Editing Satyr (section)

==After antiquity==
===Middle Ages===
[[File:F13r-aberdeen-best.jpg|thumb|upright=1.3|Medieval depiction of a satyr from the [[Aberdeen Bestiary]], holding a wand resembling a [[jester]]'s club.{{sfn|Clark|2006|page=79}}  Medieval bestiaries conflated satyrs with western European [[Wild man|wild men]].{{sfn|Hassig|1999|page=73}}]]
[[File:A satyr holding a basket of grapes and quinces with a nymph, by Peter Paul Rubens.jpg|thumb|''A satyr holding a fruit basket with a nymph'' by [[Peter Paul Rubens]], clearly another attempt by a satyr to seduce a nymph]]
Starting in late antiquity, Christian writers began to portray satyrs and fauns as dark, evil, and demonic.{{sfn|Link|1995|page=44}} [[Jerome]] ({{circa}} 347 – 420 AD) described them as symbols of [[Satan]] on account of their lasciviousness.{{sfn|Link|1995|page=44}} Despite this, however, satyrs were sometimes clearly distinguished from demons and sometimes even portrayed as noble.{{sfn|Link|1995|page=51}} Because Christians believed that the distinction between humans and animals was spiritual rather than physical, it was thought that even a satyr could attain salvation.{{sfn|Link|1995|page=51}} [[Isidore of Seville]] ({{circa}} 560 – 636) records an anecdote later recounted in the ''[[Golden Legend]]'', that [[Anthony the Great]] encountered a satyr in the desert who asked to pray with him to their common [[God in Christianity|God]].{{sfn|Link|1995|page=51}} During the Early Middle Ages, features and characteristics of satyrs and the god [[Pan (god)|Pan]], who resembled a satyr, became absorbed into traditional Christian iconography of Satan.{{sfn|Link|1995|pages=44–45}}

Medieval storytellers in Western Europe also frequently conflated satyrs with [[wild man|wild men]].{{sfn|Hassig|1999|page=73}}{{sfn|Link|1995|page=52}} Both satyrs and wild men were conceived as part human and part animal{{sfn|Jahoda|1999|page=6}} and both were believed to possess unrestrained sexual appetites.{{sfn|Jahoda|1999|page=6}} Stories of wild men during the Middle Ages often had an erotic tone{{sfn|Jahoda|1999|page=6}} and were primarily told orally by peasants, since the clergy officially disapproved of them.{{sfn|Jahoda|1999|page=6}} In this form, satyrs are sometimes described and represented in [[Bestiary|medieval bestiaries]],{{sfn|Hassig|1999|pages=73, 88, and 16}}{{sfn|Clark|2006|pages=79, 133–132}} where a satyr is often shown dressed in an animal skin, carrying a club and a serpent.{{sfn|Hassig|1999|page=73}} In the ''[[Aberdeen Bestiary]]'', the ''[[Ashmole Bestiary]]'', and MS Harley 3244, a satyr is shown as a nude man holding a wand resembling a [[jester]]'s club and leaning back, crossing his legs.{{sfn|Clark|2006|page=79}} Satyrs are sometimes juxtaposed with apes, which are characterized as "physically disgusting and akin to the Devil".{{sfn|Hassig|1999|page=73}} In other cases, satyrs are usually shown nude, with enlarged phalli to emphasize their sexual nature.{{sfn|Hassig|1999|page=88}}  In the [[Second-Family Bestiary]], the name "satyr" is used as the name of a [[Satyrus (ape)|species of ape]], which is described as having a "very agreeable face, restless, however, in its twitching movements."{{sfn|Clark|2006|page=133}}

===Renaissance===
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| caption1          = During the [[Renaissance]], satyrs began to appear in domestic scenes,{{sfn|March|2014|page=436}}{{sfn|Link|1995|page=52}} a trend exemplified by [[Albrecht Dürer]]'s 1505 engraving ''The Satyr's Family''.{{sfn|Link|1995|page=52}}
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| caption2          = [[Titian]]'s ''[[Flaying of Marsyas (Titian)|Flaying of Marsyas]]'' ({{circa}} 1570–1576) uses satyrs to challenge early modern [[humanism]].{{sfn|Campbell|2016|pages=66–71}}
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During the [[Renaissance]], satyrs and fauns began to reappear in works of European art.{{sfn|Riggs|2014|page=234}}{{sfn|Room|1983|page=270}} During the Renaissance, no distinction was made between satyrs and fauns and both were usually given human and goat-like features in whatever proportion the artist deemed appropriate.{{sfn|March|2014|page=436}}{{sfn|Room|1983|page=270}}<ref>Bull, 242</ref> A goat-legged satyr appears at the base of [[Michelangelo]]'s statue ''[[Bacchus (Michelangelo)|Bacchus]]'' (1497).{{sfn|Riggs|2014|pages=234–235}} Renaissance satyrs still sometimes appear in scenes of drunken revelry like those from antiquity,{{sfn|March|2014|page=436}} but they also sometimes appear in family scenes, alongside female and infant or child satyrs.{{sfn|March|2014|page=436}}{{sfn|Link|1995|page=52}} This trend towards more familial, domestic satyrs may have resulted from conflation with wild men, who, especially in Renaissance depictions from Germany, were often portrayed as living relatively peaceful lives with their families in the wilderness.{{sfn|Link|1995|page=52}}{{sfn|Campbell|2016|page=70}} The most famous representation of a domestic satyr is [[Albrecht Dürer]]'s 1505 engraving ''The Satyr's Family'', which has been widely reproduced and imitated.{{sfn|Link|1995|page=52}} This popular portrayal of satyrs and wild men may have also helped give rise to the later European concept of the [[noble savage]].{{sfn|Link|1995|page=52}}{{sfn|Jahoda|1999|pages=6–7}}

Satyrs occupied a paradoxical, liminal space in Renaissance art, not only because they were part human and part beast, but also because they were both antique and natural.{{sfn|Campbell|2016|page=70}} They were of classical origin, but had an iconographical canon of their own very different from the standard representations of gods and heroes.{{sfn|Campbell|2016|page=70}} They could be used to embody what Stephen J. Campbell calls a "monstrous double" of the category in which human beings often placed themselves.{{sfn|Campbell|2016|page=70}} It is in this aspect that satyrs appear in [[Jacopo de' Barbari]]'s {{circa}} 1495 series of prints depicting satyrs and naked men in combat{{sfn|Campbell|2016|page=70}} and in [[Piero di Cosimo]]'s ''Stories of Primitive Man'', inspired by Lucretius.{{sfn|Campbell|2016|page=70}} Satyrs became seen as "pre-human", embodying all the traits of savagery and barbarism associated with animals, but in human-like bodies.{{sfn|Campbell|2016|page=70}} Satyrs also became used to question early modern [[humanism]] in ways which some scholars have seen as similar to present-day [[posthumanism]],{{sfn|Campbell|2016|pages=66–71}} as in [[Titian]]'s ''[[Flaying of Marsyas (Titian)|Flaying of Marsyas]]'' ({{circa}} 1570–1576).{{sfn|Campbell|2016|pages=66–71}} ''The Flaying of Marysas'' depicts the scene from Ovid's ''Metamorphoses'' in which the satyr Marysas is flayed alive.{{sfn|Campbell|2016|page=67}} According to Campbell, the people performing the flaying are shown calmly absorbed in their task, while Marsyas himself even displays "an unlikely patience".{{sfn|Campbell|2016|page=67}} The painting reflects a broad continuum between the divine and the bestial.{{sfn|Campbell|2016|page=70}}

===Early modern period===
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| caption1          = Engraving by Jacques Joseph Coiny from 1798 depicting a satyr engaging in [[public sex]] with a nymph
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| caption2          = ''Satyr and Nymph'' (1623) by [[Gerard van Honthorst]], depicting an obviously consensual affair between a satyr and a nymph{{sfn|Florence|2004|page=98}}
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In the 1560 [[Geneva Bible]], the word {{transliteration|hbo|sa'ir}} in both of the instances in Isaiah is translated into English as 'satyr'.{{sfn|Edwards|2015|page=79}} The 1611 [[King James Version]] follows this translation and likewise renders {{transliteration|hbo|sa'ir}} as 'satyr'.{{sfn|Edwards|2015|page=80}} Edwards states that the King James Version's translation of this phrase and others like it was intended to reduce the strangeness and unfamiliarity of the creatures described in the original Hebrew text by rendering them as names of familiar entities.{{sfn|Edwards|2015|pages=80–81}} [[Edmund Spenser]] refers to a group of woodland creatures as Satyrs in his epic poem ''[[The Faerie Queene]]''. In Canto VI, Una is wandering through the forest when she stumbles upon a "troupe of Fauns and Satyrs far away Within the wood were dancing in a round." Although Satyrs are often negatively characterized in Greek and Roman mythology, the Satyrs in this poem are docile, helpful creatures. This is evident by the way they help protect Una from Sansloy. [[Sylvanus (mythology)|Sylvanus]], the leader, and the rest of the Satyrs become enamored by Una's beauty and begin to worship her as if she is a deity.<ref>Hamilton, Albert Charles. The Spenser Encyclopedia. University of Toronto Press, 1990.</ref> However, the Satyrs prove to be simple-minded creatures because they begin to worship the donkey she was riding.{{Citation needed|date=October 2018}}

In the seventeenth century, satyrs became identified with [[great apes]].{{sfn|Jahoda|1999|pages=4, 42}}<ref name="Nature1926">{{cite journal| title = C. W. Stiles. 1926. The zoological names ''Simia'', ''S. satyrus'', and ''Pithecus'', and their possible suppression. Nature 118, 49–49.| journal = Nature| date = July 1926| volume = 118| issue = 2958| pages = 49| doi = 10.1038/118049b0| last1 = Stiles| first1 = C. W.| s2cid = 4089847| doi-access = free}}</ref> In 1699, the English anatomist [[Edward Tyson]] (1651–1708) published an account of his [[dissection]] of a creature which scholars have now identified as [[Common chimpanzee|chimpanzee]].{{sfn|Jahoda|1999|page=4}} In this account, Tyson argued that stories of satyrs, wild men, and other hybrid mythological creatures had all originated from the misidentification of apes or monkeys.{{sfn|Jahoda|1999|page=4}} The French materialist philosopher [[Julien Offray de La Mettrie]] (1709–1751) included a section titled "On savage men, called Satyrs" in his ''Oeuvres philosophiques'', in which he describes great apes, identifying them with both satyrs and wild men.{{sfn|Jahoda|1999|page=42}} Many early accounts of the [[orangutan]] describe the males as being sexually aggressive towards human women and towards females of its own species, much like classical Greek satyrs. The first scientific name given to this ape was ''[[Simia satyrus]]''.<ref name="Nature1926" />

Relationships between satyrs and nymphs of this period are often portrayed as consensual.{{sfn|Florence|2004|page=98}}{{sfn|Luta|2017|page=42}} This trend is exemplified by the 1623 painting ''Satyr and Nymph'' by [[Gerard van Honthorst]],{{sfn|Florence|2004|page=98}} which depicts a satisfied satyr and nymph lasciviously fondling each other after engaging in obviously consensual sex.{{sfn|Florence|2004|page=98}} Both are smiling and the nymph is showing her teeth, a sign commonly used by painters of the era to signify that the woman in question is of loose morals.{{sfn|Florence|2004|page=98}} The satyr's tongue is visible as the nymph playfully tugs on his goat beard and he strokes her chin.{{sfn|Florence|2004|page=98}} Even during this period, however, depictions of satyrs uncovering sleeping nymphs are still common, indicating that their traditional associations with rape and sexual violence had not been forgotten.{{sfn|Luta|2017|page=42}}

===Nineteenth century===
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| caption1          = ''Nymph Abducted by a Faun'' (1860) by [[Alexandre Cabanel]]. [[Palais des Beaux-Arts de Lille]], France.
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| caption2          = ''Satyr and nymph'' (1863) by [[Konstantin Makovsky]]. State Museum of Fine Arts of the Republic of Kalmykia, Russia.
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| caption3          = ''[[Nymphs and Satyr]]'' (1873) by [[William-Adolphe Bouguereau]]. [[Clark Art Institute]], USA.
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During the nineteenth century, satyrs and nymphs came to often function as a means of representing sexuality without offending [[Victorian morality|Victorian moral sensibilities]].{{sfn|Scobey|2002|pages=43–66}}{{sfn|Luta|2017|pages=35–50}} In the novel ''[[The Marble Faun]]'' (1860) by the American author [[Nathaniel Hawthorne]], the Italian count Donatello is described as bearing a remarkable resemblance to one of Praxiteles's marble satyr statues.{{sfn|Riggs|2014|page=235}}{{sfn|Faedo|2010|page=359}} Like the satyrs of Greek legend, Donatello has a carefree nature.{{sfn|Riggs|2014|page=235}} His association with satyrs is further cemented by his intense sexual attraction to the American woman Miriam.{{sfn|Riggs|2014|page=235}}

Satyrs and nymphs provided a classical pretext which allowed sexual depictions of them to be seen as objects of high art rather than mere pornography.{{sfn|Luta|2017|pages=41–42}} The [[Emperor of the French|French emperor]] [[Napoleon III]] awarded the [[Academic art|Academic]] painter [[Alexandre Cabanel]] the [[Legion of Honour]], partly on account of his painting ''Nymph Abducted by a Faun''.{{sfn|Baguley|2000|page=317}} In 1873, another French Academicist [[William-Adolphe Bouguereau]] painted ''Nymphs and Satyr'', which depicts four nude nymphs dancing around "an unusually submissive satyr", gently coaxing him into the water of a nearby stream.{{sfn|Baguley|2000|page=317}} This painting was bought that same year by an American named John Wolfe,{{sfn|Baguley|2000|page=317}}{{sfn|Scobey|2002|page=43}} who displayed it publicly in a prominent location in the bar at the Hoffman House, a hotel he owned on [[Madison Square and Madison Square Park|Madison Square]] and [[Broadway (Manhattan)|Broadway]].{{sfn|Scobey|2002|page=43}} Despite its risqué subject, many women came to the bar to view the painting.{{sfn|Scobey|2002|pages=43–66}} The painting was soon [[Mass production|mass reproduced]] on ceramic tiles, porcelain plates, and other luxury items in the United States.{{sfn|Baguley|2000|pages=317–318}}

In 1876, [[Stéphane Mallarmé]] wrote "The Afternoon of a Faun", a first-person narrative poem about a faun who attempts to kiss two beautiful nymphs while they are sleeping together.{{sfn|Riggs|2014|page=235}} He accidentally wakes them up.{{sfn|Riggs|2014|page=235}} Startled, they transform into white water birds and fly away, leaving the faun to play his pan pipes alone.{{sfn|Riggs|2014|page=235}} [[Claude Debussy]] composed a [[symphonic poem]] ''[[Prélude à l'après-midi d'un faune]]'' (''Prelude to the Afternoon of a Faun''), which was first performed in 1894.{{sfn|Riggs|2014|page=235}}[[File:Venus and Satyr dli 165005563 cor.tif|thumb|288x288px|Anonymous (France) after [[François Boucher]], ''Venus with a Satyr'', 19th century, engraving and etching]]The late nineteenth-century German [[Existentialism|Existentialist]] philosopher [[Friedrich Nietzsche]] was either unaware of or chose to ignore the fact that, in all the earliest representations, satyrs are depicted as horse-like.{{sfn|Henrichs|1987|page=99}} He accordingly defined a satyr as a "bearded" creature "who derived his name and attributes from the goat."{{sfn|Henrichs|1987|page=99}} Nietzsche excluded the horse-like satyrs of Greek tradition from his consideration entirely{{sfn|Henrichs|1987|page=99}} and argued that tragedy had originated from a chorus of men dressed up as satyrs or goats (''tragoi'').{{sfn|Henrichs|1987|page=99}} Thus, Nietzsche held that tragedy had begun as a [[Dionysian and Apollonian|Dionysian]] activity.{{sfn|Henrichs|1987|page=99}} Nietzsche's rejection of the early evidence for horse-like satyrs was a mistake his critics severely excoriated him for.{{sfn|Henrichs|1987|page=99}} Nonetheless, he was the first modern scholar to recognize the full importance of satyrs in Greek culture and tradition, as Dionysian symbols of humanity's close ties to the animal kingdom.{{sfn|Henrichs|1987|page=99}} Like the Greeks, Nietzsche envisioned satyrs as essentially humans stripped down to their most basic and bestial instincts.{{sfn|Henrichs|1987|page=99}}

===Twentieth and twenty-first centuries===
[[File:Febo Mari 1917.jpg|thumb|upright=1.3|left|Scene from [[Febo Mari]]'s 1917 [[silent film]] ''Il Fauno'', about a statue of a faun that comes to life and falls in love with a female model{{sfn|Faedo|2010|page=359}}]]
{{See also|List of satyrs in popular culture}}

In 1908, the French painter [[Henri Matisse]] produced his own ''Nymph and Satyr'' painting, in which the animal nature of the satyr is drastically minimized.{{sfn|Florence|2004|pages=97–98}} The satyr is given human legs, but is exceptionally hairy.{{sfn|Florence|2004|pages=97–98}} The seduction element is removed altogether; the satyr simply extends his arms towards the nymph, who lies on the ground, defeated.{{sfn|Florence|2004|pages=97–98}} Penny Florence writes that the "generic scene displays little sensuality"{{sfn|Florence|2004|page=98}} and that the main factor distinguishing it is its tone, because "[i]t does not seem convincing as a rape, despite the nymph's reluctance."{{sfn|Florence|2004|page=98}} In 1912, [[Vaslav Nijinsky]] choreographed Debussy's symphonic poem ''Prelude to the Afternoon of a Faun'' as a ballet and danced in it as the lead role of the faun.{{sfn|Riggs|2014|page=235}} The choreography of the ballet and Nijinsky's performance were both highly erotic and sexually charged, causing widespread scandal among upper-class Parisians.{{sfn|Riggs|2014|page=235}} In the 1980 biographical film ''[[Nijinsky (film)|Nijinsky]]'', directed by [[Herbert Ross]], Nijinsky, who is played by [[George de la Peña]], is portrayed as actually masturbating on stage in front of the entire live audience during the climax of the dance.{{sfn|Riggs|2014|page=235}}

The 1917 Italian [[silent film]] ''Il Fauno'', directed by [[Febo Mari]], is about a statue of a faun who comes to life and falls in love with a female model.{{sfn|Faedo|2010|page=359}} Fauns appear in the animated dramatization of [[Ludwig van Beethoven]]'s [[Symphony No. 6 (Beethoven)|Symphony No. 6]] (1808) in the 1940 [[Walt Disney Pictures|Disney]] animated film ''[[Fantasia (1940 film)|Fantasia]]''.{{sfn|Riggs|2014|page=235}} Their goat-legs are portrayed as brightly colored, but their hooves are black.{{sfn|Riggs|2014|page=235}} They play the Pan pipes and, like traditional satyrs and fauns, are portrayed as mischievous.{{sfn|Riggs|2014|page=235}} One young faun plays [[hide-and-seek]] with a [[unicorn]] and imitates a statue of a faun atop a pedestal.{{sfn|Riggs|2014|page=235}} Though the fauns are not portrayed as overtly sexual, they do assist the [[Cupid]]s in pairing the centaurs into couples.{{sfn|Riggs|2014|page=235}} A drunken Bacchus appears in the same scene.{{sfn|Riggs|2014|page=235}}

[[File:LIFEMagazine26Apr1923.jpg|thumb|''Satyr and Pan'' by Cory Kilvert (''[[Life (magazine)|Life]]'', 26 Apr 1923)]]

A faun named [[Mr. Tumnus]] appears in the classic [[juvenile fantasy]] novel ''[[The Lion, the Witch and the Wardrobe]]'' (1950) by [[C. S. Lewis]].{{sfn|Riggs|2014|page=235}} Mr. Tumnus has goat legs and horns, but also a tail long enough for him to carry it draped over his arm to prevent it from dragging in the snow.{{sfn|Riggs|2014|page=235}} He is a domesticated figure who lacks the bawdiness and [[hypersexuality]] that characterized classical satyrs and fauns.{{sfn|Riggs|2014|pages=235–236}} Instead, Mr. Tumnus wears a scarf and carries an umbrella and lives in a cozy cave with a bookshelf with works such as ''The Life and Letters of Silenus'', ''Nymphs and their Ways'', and ''Is Man a Myth?''.{{sfn|Riggs|2014|page=235}}

The satyr has appeared in all five editions of the ''[[Dungeons & Dragons]]'' role-playing game, having been introduced in 1976 in the earliest edition, in Supplement IV: ''[[Gods, Demi-Gods & Heroes]]'' (1976),<ref>[[Robert J. Kuntz|Kuntz, Robert J.]] and [[Jim Ward (game designer)|James Ward]]. ''[[Gods, Demi-Gods & Heroes]]'' (TSR, 1976)</ref> then in the first edition of the Monster Manual (1977),<ref name="MM1E">[[Gary Gygax|Gygax, Gary]]. ''[[Monster Manual]]'' ([[TSR, Inc.|TSR]], 1977)</ref> where it is described as a sylvan woodland inhabitant primarily interested in sport such as frolicking, piping, and chasing wood [[Nymph (Dungeons & Dragons)|nymphs]]. The life history of satyrs was further detailed in ''[[Dragon (magazine)|Dragon]]'' No. 155 (March 1990), in "The Ecology of the Satyr".<ref>Menzies, Gordon R. "The Ecology of the Satyr." ''[[Dragon (magazine)|Dragon]]'' No. 155 ([[TSR, Inc|TSR]], 1990)</ref> The satyr was later detailed as a playable character race in ''The [[Complete Book of Humanoids]]'' (1993),<ref name="SlavicsekBill">[[Bill Slavicsek|Slavicsek, Bill]]. ''[[The Complete Book of Humanoids]]'' (TSR, 1993)</ref> and is later presented as a playable character race again in ''[[Player's Option: Skills & Powers]]'' (1995).<ref>[[Douglas Niles|Niles, Douglas]] and Dale Donovan. ''[[Player's Option: Skills & Powers]]'' ([[TSR, Inc.|TSR]], 1995)</ref> The satyr appears in the Monster Manual for the 3.0 edition.<ref name="CookMonte">[[Monte Cook|Cook, Monte]], [[Jonathan Tweet]], and [[Skip Williams]]. ''[[Monster Manual]]'' ([[Wizards of the Coast]], 2000)</ref> ''Savage Species'' (2003) presented the satyr as both a race and a playable class.<ref>Eckelberry, David, Rich Redman, and Jennifer Clarke Wilkes. ''[[Savage Species]]'' (Wizards of the Coast, 2003)</ref> The satyr appears in the revised Monster Manual for version 3.5 and also appears in the Monster Manual for the 4th edition,<ref name="4EMM">Mearls, Mike, Stephen Schubert, and James Wyatt. ''[[Monster Manual]]'' ([[Wizards of the Coast]], 2008)</ref> and as a playable character race in the ''[[Heroes of the Feywild]]'' sourcebook (2011).<ref>{{cite web|last=Carroll|first=Bart|title=The Satyr|url=http://www.wizards.com/DnD/Article.aspx?x=dnd/4ex/20111021|archive-url=https://web.archive.org/web/20111022222732/http://www.wizards.com/DND/Article.aspx?x=dnd/4ex/20111021|url-status=dead|archive-date=22 October 2011|website=Dungeons and Dragons official homepage|publisher=Wizards of the Coast|access-date=19 February 2012}}</ref>

[[Matthew Barney]]'s [[Video art|art video]] ''Drawing Restraint 7'' (1993) includes two satyrs wrestling in the backseat of a moving [[limousine]].{{sfn|Faedo|2010|page=359}} A satyr named [[Grover Underwood]] appears in the [[young adult fiction|young adult]] [[fantasy]] novel ''[[The Lightning Thief]]'' (2005) by American author [[Rick Riordan]], as well as in subsequent novels in the series ''[[Percy Jackson & the Olympians]]''.{{sfn|Riggs|2014|page=235}} Though consistently referred to as a "satyr", Grover is described as having goat legs, pointed ears, and horns.{{sfn|Riggs|2014|page=235}} Grover is not portrayed with the sexually obscene traits that characterized classical Greek satyrs.{{sfn|Riggs|2014|pages=235–236}} Instead, he is the loyal protector to the main character [[Percy Jackson]], who is the son of a mortal woman and the god [[Poseidon]].{{sfn|Riggs|2014|page=236}}