abbreviations and References -- List of Metrical Symbols -- Author Biographies -- Introduction: What is Satyr Drama? -- Part I: Genre -- 1 Satyrikon and the Origins of Tragedy -- 2 Putting the ‘Goat’ into ‘Goat-song’: The Conceptualisation of Satyrs on Stage and in Scholarship -- 3 Satyr Drama, Dithyramb, and Anodoi -- 4 Urban Centre and Mountainous Periphery in Dionysiac Drama -- Part II: Language, Style and Metre -- 5 ΔιαλαλΗσωμΕν τι σοι: ʻColloquialisms’ in Satyr Drama -- 6 Im/Politeness in Satyr Drama -- 7 Satyrs Speaking like Rhetors and Sophists -- 8 Metre, Movement and Dance in Satyr Drama -- Part III: Text Transmission and Criticism -- 9 Ancient Scholarship on Satyr Drama: The Background of Quotations in Athenaeus, Lexicographers, Grammarians, and Scholia -- 10 Distinguishing Satyric from Tragic Fragments: Methodological Tools and Practical Results -- 11 Eight and Counting: New Insights on the Number and Early Transmission of Euripides’ Satyr Dramas -- 12 Some Notes on Euripides’ Cyclops -- 13 Thundering Polyphemus: Euripides, Cyclops 320–8 -- Part IV: Reflections on the Plays -- 14 Pratinas and Euripides: Wild Origins, Choral Self-Reference and Performative Release of Dionysian Energy in Satyr Drama -- 15 Sacrificial Feasts and Euripides’ Cyclops: Between Comedy and Tragedy? -- 16 Satyric Friendship in Euripides’ Cyclops -- 17 Baby-Boomer: Silenos Paidotrophos in Aeschylus’ Diktyoulkoi -- 18 The Riddles of Aeschylus’ Theoroi or Isthmiastai -- 19 Silenos on the Strange Behaviour of the Satyrs: The Case of Sophocles’ Ichneutai -- 20 The Invention of the Lyre in Sophocles’ Ichneutai -- 21 Satyrs in Drag: Transvestism in Ion’s Omphale and Elsewhere -- 22 Innovation and Self-promotion in Fourth-century Satyr Drama: The Cases of Chaeremon and Astydamas -- 23 Satyr Drama at a Crossroads: Plays from the Early Hellenistic Period -- Part V: Satyric Influences -- 24 Plato and the Elusive Satyr (Meta)Drama -- 25 Traces of Satyr Dramas in the Mythographic Tradition: The Case of Pseudo-Apollodorus’ Bibliotheca -- 26 Satyrising Cynics in the Roman Empire -- Part VI: The Archaeological Evidence -- 27 Images of Satyrs and the Reception of Satyr Drama-Performances in Athenian and South Italian Vase-Painting -- 28 Heads or Tails? Satyrs, Komasts, and Dance in Black-Figure Vase-Painting -- 29 Satyrs, Dolphins, Dithyramb, and Drama -- 30 Sex, Love, and Marriage in Dionysiac Myth, Cultural Theory, and Satyr Drama -- 31 When does a Satyr become a Satyr? Examining Satyr Children in Athenian Vase-Painting -- 32 Beyond the Pronomos Vase: Papposilenos on Apulian Vases -- 33 Satyr Drama in the Late Hellenistic and Roman Imperial Periods: An Epigraphical Perspective -- 34 Lowering the Curtain: (Modest) Satyrs on Stage in the Roman Empire -- Appendix -- Bibliography -- General Index -- Index Locorum -- Index Vasorum The origins of satyr drama, and particularly the reliability of the account in Aristotle, remains contested, and several of this volume’s contributions try to make sense of the early relationship of satyr drama to dithyramb and attempt to place satyr drama in the pre-Classical performance space and traditions. What is not contested is the relationship of satyr drama to tragedy as a required cap to the Attic trilogy. Here, however, how Aeschylus, Sophocles, and Euripides (to whom one complete play and the preponderance of the surviving fragments belong) envisioned the relationship of satyr drama to tragedy in plot, structure, setting, stage action and language is a complex subject tackled by several contributors. The playful satyr chorus and the drunken senility of Silenos have always suggested some links to comedy and later to Atellan farce and phlyax. Those links are best examined through language, passages in later Greek and Roman writers, and in art. The purpose of this volume is probe as many themes and connections of satyr drama with other literary genres, as well as other art forms, putting satyr drama on stage from the sixth century BC through the second century AD. The editors and contributors suggest solutions to some of the controversies, but the volume shows as much that the field of study is vibrant and deserves fuller attention
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