In Greek mythology, a satyr, also known as a silenus or silenos, and sileni (plural), is a male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection. Early artistic representations sometimes include horse-like legs, but, by the sixth century BC, they were more often represented with human legs. Comically hideous, they have mane-like hair, bestial faces, and snub noses and they always are shown naked. Satyrs were characterized by their ribaldry and were known as lovers of wine, music, dancing, and women. They were companions of the god Dionysus and were believed to inhabit remote locales, such as woodlands, mountains, and pastures. They often attempted to seduce or rape nymphs and mortal women alike, usually with little success. They are sometimes shown masturbating or engaging in bestiality.
Satyr
According to M. L. West, satyrs bear similarities to figures in other Indo-European mythologies, such as the Slavic leshy (pictured) and some form of similar entity probably originated in Proto-Indo-European mythology.
The goat on the left has a short goat tail, but the Greek satyr on the right has a long horse tail, not a goat tail (Attic ceramic, 520 BC).
Detail of a krater, dating to c. 560–550 BC, showing a satyr masturbating. Athenian satyr plays were characterized as "a genre of 'hard-ons.'"
Greek mythology is the body of myths originally told by the ancient Greeks, and a genre of ancient Greek folklore, today absorbed alongside Roman mythology into the broader designation of classical mythology. These stories concern the ancient Greek religion's view of the origin and nature of the world; the lives and activities of deities, heroes, and mythological creatures; and the origins and significance of the ancient Greeks' cult and ritual practices. Modern scholars study the myths to shed light on the religious and political institutions of ancient Greece, and to better understand the nature of myth-making itself.
Achilles and Penthesileia by Exekias, c. 540 BC, British Museum, London
Prometheus (1868 by Gustave Moreau). The myth of Prometheus first was attested by Hesiod and then constituted the basis for a tragic trilogy of plays, possibly by Aeschylus, consisting of Prometheus Bound, Prometheus Unbound, and Prometheus Pyrphoros.
The Roman poet Virgil, here depicted in the fifth-century manuscript, the Vergilius Romanus, preserved details of Greek mythology in many of his writings.
Phaedra with an attendant, probably her nurse, a fresco from Pompeii, c. 60 – c. 20 BC