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Maenad and satyr. Ancient Greek kylix by Makron, 490-480 BC. Staatliche Antikensammlungen München Kat. 94. The term "maenads" also refers to women in mythology who resisted the worship of Dionysus and were driven mad by him, forced against their will to participate in often horrific rites.
In Greek mythology, a satyr [a] (Ancient Greek: σάτυρος, romanized: sátyros, pronounced), also known as a silenus [b] or silenos (Ancient Greek: σειληνός, romanized: seilēnós [seːlɛːnós]), and sileni (plural), is a male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection.
Silenus refers to the satyrs as his children during the play. Silenus may have become a Latin term of abuse around 211 BC, when it is used in Plautus ' Rudens to describe Labrax, a treacherous pimp or leno , as "...a pot-bellied old Silenus, bald head, beefy, bushy eyebrows, scowling, twister, god-forsaken criminal". [ 7 ]
A drinking cup, c. 490–480 B.C., depicting a maenad and a satyr.. The satyr play is a form of Attic theatre performance related to both comedy and tragedy.It preserves theatrical elements of dialogue, actors speaking verse, a chorus that dances and sings, masks and costumes.
A.B. Cook noted that her myth "took on a Dionysiac colouring, Antiope being represented as a Maenad and Zeus as a Satyr". [5] This is the sole mythic episode in which Zeus transforms into a satyr. Being pregnant with Zeus's child, Antiope feared the wrath of her father, Nycteus, and fled to Sicyon , where she married Epopeus. [ 6 ]
Marble relief of a Maenad and two satyrs in a Bacchic procession. AD 100, British Museum, London. The central religious cult of Dionysus is known as the Bacchic or Dionysian Mysteries. The exact origin of this religion is unknown, though Orpheus was said to have invented the mysteries of Dionysus. [130]
Dionysos with maenads and satyrs. Munich, Staatliche Antikensammlungen 2344 The Kleophrades Painter is the name given to the anonymous red-figure Athenian vase painter, who was active from approximately 510–470 BC and whose work, considered amongst the finest of the red-figure style, is identified by its stylistic traits.
Satyr and maenad on a skyphos, Paris, Bibliothèque Nationale, Cabinet des Médailles. His work is characterised by large, space-filling figures whose posture is often bent so as to permit them to fit on a vessel. For the same reason, ornamental decoration around the edges is often very narrow.