Daphnis or Lityerses? Pastoral and Satyrical Rusticities
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Marco Fantuzzi
Abstract
This paper pursues aspects of the evolution of landscape in the satyr play of post-classical times. In particular it explores the increasing urbanization that landscape (and themes and characters) of satyr drama probably underwent in the Hellenistic age and the partial recovery of the original rustic space that Sositheus’ Daphnis or Lityerses may have accomplished, according to the testimony of Dioscorides HE 23. Sositheus’ landscape characters themes, being more consistently rustic than the standard of Hellenistic times, may have motivated Dioscorides’ appreciation of Sositheus’ “restauration of ancient usage” and return back to the “tradition of the fathers” of classical satyr drama. But the same time the innovative bucolic characterization of the rustic landscape of Daphnis or Lityerses and the innovative presentation of Daphnis as a successful strategist of love may have supported Dioscorides’ appreciation of Sositheus as both archaizing and innovating boldly.
Abstract
This paper pursues aspects of the evolution of landscape in the satyr play of post-classical times. In particular it explores the increasing urbanization that landscape (and themes and characters) of satyr drama probably underwent in the Hellenistic age and the partial recovery of the original rustic space that Sositheus’ Daphnis or Lityerses may have accomplished, according to the testimony of Dioscorides HE 23. Sositheus’ landscape characters themes, being more consistently rustic than the standard of Hellenistic times, may have motivated Dioscorides’ appreciation of Sositheus’ “restauration of ancient usage” and return back to the “tradition of the fathers” of classical satyr drama. But the same time the innovative bucolic characterization of the rustic landscape of Daphnis or Lityerses and the innovative presentation of Daphnis as a successful strategist of love may have supported Dioscorides’ appreciation of Sositheus as both archaizing and innovating boldly.
Chapters in this book
- Frontmatter I
- Preface V
- Contents VII
- Abbreviations IX
- List of Figures XI
- Introduction XIII
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Part I: Background, Origins, and the Lost Theatre: Cults, Contests, Institutions
- Dionysian Rituals in Archaic Athens: The Contribution of Images 1
- What Song the Kômos Sang 15
- Creating a Context for the Athenian Invention of Drama 43
- Archaeological Evidence for the Beginning of the Dionysia in Athens: The Tympanon Relief NAM 3131 57
- Protean Satyrs and Silens: Early Greek Satyr Play-Performances and their Adoption in Athenian Dionysian Imagery 65
- Dithyramb on Paros, Komoi in Athens: Insights from the Epigraphic Evidence for the Start of Choral Competitions at the Athenian Dionysia 101
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Part II: Dionysian Performances: The Athenian Fifth Century
- The Fourth Unknown: The Attic Dithyramb 137
- Pindar and Tragedy: A Fresh Look at Dochmiac in Choral Lyric 149
- Developments and Discontinuities in Tragedy Forms, 458–405 BCE 177
- Ancient and Modern Linguistic Approaches to the History of Attic Comedy 195
- Joy and Tears in Situ: The Perception of Theatre in Early Greek Sources 217
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Part III: Reconstruction of the Past: Post-Classical Views of the Attic Theatre
- On History and the History of Tragedy According to Aristotle 237
- Phanodemus and the Invention of the Dionysian Chorus 257
- Menander and the Citation of Tragedy 301
- Daphnis or Lityerses? Pastoral and Satyrical Rusticities 319
- Imagining the Origins of Drama: Greek Epigram and the Satyrs of Sikyon 335
- Bibliography 355
- List of Contributors 383
- Index of Names 387
- Index of Authors and Quoted Passages 395
- Index of Inscriptions 421
- Concordance to Vase Publications 423
Chapters in this book
- Frontmatter I
- Preface V
- Contents VII
- Abbreviations IX
- List of Figures XI
- Introduction XIII
-
Part I: Background, Origins, and the Lost Theatre: Cults, Contests, Institutions
- Dionysian Rituals in Archaic Athens: The Contribution of Images 1
- What Song the Kômos Sang 15
- Creating a Context for the Athenian Invention of Drama 43
- Archaeological Evidence for the Beginning of the Dionysia in Athens: The Tympanon Relief NAM 3131 57
- Protean Satyrs and Silens: Early Greek Satyr Play-Performances and their Adoption in Athenian Dionysian Imagery 65
- Dithyramb on Paros, Komoi in Athens: Insights from the Epigraphic Evidence for the Start of Choral Competitions at the Athenian Dionysia 101
-
Part II: Dionysian Performances: The Athenian Fifth Century
- The Fourth Unknown: The Attic Dithyramb 137
- Pindar and Tragedy: A Fresh Look at Dochmiac in Choral Lyric 149
- Developments and Discontinuities in Tragedy Forms, 458–405 BCE 177
- Ancient and Modern Linguistic Approaches to the History of Attic Comedy 195
- Joy and Tears in Situ: The Perception of Theatre in Early Greek Sources 217
-
Part III: Reconstruction of the Past: Post-Classical Views of the Attic Theatre
- On History and the History of Tragedy According to Aristotle 237
- Phanodemus and the Invention of the Dionysian Chorus 257
- Menander and the Citation of Tragedy 301
- Daphnis or Lityerses? Pastoral and Satyrical Rusticities 319
- Imagining the Origins of Drama: Greek Epigram and the Satyrs of Sikyon 335
- Bibliography 355
- List of Contributors 383
- Index of Names 387
- Index of Authors and Quoted Passages 395
- Index of Inscriptions 421
- Concordance to Vase Publications 423
