Editing Satyr (section)

===Early modern period===
{{multiple image
| align             = left
| direction         = horizontal
| header            = 
| width             = <!-- Image 1 -->
| image1            = Carracci Le Satyre et la Nymphe crop.jpg
| width1            = 
| alt1              = 
| caption1          = Engraving by Jacques Joseph Coiny from 1798 depicting a satyr engaging in [[public sex]] with a nymph
<!-- Image 2 -->| image2            = Nymph and satyr, by Gerard van Honthorst.jpg
| width2            = 320
| alt2              = 
| 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}}
}}

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}}