In Archaic Athenian vase-painting, silens (satyrs) are often sexually aroused, but only sporadica... more In Archaic Athenian vase-painting, silens (satyrs) are often sexually aroused, but only sporadically satisfy their desires in a manner acceptable to most Athenian men. François Lissarrague persuasively argued that the sexuality of silens in vase-painting was probably laughable rather than awe-inspiring. What sort of laughter did the vase-paintings elicit? Was it the scornful laughter of a person who felt nothing in common with silens, or the laughter of one made to see something of himself in their behavior? For three reasons, I argue for the latter interpretation. First, some vase-paintings are constructed so as to invite the viewer to adopt imaginatively the persona of a silen. Second, parallels for the less-than-triumphant sexuality of silens occur in Archaic iambic poetry. Like the vase-paintings, the poetry was often constructed so that performers of the poems are incorporated into the narratives as all-too-human protagonists. Third, certain formal features of classical satyr-play encouraged the audience to identify with the point of view of the satyr-chorus, while others reminded it that there were better role models than silens. In all three media, a negative characterization of male characters or silens is combined with a manner of presentation that invites the viewer or performer to see himself among those characters despite their negative traits. That form of humor may have been common in Archaic symposia, but its presence in satyr-play suggests that it may also be a fundamental characteristic of silens.
The mythical creatures known as silens or satyrs are a favorite subject in Greek art. Part horse ... more The mythical creatures known as silens or satyrs are a favorite subject in Greek art. Part horse and part man, these beings are often shown with Dionysos, the god of intoxication, fertility, and dramatic illusion. In this persuasive volume, Guy Hedreen argues that the artistic popularity of these creatures lies in their affiliation with this deity in both myth and ritual.Drawing upon extensive illustrations, the first portion of "Silens in Attic Black-figure Vase-painting" explores the narrative content of the many representations of silens. These artistic depictions are the most important surviving source of information about the mythology of silens, and they have not previously been studied from this perspective. The second portion of this volume considers the representation of satyr-plays on Athenian vases. The early history of this intriguing dramatic genre has always been problematic, and the evidence that the author presents will inspire critical reexamination.Of interest to scholars and students of Athenian vase-painting, drama, and Dionysiac religion, this book speaks also to those who are drawn by the beauty of Athenian vases, and by the seductive call of Dionysos and his band.Guy Michael Hedreen is Professor of Art, Williams College. He received his Ph.D. in Classical Studies and Near Eastern Archaeology from Bryn Mawr College and has held the Whiting Fellowship at the American School of Classical Studies, Athens.
... 1-18 Heidel = A. Heidel, The Frame of Ancient Greek Maps, New York 1937 Hommel = H. Hommel, D... more ... 1-18 Heidel = A. Heidel, The Frame of Ancient Greek Maps, New York 1937 Hommel = H. Hommel, Der Gott Achilleus (SBHeid 1 ... the Thessalians.4 Occasionally other notables worshipped the hero there, including the Per-sian expeditionary force, Alexander the Great, and the ...
In Archaic Athenian vase-painting, silens (satyrs) are often sexually aroused, but only sporadica... more In Archaic Athenian vase-painting, silens (satyrs) are often sexually aroused, but only sporadically satisfy their desires in a manner acceptable to most Athenian men. François Lissarrague persuasively argued that the sexuality of silens in vase-painting was probably laughable rather than awe-inspiring. What sort of laughter did the vase-paintings elicit? Was it the scornful laughter of a person who felt nothing in common with silens, or the laughter of one made to see something of himself in their behavior? For three reasons, I argue for the latter interpretation. First, some vase-paintings are constructed so as to invite the viewer to adopt imaginatively the persona of a silen. Second, parallels for the less-than-triumphant sexuality of silens occur in Archaic iambic poetry. Like the vase-paintings, the poetry was often constructed so that performers of the poems are incorporated into the narratives as all-too-human protagonists. Third, certain formal features of classical satyr-play encouraged the audience to identify with the point of view of the satyr-chorus, while others reminded it that there were better role models than silens. In all three media, a negative characterization of male characters or silens is combined with a manner of presentation that invites the viewer or performer to see himself among those characters despite their negative traits. That form of humor may have been common in Archaic symposia, but its presence in satyr-play suggests that it may also be a fundamental characteristic of silens.
The mythical creatures known as silens or satyrs are a favorite subject in Greek art. Part horse ... more The mythical creatures known as silens or satyrs are a favorite subject in Greek art. Part horse and part man, these beings are often shown with Dionysos, the god of intoxication, fertility, and dramatic illusion. In this persuasive volume, Guy Hedreen argues that the artistic popularity of these creatures lies in their affiliation with this deity in both myth and ritual.Drawing upon extensive illustrations, the first portion of "Silens in Attic Black-figure Vase-painting" explores the narrative content of the many representations of silens. These artistic depictions are the most important surviving source of information about the mythology of silens, and they have not previously been studied from this perspective. The second portion of this volume considers the representation of satyr-plays on Athenian vases. The early history of this intriguing dramatic genre has always been problematic, and the evidence that the author presents will inspire critical reexamination.Of interest to scholars and students of Athenian vase-painting, drama, and Dionysiac religion, this book speaks also to those who are drawn by the beauty of Athenian vases, and by the seductive call of Dionysos and his band.Guy Michael Hedreen is Professor of Art, Williams College. He received his Ph.D. in Classical Studies and Near Eastern Archaeology from Bryn Mawr College and has held the Whiting Fellowship at the American School of Classical Studies, Athens.
... 1-18 Heidel = A. Heidel, The Frame of Ancient Greek Maps, New York 1937 Hommel = H. Hommel, D... more ... 1-18 Heidel = A. Heidel, The Frame of Ancient Greek Maps, New York 1937 Hommel = H. Hommel, Der Gott Achilleus (SBHeid 1 ... the Thessalians.4 Occasionally other notables worshipped the hero there, including the Per-sian expeditionary force, Alexander the Great, and the ...
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