You are currently browsing the tag archive for the ‘satyr’ tag.

The competition between Marsyas and Apollo on a Roman sarcophagus (290–300) marble

The competition between Marsyas and Apollo on a Roman sarcophagus (290–300) marble

The aulos was a woodwind instrument of classical antiquity.  The word is sometimes mis-translated as “double flute” but the instrument was not a flute, instead it had reeds–like an oboe or a clarinet.  In classical mythology, the aulos was invented by Athena, the glorious goddess of wisdom and favorite child of Zeus.  The first aulos made beautiful music, but it caused the goddess’ cheeks to puff out–which was at odds with her dignified self-image and caused the other gods to laugh.  In disgust she hurled the instrument down into the mortal world where it was found by the satyr Marsyas who picked it up and began to play melodies never heard before.   Marsyas became the first great aulos master.  He wandered through forests and fields on his two hooves playing the pipes in celebration of the pastoral and sylvan beauty he observed.
Apollo and Marsyas (John Melhuish Strudwick, 1879, oil on canvas)

Apollo and Marsyas (John Melhuish Strudwick, 1879, oil on canvas)

One day, Marsyas saw the radiant god Apollo playing his lyre (which, in Greco-Roman society, was the instrument of the aristocracy).  Lord Apollo was clad in the costliest raiment and equipped with the finest gold trappings.  He was inhumanly beautiful…dangerously beautiful.  Marsyas was overwhelmed: he was a crude goat-man, and Apollo was the god of music (and sunshine, and medicine, and prophecy).  At this juncture, Marsyas made a fateful choice–he decided to challenge glorious Apollo to a musical contest. The winner would be able to “do whatever he wanted” with the loser. Marsyas, a satyr (synonymous, in the classical world, with lust) thus imagined that he would “win” or “be won” no matter which way the the competition worked out.

Apollo and Marsyas (Pietro Perugino, late 15th century)

Apollo and Marsyas (Pietro Perugino, late 15th century)

Apollo grew oddly enflamed by the challenge and agreed readily–with one stipulation of his own.  The muses, the goddesesses of art, would judge the event.  Now the muses were daughters of Apollo, both figuratively and literally. To a disinterested observer the arrangement might smack dangerously of favoritism, but Marsyas was blinded by longing and besotted by hist art.

Apollo and Marsyas (Hans Thoma, 1888, oil on canvas)

Apollo and Marsyas (Hans Thoma, 1888, oil on canvas)

The two musicians set up beside a river and began to play.  Apollo played a complicated piece about laws and lords and kings.  It sparkled like sunshine.  It grew oppressively magnificent like the great gods of high Olympus.  It ended like glittering starlight in the cold heavens.  Next Marsyas played and his music was completely different–it spoke to the longing of the weary herdsman coming home at sundown.  It was about the mist rising from furrowed farmlands, about fruit trees budding in the orchard, and about the soft places where the meadows run out into the rivers.

Contest of Apollo and Marsyas, 350-320 BC from Mantineia. Part of the Base of a Sculpture,

Contest of Apollo and Marsyas, 350-320 BC from Mantineia. Part of the Base of a Sculpture,

The muses listened closely to the music and made their choice. “These pieces are played by opposite beings on dissimilar instruments.  The works have completely different subjects, but both pieces are perfect.  Neither is clearly “better” than the other.”  Sublime music had won the contest!

The Contest between Apollo and Marsyas (Tintoretto, About 1545 Oil on canvas)

The Contest between Apollo and Marsyas (Tintoretto, About 1545
Oil on canvas)

But Apollo was not satisfied.  There are two versions of the story: in one he turned his lyre upside down and played it as well as ever (Marsyas, of course, could not do the same with the aulos).  In the other version, Apollo played the lyre and sang (also impossible with the aulos).  “I have two arts, whereas Marsyas has only one!” he proclaimed.   The muses halfheartedly assented: Apollo had officially won the contest.

Apollo flaying Marsyas (Luca Giordano, 17th century, oil on canvas))

Apollo flaying Marsyas (Luca Giordano, 17th century, oil on canvas))

This was the moment Marsyas had planned for.  He was shaking with excitement as Apollo took hold of his unresisting form and shackled him to a tree.   Then Apollo picked up a skinning knife and started flaying the saty’s skin off.  Marsyas screamed and bleated in horror and pain, but Apollo kept cutting and peeling until he had removed the satyr’s entire hide.  Then the lord of music sat and watched while Marsyas bled to death, before hanging up the horrible dripping pelt in the tree and departing.  Vergil avers that the blood of Marsyas stained the river everlastingly red–indeed the waterway was thereafter named the Marsyas.

bartolomeo_manfredi_-_apollo_and_marsyas

Apollo and Marsyas (Bartolomeo Manfredi, ca. 1615-1620, oil on canvas)

The artistic thing to do, would be to leave the story as it stands–to let readers mull the troubling tale on their own. However I have been thinking about it a great deal…Every artist thinks about it a great deal.  Museums are filled with interpretations of the story by history’s greatest painters and sculptors.  There was a version of Apollo and Marsyas painted on the ceiling of the Queen of France (in that version, the skinning is done by underlings as Apollo languidly points out how he wants things done).  Since I have seen plenty of museum-goers blanch when looking at pictures of Marsyas and hastily turn away, I will provide some ready made meta-interpretations to start the conversation.

Apollo and Marsyas from the ceiling of Anne of Austria's summer apartments (Giovanni Francesco Romanelli, ca. mid 17th century, fresco)

Apollo and Marsyas from the ceiling of Anne of Austria’s summer apartments (Giovanni Francesco Romanelli, ca. mid 17th century, fresco)

First, this story is a tale of masters and servants.  The lyre is the instrument of the rich.  It was expensive to own and required tutors to learn.  The aulos was the instrument of shepherds, smallfolk, and slaves.  The tale of exploitation is a very familiar one throughout all of history. It always goes one way: somebody gets fleeced.

The Flaying of Marsyas (Titian, ca.1570-76, oil on canvas)

The Flaying of Marsyas (Titian, ca.1570-76, oil on canvas)

Also this is self-evidently a tale of forbidden sexuality.  It was immensely popular with Renaissance, Baroque, and Victorian artists from the west because of the opressive mores of society.  By presenting this story as a classically varsnished picture, people could represent forbidden ideas about same-gender relationships which society would literally kill them for saying or acting upon.  Indeed the story’s ghastly climax represents exactly that!

Apollo and Marsyas (Giuseppe Cammarano,  19th century, print)

Apollo and Marsyas (Giuseppe Cammarano, 19th century, ink wash)

In a related vein, philosophers and writers interpret the story as “reason chastening lust.”  The former is more powerful than the latter: ultimately the mind subjugates the passions. Perhaps this is why the picture was above the queen’s bed–maybe the king commanded that it be painted there.  Yet the reason of Apollo does not strike me as at all reasonable.  If this is what rationality accomplishes, then reason is monstrous (and it often seems so in the affairs of men). I wish I could sit with Jeremy Bentham and talk about this. Utility and pragmatism oft seem as ruthless as cruel Apollo.

Apollo and Marsyas (Anselmi, 1540, oil on canvas)

Apollo and Marsyas (Anselmi, 1540, oil on canvas)

It is also a tale of artists and their audiences (and their art).  Marsyas does not clearly lose the contest.  His music is as beautiful as that of Apollo–maybe better.  However the game was rigged from the start.  Art is a mountain with infinite facets but the sun of fashion only shines on a few at a time.  The greatest artists are not necessarily appreciated or loved.  I can’t imagine a single artist who painted this story imagined themselves as Apollo. Unless you have personally rigged the game with money and power, it will not benefit you. You must prepare for operatic destruction at the hands of the world.  It is a terrible part of art.  The world’s inability to discern true worth is one of life’s most disappointing aspects.

Marsyas Flayed by the Order of Apollo (Charles André van Loo, 1735, oil on canvas)

Marsyas Flayed by the Order of Apollo (Charles André van Loo, 1735, oil on canvas)

Above all, it is a story of gods and mortals. For daring to step on the field with the divine, mortality is punished with the ultimate penalty–mortality.  I don’t believe in gods or divinity (people who literally believe in such things strike me as dangerous lunatics).  Divinity is a myth–but an important one which informs us concerning humankind’s ultimate purpose and methods.  We have strayed into vasty realms.  I’ll come back to this theme later but for now let’s say that the defeat of Marsyas reveals something.  Would you prefer if he just gave up and groveled before Apollo?  No, there would be no story, no striving, no art. There is a divine seed within his failure–a spark of the celestial fire which animates (or should animate) our lives.

Marsyas Flayed by the Order of Apollo (Charles André van Loo, ca. 1734-1735, oil on canvas)

Marsyas Flayed by the Order of Apollo (Charles André van Loo, ca. 1734-1735, oil on canvas)

Anyway, for putting up with this rather horrible week I have a Halloween treat for you tomorrow.  Remember, I am not just a moral and aesthetic philosopher but a troubled toymaker (and a lost artist) as well.  Happy Halloween!

A marble bust of Sulla

An online conversation today reminded me of Plutarch, whose lively biographies provide so very much of our present knowledge of the statesmen and generals of classical antiquity.  My very favorite passage of Plutarch (and possibly in the whole canon of Roman history) consists of three throw-away paragraphs from the life of Lucius Cornelius Sulla Felix commonly called Sulla (or “Sylla” by 18th century classicists).  The whole biography is worth reading, for Sulla was one of the greatest figures of the Roman Republic, a peerless general who lived during the harrowing struggle between the optimates and populares.  Sulla assumed the long moribund office of dictator by force or arms (conquering Rome in the process).  He used his supreme power to make necessary constitutional reforms, and then, to universal astonishment, he resigned.  The following passage is not really about him though. 

The first paragraph is a sort of Roman joke where Sulla takes a little vacation and expresses amazement upon coming across some survivors from a town he had exterminated.  The second paragraph–my favorite–details how his troop captured a satyr and brought it before Sulla for interrogation (something worth keeping in mind when assessing Plutarch as a source).  The third paragraph details the fair auguries and good omens which Sulla viewed as he prepared for combat—a particularly auspicious liver from a sacrificed animal and a pair of magical ghost goats fighting!  It then offhandedly describes a great miltary victory Sulla won. Plutarch wrote this in 75 AD and the translation is from the pen of no less a poet than John Dryden. I love the passage for its robust color, its fancifulness, and for the window it provides into the long vanished Roman soul:

During Sylla’s stay about Athens, his feet were attacked by a heavy benumbing pain, which Strabo calls the first inarticulate sounds of the gout. Taking, therefore, a voyage to Aedepsus, he made use of the hot waters there, allowing himself at the same time to forget all anxieties, and passing away his time with actors. As he was walking along the seashore, certain fishermen brought him some magnificent fish. Being much delighted with the gift, and understanding, on inquiry, that they were men of Halaeae, “What,” said he, “are there any men of Halaeae surviving?” For after his victory at Orchomenus, in the heat of a pursuit, he had destroyed three cities of Boeotia, Anthedon, Larymna, and Halaeae. The men not knowing what to say for fear, Sylla, with a smile, bade them cheer up and return in peace, as they had brought with them no insignificant intercessors. The Halaeans say that this first gave them courage to re-unite and return to their city.
 
Sylla, having marched through Thessaly and Macedon to the sea coast, prepared, with twelve hundred vessels, to cross over from Dyrrhachium to Brundisium. Not far from hence is Apollonia, and near it the Nymphaeum, a spot of ground where, from among green trees and meadows, there are found at various points springs of fire continually streaming out. Here, they say, a satyr, such as statuaries and painters represent, was caught asleep, and brought before Sylla, where he was asked by several interpreters who he was, and, after much trouble, at last uttered nothing intelligible, but a harsh noise, something between the neighing of a horse and crying of a goat. Sylla, in dismay, and deprecating such an omen, bade it be removed.
 
 At the point of transportation, Sylla being in alarm, lest at their first setting foot upon Italy the soldiers should disband and disperse one by one among the cities, they of their own accord first took an oath to stand firm by him, and not of their good-will to injure Italy; then seeing him in distress for money, they made, so they say, a free-will offering, and contributed each man according to his ability. However, Sylla would not accept of their offering, but praising their good-will, and arousing up their courage, went over (as he himself writes) against fifteen hostile generals in command of four hundred and fifty cohorts; but not without the most unmistakable divine intimations of his approaching happy successes. For when he was sacrificing at his first landing near Tarentum, the victim’s liver showed the figure of a crown of laurel with two fillets hanging from it. And a little while before his arrival in Campania, near the mountain Hephaeus, two stately goats were seen in the daytime, fighting together, and performing all the motions of men in battle. It proved to be an apparition, and rising up gradually from the ground, dispersed in the air, like fancied representations in the clouds, and so vanished out of sight. Not long after, in the self-same place, when Marius the younger and Norbanus the consul attacked him with two great armies, without prescribing the order of battle, or arranging his men according to their divisions, by the sway only of one common alacrity and transport of courage, he overthrew the enemy, and shut up Norbanus into the city of Capua, with the loss of seven thousand of his men. And this was the reason, he says, that the soldiers did not leave him and disperse into the different towns, but held fast to him, and despised the enemy, though infinitely more in number. 
 

A Satyr Mosaic from Roman Ruins in Libya

Ye Olde Ferrebeekeeper Archives

August 2020
M T W T F S S
 12
3456789
10111213141516
17181920212223
24252627282930
31