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In Greek mythology, a satyr, also known as a silenus or silenos, is a male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection. Early artistic representations sometimes include horse-like legs, but, by the sixth century BC, they were more often represented with human legs. Comically hideous, they have mane-like hair, bestial faces, and snub noses and are always shown naked. Satyrs were characterized by their ribaldry and were known as lovers of wine, music, dancing, and women. They were companions of the god Dionysus and were believed to inhabit remote locales, such as woodlands, mountains, and pastures. They often attempted to seduce or rape nymphs and mortal women alike, usually with little success. They are sometimes shown masturbating or engaging in bestiality.
In ancient Greek religion and myth, Dionysus is the god of the grape-harvest, wine making, orchards and fruit, vegetation, fertility, festivity, insanity, ritual madness, religious ecstasy, and theatre. The Romans called him Bacchus for a frenzy he is said to induce called baccheia. As Dionysus Eleutherios, his wine, music, and ecstatic dance free his followers from self-conscious fear and care, and subvert the oppressive restraints of the powerful. His thyrsus, a fennel-stem sceptre, sometimes wound with ivy and dripping with honey, is both a beneficent wand and a weapon used to destroy those who oppose his cult and the freedoms he represents. Those who partake of his mysteries are believed to become possessed and empowered by the god himself.
In Greek mythology, maenads were the female followers of Dionysus and the most significant members of the Thiasus, the god's retinue. Their name literally translates as "raving ones". Maenads were known as Bassarids, Bacchae, or Bacchantes in Roman mythology after the penchant of the equivalent Roman god, Bacchus, to wear a bassaris or fox skin.
In ancient Roman religion and mythology, Liber, also known as Liber Pater, was a god of viticulture and wine, male fertility and freedom. He was a patron deity of Rome's plebeians and was part of their Aventine Triad. His festival of Liberalia became associated with free speech and the rights attached to coming of age. His cult and functions were increasingly associated with Romanised forms of the Greek Dionysus/Bacchus, whose mythology he came to share.
The Anthesteria was one of the four Athenian festivals in honor of Dionysus. It was held each year from the 11th to the 13th of the month of Anthesterion, around the time of the January or February full moon. The three days of the feast were called Pithoigia, Choës, and Chytroi.
Attica, or the Attic Peninsula, is a historical region that encompasses the city of Athens, the capital of Greece and its countryside. It is a peninsula projecting into the Aegean Sea, bordering on Boeotia to the north and Megaris to the west. The southern tip of the peninsula, known as Laurion, was an important mining region.
The Dionysia was a large festival in ancient Athens in honor of the god Dionysus, the central events of which were the theatrical performances of dramatic tragedies and, from 487 BC, comedies. It was the second-most important festival after the Panathenaia. The Dionysia actually consisted of two related festivals, the Rural Dionysia and the City Dionysia, which took place in different parts of the year. They were also an essential part of the Dionysian Mysteries.
Ancient Greek theatre was a theatrical culture that flourished in ancient Greece from 700 BC. The city-state of Athens, which became a significant cultural, political, and religious place during this period, was its centre, where the theatre was institutionalised as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy, comedy, and the satyr play were the three dramatic genres to emerge there. Athens exported the festival to its numerous colonies. Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements.
Charles Anthon was an American classical scholar. Anthon was a professor at Columbia College and became headmaster of its grammar and preparatory school. He produced classical works for schools, which contained assistance and translations in the notes. He had a disagreement with Martin Harris over an account where they discussed the authenticity of the Anthon Transcript of the Book of Mormon. Anthon was also an acquaintance of writer Edgar Allan Poe. He died in New York City at the age of 69.
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. Its relationship to tragedy is strong; satyr plays were written by tragedians, and satyr plays were performed in the Dionysian festival following the performance of a group of three tragedies. The satyr play’s mythological-heroic stories and the style of language are similar to that of the tragedies. Its connection with comedy is also significant – it has similar plots, titles, themes, characters, and happy endings. The remarkable feature of the satyr play is the chorus of satyrs, with their costumes that focus on the phallus, and with their language, which uses wordplay, sexual innuendos, references to breasts, farting, erections, and other references that do not occur in tragedy. As Mark Griffith points out, the satyr play was "not merely a deeply traditional Dionysiac ritual, but also generally accepted as the most appropriate and satisfying conclusion to the city’s most complex and prestigious cultural event of the year."
In Ancient Greece, the symposium was a part of a banquet that took place after the meal, when drinking for pleasure was accompanied by music, dancing, recitals, or conversation. Literary works that describe or take place at a symposium include two Socratic dialogues, Plato's Symposium and Xenophon's Symposium, as well as a number of Greek poems such as the elegies of Theognis of Megara. Symposia are depicted in Greek and Etruscan art that shows similar scenes.
The Dionysian Mysteries were a ritual of ancient Greece and Rome which sometimes used intoxicants and other trance-inducing techniques to remove inhibitions and social constraints, liberating the individual to return to a natural state. It also provided some liberation for men and women marginalized by Greek society, among which were slaves, outlaws, and non-citizens. In their final phase the Mysteries shifted their emphasis from a chthonic, underworld orientation to a transcendental, mystical one, with Dionysus changing his nature accordingly. By its nature as a mystery religion reserved for the initiated, many aspects of the Dionysian cult remain unknown and were lost with the decline of Greco-Roman polytheism; modern knowledge is derived from descriptions, imagery and cross-cultural studies.
Apaturia were ancient Greek festivals held annually by all the Ionian towns, except Ephesus and Colophon. At Athens the Apaturia took place on the 11th, 12th and 13th days of the month of Pyanepsion, on which occasion the various phratries, or clans, of Attica met to discuss their affairs.
Haloa or Alo (Ἁλῶα) was an Attic festival, celebrated principally at Eleusis, in honour of Demeter, protector of the fruits of the earth, of Dionysus, god of the grape and of wine, and Poseidon, god of the seashore vegetation. In Greek, the word hálōs (ἅλως) from which Haloa derives means “threshing-floor” or “garden.” While the general consensus is that it was a festival related to threshing—the process of loosening the edible part of cereal grain after harvest—some scholars disagree and argue that it was instead a gardening festival. Haloa focuses mainly on the “first fruits” of the harvest, partly as a grateful acknowledgement for the benefits the husbandmen received, partly as prayer that the next harvest would be plentiful. The festival was also called Thalysia or Syncomesteria.
Pamphilus of Amphipolis was a Macedonian painter and head of Sicyonian school. Under his influence painting became a regular part of Greek classical education, and a number of his pupils went on to become well-known painters.
The cult of Dionysus was strongly associated with satyrs, centaurs, and sileni, and its characteristic symbols were the bull, the serpent, tigers/leopards, ivy, and wine. The Dionysia and Lenaia festivals in Athens were dedicated to Dionysus, as well as the phallic processions. Initiates worshipped him in the Dionysian Mysteries, which were comparable to and linked with the Orphic Mysteries, and may have influenced Gnosticism. Orpheus was said to have invented the Mysteries of Dionysus.
In Greek mythology, Maron or Maro was the hero of sweet wine. He was an experienced man in the cultivation of the vine.
The festival calendar of Classical Athens involved the staging of many festivals each year. This includes festivals held in honor of Athena, Dionysus, Apollo, Artemis, Demeter, Persephone, Hermes, and Herakles. Other Athenian festivals were based around family, citizenship, sacrifice and women. There were at least 120 festival days each year.
Potamides were a type of water nymph of Greco-Roman mythology. They were assigned to a class of nymphs of fresh water known as naiads and as such belonged to a category that presided over rivers and streams.
Pegasides were nymphs of Greek mythology connected with wells and springs, specifically those that the mythical horse Pegasus created by striking the ground with his hooves.
References
- ↑ Anthon, Charles (1841). A Classical Dictionary: Containing ... Proper Names Mentioned in Ancient Authors, and Intended to Elucidate ... Points Connected with the Geography, History, Biography, Mythology and Fine Arts of the Greeks and Romans ... an Account of Coins, Weights and Measures ... Harper & Bros.
This article incorporates text from a publication now in the public domain : Chambers, Ephraim, ed. (1728). "Ascolia". Cyclopædia, or an Universal Dictionary of Arts and Sciences (1st ed.). James and John Knapton, et al.- Encyclopaedia Perthensis: Or, Universal Dictionary of the Arts, Sciences, Literature, &c., vol. 2. (1816).
- Biblioteca Classica: Or, A Classical Dictionary. Anthon, Charles, ed. vol. 1. (1831).
- Popular English Specimens of the Greek Dramatic Poets. Aeschylus. (1831).
- "Dionysia". Bible Tools. Retrieved 2006-01-27.
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