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Books shelved as satyr: Nicholas by Elizabeth Amber, Bastian by Elizabeth Amber, Raine by Elizabeth Amber, Tentacles for the Brides Bouquet by Derekica S.
Table of contents

The illustrations are placed inconveniently far from the article, and illustration 5b, a sketch of the figures on the same double page as 5c, is set facing away it, making simultaneous use of the two views difficult. Griffith argues that to identify no. His preference is to identify no. But unless Aphrodite was an actual character in the drama, why is this figure holding a mask?

We do not need to assume that all four characters appeared in a single scene, or alternatively could the female love-interest have been a silent figure, but one that the artist felt necessary to portray for the story? At the end he seeks to establish a link between drama and the romantic Greek novel by pointing out that when Chariton ch. But the vase does seem to show a very distinct gamma. The only known Athenian dramatist named Demetrios is a comic poet of the early fourth century PAA Krumeich, N.

Pechstein, and B. Seidensticker eds. Harrison ed. Taplin and R. Wyles eds. The love of Daphnis for Thaleia in a story of adventure - peripeteia in the Aristotelian sense23 - and final rescue echoes both pastoral themes and tragicomic types of plot The motif mainly accords with the position of prime importance that Alexandrian poetry, in general, gave to love, ideal or sensual, as a result of the prominence of realism and individualism The element of mockery seems to be a further distinct sign of bucolic influence on the Daphnis or Lityerses.

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To limit ourselves to a characteristic instance : the Idylls of Theocritus clearly involve mockery, parody and allusion26 and this is a feature they appear to share with Hellenistic satyr plays, such as the Menedemus of Lycophron27, and later comedy In the longer fragment of Sositheus' play, the gluttony of cruel Lityerses is strongly emphasized together with the illegitimacy of his birth v. Regarding his gluttony especially, it is known from the Scholia in Theoc. A close parallel of Heracles defeating a famous gluttonous ogre is that in Euripides' Busiris Instances of mockery of gluttonous mythological figures, especially Heracles, show the popularity of the motif in Middle Comedy The adaptation of themes found in earlier drama to the new literary trends of pastoral poetry contributes to the exceptional character of the play of Sositheus.

Such a rapprochement of literary trends certainly accords with the typically Hellenistic phenomenon of fusion which manifests itself in the deliberate transgressing of the boundaries between genres by the writers of the period This is something one has to bear in mind when commenting on the fragmentary evidence of Hellenistic drama.

The supposed satyric character of the play. The Daphnis or Lityerses has almost universally been regarded as a typical Hellenistic satyr play The main suggestions for supporting this view can be summed up as follows : the play was turning away from Old Comedy and was closer. Such an archaic primitiveness and coarseness accords with the evidence in Dioscorides1 epitaph for Sositheus, and this dramatist seems to have attempted to revive the original satyr play According to this line of thought it has been suggested that typically satyric motifs34 recur in the Daphnis or Lityerses.

The bondage and liberation motif. Pressing the certain evidence it was assumed35 that Lityerses is likely to have captured not only Thaleia and Daphnis but also the satyrs.

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The satyrs would thus have been the cruel king's servants and would also have been liberated at the end by Heracles. Since the surviving evidence on satyr plays sufficiently shows that the satyrs' old service to Dionysus36 was substituted by their involuntary37 servitude to a new master38, it was supposed that in the Lityerses the satyrs were reapers, as in Euripides' Theristae39 ', a play thought to be based on the same mythological material as that of Sositheus.

The motif of a notorious villain's destruction The main theme of Heracles' victory over Lityerses recalls incidents in old satyr plays41 : the conquest of an inhuman barbarian at the hands of a Greek hero provided a favourite subject to the fifth-century satyric drama.

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More specifically, the motif of the villain Lityerses brought down in a contest in reaping by Heracles, the symbol of Hellenic. In all these plays, a final reversal of roles is achieved by the originally superhuman villain defeated by the originally weak44, benevolent hero The theme may be seen as the typical victory in Greek romantic plays of the good and civilized idea over the evil power and, moreover, as a kind of mockery of the stupid barbaric violence.

The popularity of the motif seems not to have been limited only in satyric drama. That the theme of Euripides' Theristae, 'The Reapers', coincided with that of Daphnis or Lityerses was widely suggested Since the only thing known about this early Euripidean play is the title48, obviously referring to chorus of satyrs, a likely mythological story on which such a play could be based was that of the Phrygian King Lityerses. The suggested similarities in theme and motif with the old satyr plays have been taken as firm evidence for the satyric character of Sositheus' play Such a approach is to be reconsidered on the basis of the textual evidence and the sources of the play.

Doubts are mainly based on : 1 the metre and the language of the preserved.

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Metre and language. The versification of the text is regular and well done. There are no solutions of the long feet and Porson's law is applied throughout. In fact there is no long syllabe resolved in the twenty-four surviving verses The strictness of the iambics is a common characteristic of tragic texts from the second half of the fourth century B. It may be recalled here that the longest text preserved from Moschion's plays fir. The regularity of versification and the application of Porson's law distinctly characterize the metrical form of the texts of Sositheus, Moschion, Sosiphanes52 and that of the anonymous papyrus of the story of Gyges believed to belong to a Hellenistic tragedy53, and supports the doubts regarding the attribution of the fragments of the Daphnis or Lityerses to a traditional satyr play.

The remark is strengthened if the iambics of this play are compared with those of Lycophron's Menedemus, an undeniably contemporary satyr play Snell TrGF2 F The verses of the Menedemus display the metrical looseness of comedy and contain a number of resolved feet, comic anapaests and tribrachs at the beginning of the verse and infringement of Porson's law This metrical technique is common in fifth-century satyr plays For instance, in the Cyclops of Euripides Porson's law is violated and there are three consecutive tribrachs and comic anapaests constituting significant deviations from tragedy Generally speaking, colloquialisms and vulgarisms are not often traceable to what is known of fifth-century satyric drama.

The language of the satyr plays approach tragedy rather than comedy modified by special generic requirements, such as occasional colloquial and vulgar expressions In view of this affinity, the language of Sositheus1 text cannot provide a decisive criterion for denying the satyric character of the Lityerses.

Nevertheless, it is important to note the serious tone of the language and the absence of both colloquialisms and vulgarisms58 from the text of Sositheus. A comparison again with the Menedemus of Lycophron suffices at least to show that the language of the Hellenistic satyr play follows that of its literary genre in tone and in the choice of vocabulary with remarkable propensity to comic and colloquial expressions Theme and action.

Common satyric themes were traced in what is known of the action of the Daphnis or Lityerses : the ogre, the molestation of wayfarers, the grim contest, the abuse of hospitality, the advent of the hero, the final contest and defeat of the ogre, and the release of his captives. And all these incidents were mainly held in the countryside, in an exotically alien land However, one element which happens to be the main theme of the play and the spur to the action is left out of this construction : the romance Consequently our evidence needs to be reconsidered.

The action of the play echoes the typical plot-construction of Euripidean romantic plays : the couple of lovers is separated and undergoes many adventures enslaved by cruel Lityerses; but the outcome is a happy one for them, for Heracles successfully intervenes and saves them from all dangers. The separation and the final rescue of love in an atmosphere of both appearance and reality is a distinctly tragicomic type of plot found, with variants, in the Helen, the Ion, the Iphigeneia in Tauris and the Alcestis. Interestingly, the satyric stereotypes observed in Sositheus1 play can also be found in the Euripidean romantic plays.

The setting at Celanae in Phrygia, a remote barbaric country, recalls the alien lands which provide the exotic setting of the Iphigeneia in Tauris and the Helen, and create a romantic atmosphere. Moreover, these two plays seem to contain further satyric features which are also traceable in the Daphnis : violation of hospitality and tricky62 which is condoned rather than condemned. Who could deny the depiction of Theoclymenus and Thoas as blustering barbarians, accustomed to killing Greek wayfarers, and that of Thanatos as an ogre64? The presence of Heracles in his familiar role of the saviour connects the action of Sositheus' play with that of the Alcestis, the earliest surviving play of Euripides, which was performed in the position of a satyr play without certainly being a satyr play.

Its plot is romantic and the absence of satyrs65 makes it a unique case of a melodramatic play put instead of a satyric drama in the tetralogy-arrangement. The pro-satyric character of the Alcestis has been admitted66 together with its melodramatic or tragicomic elements Regarding the conjunction of satyric and romantic features, the case of the Alcestis adapting satyric themes to a melodramatic play may have provided a model to the play of Sositheus.

Both plays have no satyrs but display a number of common satyric stereotypes : hospitality68, gluttony69, Heracles as the benevolent saviour, discomfiture of the ogre in a contest70, rescue from bondage, reunion of the happy couple. The boundaries between satyric drama and light tragedy are clearly transgressed and thus literary genres overlap to some extent.

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The absence of satyrs. It may be not unnecessary to recall that the first principal feature of the satyric drama was the invariable use of a chorus of satyrs. These small, ambiguous, half- goat, half-human rustic creatures were accompanied by their father Silenus, who sometimes is a dramatis persona but also functions as the leader of the chorus. It is also important to remember that, despite the comparative marginalization of the chorus in some of the later plays of Euripides onwards, the satyric chorus, as is particularly shown by the Cyclops, has not sunk to a merely decorative role.

In view of this functional importance of the satyrs it appears to be odd that the Daphnis or Lityerses was indisputably regarded as a satyr play : as far as our evidence goes, there is no hint of Silenus and the satyrs neither as dramatic characters, as in Lycophron's Menedemus11, nor as a chorus of satyrs The silence of sources. There is nothing in the testimonia of the play to point to its so-supposed satyric character.

It is commonly accepted that when ancient sources refer to satyric drama they usually say satyric drama e. Moreover, apart from Athenaeus, all the other sources referring to the Daphnis or Lityerses merely quote the name of the play without any specification of its genre : Mythogr. On the contrary, regarding the Menedemus again, all the relevant sources confirm that it was a satyr play In conclusion : the reconsideration of the evidence shows that the supposed satyric character of the Daphnis or Lityerses, at least in a traditional form, cannot be based on firm ground.

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