Editing Satyr (section)

==Later antiquity==
===Hellenistic Era===
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| image1    = Pouring Satyr; marble, 150 AD, Antikensammlung Berlin, 141291.jpg
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| caption1  = One of the supposed Roman marble copies of [[Praxiteles]]'s ''Pouring Satyr'', which represents a satyr as a young, handsome adolescent{{sfn|Corso|2004|pages=281–282}}
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| caption2  = Ancient relief carving from the [[Naples National Archaeological Museum]] depicting a fight between a satyr and a nymph, a theme which became popular during the Hellenistic Era{{sfn|Burn|2004|pages=145–146}}
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[[File:Greek - Appliqué with Satyr Walking to Left - Walters 71557 (cropped).jpg|thumb|This [[Hellenistic period|Hellenistic]] satyr wears a rustic [[perizoma (loincloth)]] and carries a pedum (shepherd's crook). [[Walters Art Museum]], [[Baltimore]].]]

The iconography of satyrs was gradually conflated with that of the Pans, plural forms of the god [[Pan (god)|Pan]], who were regularly depicted with the legs and horns of a goat.{{sfn|Hansen|2004|page=279}}{{sfn|March|2014|page=436}} By the [[Hellenistic Period]] (323–31 BC), satyrs were beginning to sometimes be shown with goat-like features.{{sfn|Hansen|2004|page=279}}{{sfn|March|2014|page=436}} Meanwhile, both satyrs and Pans also continued to be shown as more human and less bestial.{{sfn|Hansen|2004|page=279}} Scenes of satyrs and centaurs were very popular during the Hellenistic Period.{{sfn|Burn|2004|page=145}} They often appear dancing or playing the aulos.{{sfn|Burn|2004|page=145}} The maenads that often accompany satyrs in Archaic and Classical representations are often replaced in Hellenistic portrayals with wood nymphs.{{sfn|Burn|2004|page=145}}

Artists also began to widely represent scenes of nymphs repelling the unwanted advances of amorous satyrs.{{sfn|Burn|2004|page=145}} Scenes of this variety were used to express the dark, beastly side of human sexuality at a remove by attributing that sexuality to satyrs, who were part human and part animal.{{sfn|Burn|2004|page=145}} In this way, satyrs became vehicles of a metaphor for a phenomenon extending far beyond the original narrative purposes in which they had served during earlier periods of Greek history.{{sfn|Burn|2004|pages=145–146}} Some variants on this theme represent a satyr being rebuffed by a [[hermaphrodite]], who, from the satyr's perspective, appears to be a beautiful, young girl.{{sfn|Burn|2004|page=145}} These sculptures may have been intended as kind of sophisticated erotic joke.{{sfn|Burn|2004|page=145}}

The Athenian sculptor [[Praxiteles]]'s statue ''Pouring Satyr'' represented the eponymous satyr as very human-like.{{sfn|Corso|2004|pages=281–282, 288}}{{sfn|Palagia|Pollitt|1996|page=111}} The satyr was shown as very young, in line with Praxiteles's frequent agenda of representing deities and other figures as adolescents.{{sfn|Corso|2004|page=282}} This tendency is also attested in the descriptions of his sculptures of Dionysus and the Archer [[Eros]] written in the third or fourth century AD by the art critic [[Callistratus (sophist)|Callistratus]].{{sfn|Corso|2004|page=282}} The original statue is widely assumed to have depicted the satyr in the act of pouring an ''[[oenochoe|oinochoe]]'' over his head into a cup, probably a ''[[kantharos]]''.{{sfn|Corso|2004|pages=282–283, 288}}{{sfn|Palagia|Pollitt|1996|page=111}} Antonio Corso describes the satyr in this sculpture as a "gentle youth" and "a precious and gentle being" with "soft and velvety" skin.{{sfn|Corso|2004|page=288}} The only hints at his "feral nature" were his ears, which were slightly pointed, and his small tail.{{sfn|Palagia|Pollitt|1996|page=111}}{{sfn|Corso|2004|page=288}}

The shape of the sculpture was an [[S Curve (art)|S-shape]], shown in [[Three-quarter profile|three-quarter view]].{{sfn|Corso|2004|page=288}} The satyr had short, boyish locks, derived from those of earlier Greek athletic sculpture.{{sfn|Corso|2004|page=288}} Although the original statue has been lost, a representation of the pouring satyr appears in a late classical relief sculpture from Athens{{sfn|Corso|2004|pages=283–284}}{{sfn|Palagia|Pollitt|1996|page=112}} and twenty-nine alleged "copies" of the statue from the time of the [[Roman Empire]] have also survived.{{sfn|Corso|2004|pages=285–28}} [[Olga Palagia]] and J. J. Pollitt argue that, although the ''Pouring Satyr'' is widely accepted as a genuine work of Praxiteles,{{sfn|Palagia|Pollitt|1996|page=112}} it may not have been a single work at all and the supposed "copies" of it may merely be Roman sculptures repeating the traditional Greek motif of pouring wine at ''[[symposium|symposia]]''.{{sfn|Palagia|Pollitt|1996|pages=112–113}}
[[File:Arretine Pottery, portion of bearded satyr, emptying a wine-skin.jpg|thumb|portion of bearded satyr, emptying a wine-skin, Ceramic, Arretine ware, Roman, Augustan Period 31 B.C.–A.D. 14]]

===Ancient Rome===
The Romans identified satyrs with their own nature spirits, [[faun]]s.{{sfn|Fracer|2014|page=326}}{{sfn|March|2014|page=436}}{{sfn|Room|1983|page=270}} Although generally similar to satyrs, fauns differed in that they were usually seen as "shy, woodland creatures" rather than the drunk and boisterous satyrs of the classical Greeks.{{sfn|Miles|2009|page=30}} Also, fauns generally lacked the association Greek satyrs had with secret wisdom.{{sfn|Fracer|2014|page=326}} Unlike classical Greek satyrs, fauns were unambiguously goat-like;{{sfn|Fracer|2014|page=326}}{{sfn|Room|1983|page=270}} they had the upper bodies of men, but the legs, hooves, tail, and horns of goats.{{sfn|Fracer|2014|page=326}}{{sfn|Room|1983|page=270}} The first-century BC Roman poet [[Lucretius]] mentions in his lengthy poem ''[[De rerum natura]]'' that people of his time believed in "goat-legged" (''capripedes'') satyrs, along with nymphs who lived in the mountains and fauns who played rustic music on stringed instruments and pipes.{{sfn|Riggs|2014|page=234}}
[[File:Statue_of_a_Satyr.jpg|thumb|left|Statue of the satyr ''[[Silenus]]'' at [[Athens Archaeological Museum]]]]
In Roman-era depictions, satyrs and fauns are both often associated with music and depicted playing the [[Pan flute|Pan pipes]] or ''syrinx''.{{sfn|Fracer|2014|pages=325–326}} The poet [[Virgil]], who flourished during the early years of the [[Roman Empire]], recounts a story in his sixth ''[[Eclogues|Eclogue]]'' about two boys who tied up the satyr Silenus while he was in a drunken stupor and forced him to sing them a song about the beginning of the universe.{{sfn|West|2007|page=292}} The first-century AD Roman poet [[Ovid]] makes [[Jupiter (mythology)|Jupiter]], the king of the gods, express worry that the viciousness of humans will leave fauns, nymphs, and satyrs without a place to live, so he gives them a home in the forests, woodlands, and mountains, where they will be safe.{{sfn|Riggs|2014|page=234}}{{sfn|Roman|Roman|2010|page=432}} Ovid also retells the story of Marsyas's hubris.{{sfn|Riggs|2014|page=234}} He describes a musical contest between Marsyas, playing the aulos, and the god Apollo, playing the lyre.{{sfn|Riggs|2014|page=234}}{{sfn|Miles|2009|page=36}} Marsyas loses and Apollo flays him as punishment.{{sfn|Riggs|2014|page=234}}{{sfn|Miles|2009|page=36}}

The Roman naturalist and encyclopedist [[Pliny the Elder]] conflated satyrs with [[gibbon]]s, which he describes using the word ''satyrus'', a Latinized form of the Greek ''satyros''.{{sfn|Jahoda|1999|page=4}} He characterizes them as "a savage and wild people; distinct voice and speech they have none, but in steed thereof, they keep a horrible gnashing and hideous noise: rough they are and hairie all over their bodies, eies they have red like the houlets [owls] and toothed they be like dogs."{{sfn|Jahoda|1999|page=4}}

The second-century Greek [[Middle Platonism|Middle Platonist]] philosopher [[Plutarch]] records a legendary incident in his ''Life of Sulla'', in which the soldiers of the Roman general [[Sulla]] are reported to have captured a satyr sleeping during a military campaign in Greece in 89 BC.{{sfn|Hansen|2017|pages=167–168}} Sulla's men brought the satyr to him and he attempted to interrogate it,{{sfn|Hansen|2017|page=167}} but it spoke only in an unintelligible sound: a cross between the neighing of a horse and the bleating of a goat.{{sfn|Hansen|2017|pages=167–168}} The second-century Greek travel writer [[Pausanias (geographer)|Pausanias]] reports having seen the tombs of deceased silenoi in [[Judea (Roman province)|Judaea]] and at [[Pergamon]].{{sfn|Hansen|2004|page=280}}<ref name="Pausanias6.24.8">[[Pausanias (geographer)|Pausanias]], ''The Guide to Greece'' [https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0160%3Abook%3D6%3Achapter%3D24%3Asection%3D8 6.24.8]</ref> Based on these sites, Pausanias concludes that silenoi must be mortal.{{sfn|Hansen|2004|page=280}}<ref name="Pausanias6.24.8"/>

The third-century Greek biographer [[Philostratus]] records a legend in his ''Life of [[Apollonius of Tyana]]'' of how the ghost of an [[Aethiopia]]n satyr was deeply enamored with the women from the local village and had killed two of them.<ref name="Philostratus">[[Philostratus]], ''Life of Apollonius of Tyana'' [https://www.livius.org/sources/content/philostratus-life-of-apollonius/philostratus-life-of-apollonius-6.26-30/ 6.26–30]</ref>{{sfn|El-Zein|2009|page=51}} Then, the philosopher Apollonius of Tyana set a trap for it with wine, knowing that, after drinking it, the ghost-satyr would fall asleep forever.<ref name="Philostratus"/>{{sfn|El-Zein|2009|page=51}} The wine diminished from the container before the onlookers' eyes, but the ghost-satyr himself remained invisible.{{sfn|El-Zein|2009|page=51}}<ref name="Philostratus"/> Once all the wine had vanished, the ghost-satyr fell asleep and never bothered the villagers again.<ref name="Philostratus"/> Amira El-Zein notes similarities between this story and later Arabic accounts of [[jinn]].{{sfn|El-Zein|2009|page=51}} The treatise ''[[Saturnalia (Macrobius)|Saturnalia]]'' by the fifth-century AD Roman poet [[Macrobius]] connects both the word ''satyr'' and the name ''[[Saturn (mythology)|Saturn]]'' to the Greek word for "penis".{{sfn|Riggs|2014|page=234}} Macrobius explains that this is on account of satyrs' sexual lewdness.{{sfn|Riggs|2014|page=234}} Macrobius also equates Dionysus and Apollo as the same deity{{sfn|Riggs|2014|page=234}} and states that a festival in honor of Bacchus is held every year atop [[Mount Parnassus]], at which many satyrs are often seen.{{sfn|Riggs|2014|page=234}}