Editing Satyr (section)

===Mythology===
[[File:Mirone (da), Atena e Marsia, copia romana da originale del 450 ac.ca 02.JPG|thumb|upright=1.2|Roman marble copy of [[Myron]]'s bronze sculptural group ''Athena and Marsyas'', which was originally created around 440 BC{{sfn|Poehlmann|2017|page=330}}]]

According to classicist [[William Hansen (classicist)|William Hansen]], although satyrs were popular in classical art, they rarely appear in surviving mythological accounts.{{sfn|Hansen|2004|page=280}} Different classical sources present conflicting accounts of satyrs' origins.{{sfn|Hansen|2004|pages=279–280}} According to a fragment from the Hesiodic ''[[Catalogue of Women]]'', satyrs are sons of the five granddaughters of [[Phoroneus]] and therefore siblings of the [[Oread]]s and the [[Kouretes]].{{sfn|West|2007|page=293}}{{sfn|Hansen|2004|page=279}}{{sfn|Kerényi|1951|page=179}} The satyr [[Marsyas]], however, is described by mythographers as the son of either Olympos or Oiagros.{{sfn|Hansen|2004|page=280}} Hansen observes that "there may be more than one way to produce a satyr, as there is to produce a [[Cyclopes|Cyclops]] or a [[centaur]]."{{sfn|Hansen|2004|page=280}} The classical Greeks recognized that satyrs obviously could not self-reproduce since there were no female satyrs,{{sfn|Hansen|2004|page=280}} but they seem to have been unsure whether satyrs were mortal or immortal.{{sfn|Hansen|2004|page=280}}

Rather than appearing ''en masse'' as in satyr-plays, when satyrs appear in myths it is usually in the form of a single, famous character.{{sfn|Hansen|2004|page=280}} The comic playwright [[Melanippides|Melanippides of Melos]] ({{circa}} 480–430 BC) tells the story in his lost comedy ''Marsyas'' of how, after inventing the ''[[aulos]]'', the goddess [[Athena]] looked in the mirror while she was playing it.{{sfn|Poehlmann|2017|page=330}} She saw how blowing into it puffed up her cheeks and made her look silly, so she threw the aulos away and cursed it so that whoever picked it up would meet an awful death.{{sfn|Poehlmann|2017|page=330}} The aulos was picked up by the satyr Marsyas,{{sfn|Poehlmann|2017|page=330}} who challenged [[Apollo]] to a musical contest.{{sfn|Hansen|2004|page=280}} They both agreed beforehand that whoever won would be allowed to do whatever he wanted to the loser.{{sfn|Hansen|2004|page=280}} Marsyas played the aulos and Apollo played the lyre.{{sfn|Hansen|2004|page=280}} Apollo turned his lyre upside-down and played it.{{sfn|Hansen|2004|page=280}} He asked Marsyas to do the same with his instrument.{{sfn|Hansen|2004|page=280}} Since he could not, Apollo was deemed to victor.{{sfn|Hansen|2004|page=280}} Apollo hung Marsyas from a pine tree and [[Flaying|flayed]] him alive to punish him for his [[hubris]] in daring to challenge one of the gods.{{sfn|Hansen|2004|page=280}} Later, this story became accepted as canonical{{sfn|Poehlmann|2017|page=330}} and the Athenian sculptor [[Myron]] created a group of bronze sculptures based on it, which was installed before the western front of the [[Parthenon]] in around 440 BC.{{sfn|Poehlmann|2017|page=330}} Surviving retellings of the legend are found in the ''[[Bibliotheca (Pseudo-Apollodorus)|Library]]'' of Pseudo-Apollodorus, [[Pausanias (geographer)|Pausanias]]'s ''Guide to Greece'', and the ''[[Fabulae]]'' of Pseudo-Hyginus.<ref>Pseudo-Apollodorus, ''[[Bibliotheca (Pseudo-Apollodorus)|Library]]'' [https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0022%3Atext%3DLibrary%3Abook%3D1%3Achapter%3D4%3Asection%3D2 1.4.2]; [[Pausanias (geographer)|Pausanias]], ''Guide to Greece'' [https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0160%3Abook%3D10%3Achapter%3D30%3Asection%3D9 10.30.9]; Pseudo-Hyginus, ''[[Fabulae]]'' 165</ref>{{sfn|Hansen|2004|page=280}}

In a myth referenced in multiple classical texts, including the ''[[Bibliotheca (Pseudo-Apollodorus)|Bibliotheke]]'' of Pseudo-Apollodorus and the ''[[Fabulae]]'' of Pseudo-Hyginus, a satyr from [[Argos, Peloponnese|Argos]] once attempted to rape the nymph [[Amymone]], but she called to the god [[Poseidon]] for help and he launched his trident at the satyr, knocking him to the ground.{{sfn|Ogden|2013|page=170}}{{sfn|Kandoleon|1995|page=159}}{{sfn|Mitchell|2009|page=218}} This myth may have originated from [[Aeschylus]]'s lost satyr play ''Amymone''.{{sfn|Ogden|2013|page=170}}{{sfn|Mitchell|2009|page=218}}{{sfn|Matheson|1995|pages=260–261}} Scenes of one or more satyrs chasing Amymone became a common trope in Greek vase paintings starting in the late fifth century BC.{{sfn|Mitchell|2009|page=218}}{{sfn|Matheson|1995|page=260}} Among the earliest depictions of the scene come from a [[bell krater]] in the style of the Peleus Painter from Syracuse (PEM 10, pl. 155) and a bell krater in the style of the [[Dinos Painter]] from Vienna (DM 7).{{sfn|Matheson|1995|page=260}}

According to one account, Satyrus was one of the many sons of Dionysus and the [[Bithynia]]n nymph [[Nicaea (mythology)|Nicaea]], born after Dionysus tricked Nicaea into getting drunk and raped her as she laid unconscious.<ref>[[Nonnus]], ''[[Dionysiaca]]'' [https://archive.org/details/dionysiaca02nonnuoft/page/20/mode/2up?view=theater 16.244–280]; [[Memnon of Heraclea]], ''History of Heraclea'' book 15, as epitomized by Patriarch [[Photius I of Constantinople]] in his ''[[Bibliotheca (Photius)|Myriobiblon]]'' [https://www.tertullian.org/fathers/photius_copyright/photius_06bibliotheca.htm 223.28]</ref>