[52] The cognomen was due to the belief that the image and cult were derived from Eleutherae. At Eleutherae itself, however, his cognomen would naturally be different. There he was known as Διόνυσος Μελάναιγις, “Dionysus of the Black-Goat-Skin.” From this fact an abortive attempt has recently been made to derive a new explanation for tragic performances being denominated “goat-songs”; cf. Classical Philology, VIII (1913), 270.
[53] Cf. Marmor Parium (quoted on [p. 14, n. 2], above).
[54] Cf. Poetics 1449a19 ff., Bywater’s translation.
[55] Cf. op. cit., p. 472. This exegesis has now been commended by Pickard-Cambridge; cf. Classical Review, XXVI (1912), 53. Cornford has expressed the same view by means of a neat paraphrase: ἐκ σατυρικοῦ εἰς σεμνὸν μετέβαλεν, cf. The Origin of Attic Comedy (1914), p. 214, n. 1. Gomperz’ translation (1897) reads as follows: “Was das Wachstum ihrer Grossartigkeit anlangt, so hat sich das Trauerspiel im Gegensatze zur ursprünglichen Kleinheit der Fabeln und der zum Possenhaften neigenden Artung der Diction ihres satyrspielartigen Ursprungs wegen erst spät zu höherer Würde erhoben.... Ursprünglich hatte man sich nämlich, da die Dichtung satyrhaft und mehr balletartig war, des trochäischen Tetrameters bedient.”
[56] Cf. Poetics 1449a22 f., Butcher’s translation.
[57] In 467 B.C. Aristias concluded his tragedies with the Palaestae, “a satyric drama of his father Pratinas” (cf. arg. Aesch. Seven against Thebes). It is generally supposed that this was a posthumous piece. But Professor Capps suggests that Pratinas may frequently have provided a satyr-play for someone’s else trilogy, and thus explains the disproportionate number of satyric dramas in Pratinas’ list and of tragedies in other poets’ lists.
[58] Cf. Suidas, s.v. “Pratinas”: ... Φλιάσιος, ποιητὴς τραγῳδίας, ἀντηγωνίζετο Αἰσχύλῳ τε καὶ Χοιρίλῳ, ἐπὶ τῆς ἑβδομηκοστῆς Ὀλυμπιάδος, καὶ πρῶτος ἔγραψε Σατύρους ... καὶ δράματα μὲν ἐπεδείξατο νʹ, ὦν Σατυρικὰ λβʹ. ἐνίκησε δὲ ἅπαξ. Note that the earliest name was simply Σάτυροι, “satyrs.” Murray has proposed another interpretation of Suidas’ phrase: “I take this to mean that Pratinas was the first person to write words for the revelling masquers to learn by heart. Thespis, like many early Elizabethans, had been content with a general direction: ‘Enter Satyrs, in revel, saying anything’” (incorporated in Miss Harrison’s Themis, p. 344). Nevertheless, he adds that he “does not wish to combat” the other view.
[59] Fig. 3 is taken from Furtwängler and Reichhold, Griechische Vasenmalarei, first series, II, Pls. 11-12. The membrum virile has been omitted in the reproduction.
[60] Cf. op. cit., I, 696 f.
[61] This was originally assembled by Hartwig in Römische Mittheilungen, XII (1897), 89 ff. and Wernicke, op. cit. It is now conveniently summarized by Cook, op. cit., pp. 697 ff.