SATYRICAL EFFECTS IN DRAMATIC LITERATURE

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HASAS SEDIGHI B.

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Journal: HONAR-HA-YE-ZIBA Year:2008 | Volume:- | Issue:34 Page(s): 91-98

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Title

SATYRICAL EFFECTS IN DRAMATIC LITERATURE

Author(s)

HASAS SEDIGHI B. | Issue Writer Certificate

Keywords

COMEDYQ3

FANTASYQ3

GROTESQUEQ3

PARODYQ3

PASTORALQ3

SATYRQ2

Abstract

Satyrs, those half-human, half-beast followers of Dionysus who spent their days in pursuit of nymphs for purely carnal purposes, give their name to an ancient type of drama, namely the SATYR type. Thoroughly bawdy, delighting in unabashed vulgarity (by our standards) SATYR used to be one of the three main branches of drama prior to the early centuries of Christian culture (see Tony Harrisons introduction to The Trackers of Oxyrhnchus). It is quite possible to argue that drama was originally classified into three types rather than two, and along with tragedy and COMEDY it included SATYR as well; in fact, some even go so far as to claim that COMEDY grew out of SATYR, and then gradually went its separate way. Elevated somewhat, it still retained much of the ribald humour of the SATYR type and combined it with satire (the sharpest kind of wit, designed to ridicule and arouse outright contempt). There used to be a great many SATYR plays. Aeschylus is believed to have written 90 play altogether, including about 20 SATYRs. Sophocless output is believed to have been 123 plays all told, including perhaps 30 SATYRs. And Euripides probably wrote 80 plays, 15 of which were SATYRs. We may conclude that we have lost over 60 SATYRs in all, and today only one play of the SATYR type survives complete, namely The Cyclopes of Euripides. Perhaps it was because of the potentiality of COMEDY and tragedy, and the impressive record of achievement in those two genres, that in the course of time SATYR diminished in importance as a genre, or was greatly underestimated, to say the least SATYRs are often thought to have been merely a comical appendix to a trilogy of tragedies, an appendix which consisted of a series of plot less pieces of writing, and somewhat comically and licentiously dealt with gods, or heroes of the tragedy in order to provide relief from the tensions generated by the foregoing trilogy. In this research an attempt has been made to give a historio-scientific illustration of this largely neglected (and not necessarily negligible) genre. In order to offer a clear definition for this ancient archetype in drama, the researcher has, of necessity, relied on the very few sources that have been available. With this end in view, the researcher has had to take the reverse route. That is to say, other archetypes and genres that seem to have been more explicitly defined have been put to use in order to explain this lesser known archetype; for example, COMEDY, farce, FANTASY, GROTESQUE, and even definitions of PARODY (what seems to be primarily a subgenre of SATYR) have been used to define the SATYR type itself. The writer is convinced that in addition to traces of SATYR that can be discovered in more modern works and apart from instances throughout history for which the SATYR archetype has been a source of inspiration, the effects of SATYR as an archetype can be investigated (in wider dimensions) in the art of the postmodern era.

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APA: Copy

HASAS SEDIGHI, B.. (2008). SATYRICAL EFFECTS IN DRAMATIC LITERATURE. HONAR-HA-YE-ZIBA, -(34), 91-98. SID. https://sid.ir/paper/5714/en

Vancouver: Copy

HASAS SEDIGHI B.. SATYRICAL EFFECTS IN DRAMATIC LITERATURE. HONAR-HA-YE-ZIBA[Internet]. 2008;-(34):91-98. Available from: https://sid.ir/paper/5714/en

IEEE: Copy

B. HASAS SEDIGHI, “SATYRICAL EFFECTS IN DRAMATIC LITERATURE,” HONAR-HA-YE-ZIBA, vol. -, no. 34, pp. 91–98, 2008, [Online]. Available: https://sid.ir/paper/5714/en

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