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In Greek mythology, a satyr (, ; ''satyros'',〔Of uncertain etymology; R. S. P. Beekes has suggested a Pre-Greek origin (''Etymological Dictionary of Greek'', Brill, 2009, pp. 1311–1312).〕 ) is one of a troop of ithyphallic male companions of Dionysus with horse-like (equine) features, including a horse-tail, horse-like ears, and sometimes a horse-like phallus because of permanent erection.〔(Satyr ). ''Dictionary of Greek Mythology'' by Hellenica. Retrieved 2015-08-03.〕 Early artistic representations sometimes include horse-like legs, but in 6th-century BC black-figure pottery human legs are the most common.〔Timothy Gantz (1996), ''Early Greek Myth'', p. 135.〕 In Roman Mythology there is a concept similar to satyrs, with goat-like features: the faun, being half-man, half-goat. Greek-speaking Romans often used the Greek term ''saturos'' when referring to the Latin ''faunus'', and eventually syncretized the two. The female "Satyresses" were a late invention of poets — that roamed the woods and mountains.〔Branham (1997) (p. xxiii )〕 In myths they are often associated with pipe-playing. The satyr's chief was Silenus, a minor deity associated (like Hermes and Priapus) with fertility. These characters can be found in the only complete remaining satyr play, ''Cyclops,'' by Euripides, and the fragments of Sophocles' ''Ichneutae'' (''Tracking Satyrs''). The satyr play was a short, lighthearted tailpiece performed after each trilogy of tragedies in Athenian festivals honoring Dionysus. There is not enough evidence to determine whether the satyr play regularly drew on the same myths as those dramatized in the tragedies that preceded. The groundbreaking tragic playwright Aeschylus is said to have been especially loved for his satyr plays, but none of them have survived. Attic painted vases depict mature satyrs as being strongly built with flat noses, large pointed ears, long curly hair, and full beards, with wreaths of vine or ivy circling their balding heads. Satyrs often carry the thyrsus: the rod of Dionysus tipped with a pine cone. Satyrs acquired their goat-like aspect through later Roman conflation with Faunus, a carefree Italic nature spirit of similar characteristics and identified with the Greek god Pan. Hence satyrs are most commonly described in Latin literature as having the upper half of a man and the lower half of a goat , with a goat's tail in place of the Greek tradition of horse-tailed satyrs; therefore, satyrs became nearly identical with fauns. Mature satyrs are often depicted in Roman art with goat's horns, while juveniles are often shown with bony nubs on their foreheads. About Satyrs, Praxiteles gives a new interpretation on the subject of free and carefree life. Instead of an elf with pointed ears and repulsive goat hooves, we face a child of nature, pure, but tame and fearless and brutal instincts necessary to enable it to defend itself against threats, and survives even without the help of modern civilization. Above all, the Satyr with flute has a small companion for him, shows the deep connection with nature, the soft whistle of the wind, the sound of gurgling water of the crystal spring, the birds singing, or perhaps the singing a melody of a human soul that feeds higher feelings. As Dionysiac creatures they are lovers of wine and women, and they are ready for every physical pleasure. They roam to the music of pipes (''auloi''), cymbals, castanets, and bagpipes, and they love to chase maenads or bacchants (with whom they are obsessed, and whom they often pursue), or in later art, dance with the nymphs , and have a special form of dance called sikinnis. Because of their love of wine, they are often represented holding wine cups, and they appear often in the decorations on wine cups. ==In Greek mythology and art== In earlier Greek art, Silenos appear as old and ugly, but in later art, especially in works of the Attic school, this savage characteristic is softened into a more youthful and graceful aspect. This transformation or humanization of the Satyr appears throughout late Greek art. Another example of this shift occurs in the portrayal of Medusa and in that of the Amazon, characters who are traditionally depicted as barbaric and uncivilized. A humanized Satyr is depicted in a work of Praxiteles known as the "Resting Satyr". Greek spirits () known as Calicantsars have a noticeable resemblance to the ancient satyrs; they have goats' ears and the feet of donkeys or goats or horses, are covered with hair, and love women and the dance. Although they are not mentioned by Homer, in a fragment of Hesiod's works they are called brothers of the mountain nymphs and Kuretes, strongly connected with the cult of Dionysus. In the Dionysus cult, male followers are known as satyrs and female followers as maenads or bacchants. In Attica there was a species of drama known as the legends of gods and heroes, and the chorus was composed of satyrs and sileni. In the Athenian satyr plays of the 5th century BC, the chorus commented on the action. This "satyric drama" burlesqued the serious events of the mythic past with lewd pantomime and subversive mockery. One complete satyr play from the 5th century survives, the ''Cyclops'' of Euripides. The Satyr and the Traveller, one of Aesop's Fables, features the satyr as the benevolent host for a traveler in the forest in winter. The satyr is bewildered by the man's claim to be able to blow hot and cold with the same breath, first to warm his hands, then to cool his porridge, and turns him out for this inconstancy. A papyrus bearing a long fragment of a satyr play by Sophocles, given the title 'Tracking Satyrs' (''Ichneutae''), was found at Oxyrhynchus in Egypt, 1907. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「satyr」の詳細全文を読む スポンサード リンク
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