Satyrs are creatures from Greek myth.
[hide]*1 In Greek Mythology
They are depicted as being a mix between goats and men. They were the companions of Pan and Dionysos, and known for drinking wine, chasing Nymphs and general drunken chaos, beastliness and mischief.
Throughout the God of War games, Satyrs have stood as the most formidable opponents in each iteration, able to go toe-to-toe with Kratos and make short work of him if the player is not careful.
Satyrs are very talented warriors and are armed with a double bladed staff which can be broken down when needed into two separate sword-like axes. Kratos also encounters a type called a Hades Satyr during his journey through the Underworld. They mainly use the axes as poles.
Kratos encounters these monsters as he fights his way through the depths of Hades. They resemble the standard Satyr, except they're wreathed in hellish flames. They also have the same strength, weapon, and fighting styles as the standard Satyr.
Another type of Satyr, called Satyr Champions, is encountered in God of War II. Armed with two axe-like swords, these Champions are a more violent, much more experienced, and most dangerous version of the Satyr. Satyr Champions are incredibly dangerous and use a variety of acrobatic and agile moves with their axes to attack Kratos. They also have the ability to put their dual axes together into the single double-bladed staff, and then use that as their weapon. By pressing the circle button while close to the Satyr Champion, Kratos will push their weapons down and stab them, then send them flying with a punch, similar to a basic Satyr. When close to death, grabbing a Satyr Champion will make Kratos stab the Satyr with one blade, swing it away with the chains, and then pull it back to a fatal chest stab with the other blade.
Satyrs also appear in God of War: Chains of Olympus. They look slightly different than the Satyrs in the previous God of War games, being a little smaller and more goat-like. Kratos mostly encounters them around the Temple of Helios. As weapons, they wield two sai, and attack with fast leaping strikes. Kratos can damage them by grabbing them, and then throwing them over his shoulder. After doing enough damage to them, he can grab them from behind, and cut their throat to kill them. A more powerful version called the Dark Satyr is also found in the Underworld.
They resemble the standard Satyrs encountered earlier in the game, except they have black skin and a skullish head. Kratos encounters them in the Underworld, within the Temple of Persephone. They also fight the same way as the standard Satyrs, except they are stronger and more agressive. After doing enough damage, Kratos can kill them the same way as the standard Satyr as well.
Satyr Grenadiers are like the standard Satyr, except they carry a flask full of explosive material. They attack Kratos by keeping their distance and lobbing their explosive flasks at him. The Satyrs are also extremely hardy in releance to the amount of damage they can take from Kratos himself. Kratos can damage and kill Satyr Grenadiers the same way he does for the standard Satyrs. These guys are mainly encountered in and around the Temple of Helios. There's also a stronger version n the Underworld called a Dark Satyr Grenadier.
Dark Grenadiers appear similar to the Satyr Grenadiers encountered earlier in the game, except that they have blackened skin, and a skullish head. Kratos encounters these foes in the Underworld, within the Temple of Persephone. Their attack styles are like the standard Satyr Grenadier, except they're even more agressive and stronger. After doing enough damage to them, Kratos can kill them the same way he kills a standard Satyr.
Kratos confronts Satyrs yet again in God of War III. They appear similar to the Satyrs of God of War and God of War II, but are much more challenging enemies. They are very acrobatic, flipping and spinning all around Kratos. They also have very similar attack methods, so similar strategies must be used to defeat them. Most of their attacks can be blocked, except for their hook attack, which they perform after a wall jump. Instead of a hook attack, they can also use a slash attack after wall jumping, which again can't be blocked. Once again, Kratos can deliver damage to these goat-headed fiends before they are weak enough to be killed by fighting over the Satyr's staff, and delivering a wicked headbutt to the beast. Once they are close enough to death, Kratos can pull the staff from their hands, slash their face with the hooked end, and javelin the staff through the Satyr's body, pinning it to the nearest wall.
In Greek mythology, satyrs (Ancient Greek: Σάτυροι, Satyroi) are a troop of male companions of Pan and Dionysus — "satyresses" were a late invention of poets — that roamed the woods and mountains. In myths they are often associated with pipe-playing.
The satyrs' chief was Silenus, a minor deity associated (like Hermes and Priapus) with fertility. These characters can be found in the only complete remaining satyr play, Cyclops, by Euripides, and the fragments of Sophocles' The Tracking Satyrs (Ichneutae). The satyr play was a short, lighthearted tailpiece performed after each trilogy of tragedies in Athenian festivals honoring Dionysus. There is not enough evidence to determine whether the satyr play regularly drew on the same myths as those dramatized in the tragedies that preceded. The groundbreaking tragic playwright Aeschylus is said to have been especially loved for his satyr plays, but none of them have survived.
Attic painted vases depict mature satyrs as being strongly built with flat noses, large pointed ears, long curly hair, and full beards, with wreaths of vine or ivy circling their balding heads. Satyrs often carry the thyrsus: the rod of Dionysus tipped with a pine cone.
Satyrs acquired their goat-like aspect through later Roman, conflation with Faunus, a carefree Italic nature spirit of similar characteristics and identified with the Greek god Pan. Hence satyrs are most commonly described in Latin literature as having the upper half of a man and the lower half of a goat, with a goat's tail in place of the Greek tradition of horse-tailed satyrs; therefore, satyrs became nearly identical with fauns. Mature satyrs are often depicted in Roman art with goat's horns, while juveniles are often shown with bony nubs on their foreheads.
Satyrs are described as roguish but faint-hearted folk — subversive and dangerous, yet shy and cowardly. As Dionysiac creatures they are lovers of wine and women, and they are ready for every physical pleasure. They roam to the music of pipes (auloi), cymbals, castanets, and bagpipes, and they love to dance with the nymphs (with whom they are obsessed, and whom they often pursue), and have a special form of dance called sikinnis. Because of their love of wine, they are often represented holding wine cups, and they appear often in the decorations on wine cups.
Satyr on a mountain goat, drinking with women, in a Gandhara relief of 2nd-4th century CE Dancing satyr on a sardonyx intaglio, 1st century BC or beginning of 1st centuryIn earlier Greek art, satyrs appear as old and ugly, but in later art, especially in works of the Attic school, this savage characteristic is softened into a more youthful and graceful aspect.
This transformation or humanization of the Satyr appears throughout late Greek art. Another example of this shift occurs in the portrayal of Medusa and in that of the Amazon, characters who are traditionally depicted as barbaric and uncivilized. A very humanized Satyr is depicted in a work of Praxiteles known as the "Resting Satyr".
Older satyrs were known as sileni, the younger as satyrisci. The hare was the symbol of the shy and timid satyr. Greek spirits known as Calicantsars have a noticeable resemblance to the ancient satyrs; they have goats' ears and the feet of donkeys or goats, are covered with hair, and love women and the dance.
Although they are not mentioned by Homer, in a fragment of Hesiod's works they are called brothers of the mountain nymphs and Kuretes, strongly connected with the cult of Dionysus. In the Dionysus cult, male followers are known as satyrs and female followers as maenads or bacchants.
In Attica there was a species of drama known as the legends of gods and heroes, and the chorus was composed of satyrs and sileni. In the Athenian satyr plays of the 5th century BC, the chorus commented on the action. This "satyric drama" burlesqued the serious events of the mythic past with lewd pantomime and subversive mockery. One complete satyr play from the 5th century survives, the Cyclops of Euripides.
Satyr pursuing a nymph, on a Roman mosaicRoman satyrs were conflated in the popular and poetic imagination with Latin spirits of woodland and with the rustic Greek god Pan. Roman satyrs were described as goat-like from the haunches to the hooves, and were often pictured with larger horns, even ram's horns. Roman poets often conflated them with the fauns.
Roman satire is a literary form, a poetic essay that was a vehicle for biting, subversive social and personal criticism. Though Roman satire is sometimes linked to the Greek satyr plays, satire's only connection to the satyric drama is through the subversive nature of the satyrs themselves, as forces in opposition to urbanity, decorum, and civilization itself.
In the King James Version of the Bible, Isaiah 13:21 and 34:14, the English word "satyr" is used to represent the Hebrew se'irim, "hairy ones." In Hebrew folklore, se'irim are a type of demon or supernatural being which inhabits waste places. There is an allusion to the practice of sacrificing to the se'irim (KJV "devils") in Leviticus 17:7. They correspond to the "shaggy demon of the mountain-pass" (azabb al-‘akaba) of old Arab legend.
The savant Sir William Jones often refers to the Indian mythological Vānaras as satyrs/mountaineers in his translations of Sanskrit works. This view is generally held to be a mistake by present day researchers.
Female Satyr Carrying Two Putti by Claude Michel (1738–1814)Baby satyrs, or child satyrs, are mythological creatures related to the satyr. They appear in popular folklore, classical artworks, film, and in various forms of local art.
Some classical works depict young satyrs being tended to by older, sober satyrs, while there are also some representations of child satyrs taking part in Bacchanalian / Dionysian rituals (including drinking alcohol, playing musical instruments, and dancing).
The presence of a baby or child satyr in a classical work, such as on a Greek vase, was mainly an aesthetic choice on the part of the artist. However, the role of a child in Greek art might imply a further meaning for baby satyrs: Eros, the son of Aphrodite, is consistently represented as a child or baby, and Bacchus, the divine sponsor of satyrs, is seen in numerous works as a baby, often in the company of the satyrs. A prominent instance of a baby satyr outside ancient Greece is Albrecht Dürer's 1505 engraving, "Musical Satyr and Nymph with Baby (Satyr's Family)". There is also a Victorian period napkin ring depicting a baby satyr next to a barrel, which further represents the perception of baby satyrs as partaking in the Bacchanalian festivities.
There are also many works of art of the rococo period depicting child or baby satyrs in Bacchanalian celebrations. Some works depict female satyrs with their children; others describe the child satyrs as playing an active role in the events, including one instance of a painting by Jean Raoux (1677–1735). "Mlle Prévost as a Bacchante" depicts a child satyr playing a tambourine while Mlle Prévost, a dancer at the Opéra, is dancing as part of the Bacchanal festivities.
In the 17th century, the satyr legend came to be associated with stories of the orangutan, a great ape now found only in Sumatra and Borneo. Many early accounts which apparently refer to this animal describe the males as being sexually aggressive towards human women and towards females of its own species. The first scientific name given to this ape was Simia satyrus.
- Island Satyrs, which according to Pausanias were a savage race of red-haired, satyr-like creatures from an isolated island chain.
- Libyan Aegipanes (goat-pans), which according to Pliny the Elder lived in Libya, had human heads and torsos, and the legs and horns of goats, and were similar to the Greek god Pan.
- Libyan Satyr, which ccording to Pliny the Elder lived in Libya and resembled humans with long, pointed ears and horse tails, similar to the Greek nature-spirit satyrs.
Medieval bestiaries also mention several varieties of satyrs, sometimes comparing them to apes or monkeys.