16 Satyric Friendship in Euripides’ Cyclops

Chapters in this book

1. Frontmatter I
2. Editors’ Preface VII
3. Contents XV
4. List of Figures XIX
5. List of Abbreviations and References XXVII
6. List of Metrical Symbols XXIX
7. Author Biographies XXXI
8. Introduction: What is Satyr Drama? 1
9. Part I: Genre
10. 1 Satyrikon and the Origins of Tragedy 39
11. 2 Putting the ‘Goat’ into ‘Goat-song’: The Conceptualisation of Satyrs on Stage and in Scholarship 59
12. 3 Satyr Drama, Dithyramb, and Anodoi 81
13. 4 Urban Centre and Mountainous Periphery in Dionysiac Drama 101
14. Part II: Language, Style and Metre
15. 5 ΔιαλαλΗσωμΕν τι σοι: ʻColloquialisms’ in Satyr Drama 115
16. 6 Im/Politeness in Satyr Drama 141
17. 7 Satyrs Speaking like Rhetors and Sophists 175
18. 8 Metre, Movement and Dance in Satyr Drama 195
19. Part III: Text Transmission and Criticism
20. 9 Ancient Scholarship on Satyr Drama: The Background of Quotations in Athenaeus, Lexicographers, Grammarians, and Scholia 229
21. 10 Distinguishing Satyric from Tragic Fragments: Methodological Tools and Practical Results 253
22. 11 Eight and Counting: New Insights on the Number and Early Transmission of Euripides’ Satyr Dramas 283
23. 12 Some Notes on Euripides’ Cyclops 303
24. 13 Thundering Polyphemus: Euripides, Cyclops 320–8 323
25. Part IV: Reflections on the Plays
26. 14 Pratinas and Euripides: Wild Origins, Choral Self-Reference and Performative Release of Dionysian Energy in Satyr Drama 337
27. 15 Sacrificial Feasts and Euripides’ Cyclops: Between Comedy and Tragedy? 361
28. 16 Satyric Friendship in Euripides’ Cyclops 375
29. 17 Baby-Boomer: Silenos Paidotrophos in Aeschylus’ Diktyoulkoi 395
30. 18 The Riddles of Aeschylus’ Theoroi or Isthmiastai 409
31. 19 Silenos on the Strange Behaviour of the Satyrs: The Case of Sophocles’ Ichneutai 433
32. 20 The Invention of the Lyre in Sophocles’ Ichneutai 449
33. 21 Satyrs in Drag: Transvestism in Ion’s Omphale and Elsewhere 455
34. 22 Innovation and Self-promotion in Fourth-century Satyr Drama: The Cases of Chaeremon and Astydamas 477
35. 23 Satyr Drama at a Crossroads: Plays from the Early Hellenistic Period 495
36. Part V: Satyric Influences
37. 24 Plato and the Elusive Satyr (Meta)Drama 519
38. 25 Traces of Satyr Dramas in the Mythographic Tradition: The Case of Pseudo-Apollodorus’ Bibliotheca 539
39. 26 Satyrising Cynics in the Roman Empire 567
40. Part VI: The Archaeological Evidence
41. 27 Images of Satyrs and the Reception of Satyr Drama-Performances in Athenian and South Italian Vase-Painting 587
42. 28 Heads or Tails? Satyrs, Komasts, and Dance in Black-Figure Vase-Painting 637
43. 29 Satyrs, Dolphins, Dithyramb, and Drama 669
44. 30 Sex, Love, and Marriage in Dionysiac Myth, Cultural Theory, and Satyr Drama 695
45. 31 When does a Satyr become a Satyr? Examining Satyr Children in Athenian Vase-Painting 717
46. 32 Beyond the Pronomos Vase: Papposilenos on Apulian Vases 735
47. 33 Satyr Drama in the Late Hellenistic and Roman Imperial Periods: An Epigraphical Perspective 749
48. 34 Lowering the Curtain: (Modest) Satyrs on Stage in the Roman Empire 765
49. Appendix
50. Bibliography 799
51. General Index 861
52. Index Locorum 871
53. Index Vasorum 875