The Marsyas Painter was an ancient Greek vase painter of the red-figure style active in Attica between 370 and 340/330 BC. The Marsyas Painter is sometimes considered the best of the Attic red-figure painters of the late 4th-century Kerch Style .
49-491: His conventional name is derived from the depiction of Marsyas on a pelike , now on display at the Eremitage , St. Petersburg . So far, 23 works have been attributed to him. These include mostly larger vessels, such as lebetes gamikoi , pelikes , hydriai and lekanes . Recently, ten Panathenaic amphorae have been identified as his work, substantially improving our knowledge of his development. He painted scenes from
98-525: A Thousand Years of Peace (1959). Zbigniew Herbert and Nadine Sabra Meyer each entitled poems "Apollo and Marsyas". Following Ovid's retelling of the Apollo and Marsyas tale, the poem "The Flaying Of Marsyas" features in Robin Robertson's 1997 collection "a painted field". Hugo Claus based his poem, Marsua (included in the 1955 poem collection Oostakkerse Gedichten ), on the myth of Marsyas, describing
147-487: A god. In ancient Greek , hubris referred to "outrage": actions that violated natural order, or which shamed and humiliated the victim, sometimes for the pleasure or gratification of the abuser. Hesiod and Aeschylus used the word "hubris" to describe transgressions against the gods. A common way that hubris was committed was when a mortal claimed to be better than a god in a particular skill or attribute. Claims like these were rarely left unpunished, and so Arachne ,
196-525: A loss of contact with reality and an overestimation of one's own competence, accomplishments, or capabilities. The adjectival form of the noun hubris / hybris is hubristic / hybristic . The term hubris originated in Ancient Greek , where it had several different meanings depending on the context. In legal usage, it meant assault or sexual crimes and theft of public property, and in religious usage it meant emulation of divinity or transgression against
245-573: A personality quality of extreme or excessive pride or dangerous overconfidence and complacency , often in combination with (or synonymous with) arrogance . The term arrogance comes from the Latin adrogare , meaning "to feel that one has a right to demand certain attitudes and behaviors from other people". To arrogate means "to claim or seize without justification... To make undue claims to having", or "to claim or seize without right... to ascribe or attribute without reason". The term pretension
294-445: A pine tree, near Lake Aulocrene ( Karakuyu Gölü in modern Turkey), which Strabo noted was full of the reeds from which the pipes were fashioned. Diodorus Siculus felt that Apollo must have repented this "excessive" deed, and said that he had laid aside his lyre for a while, but Karl Kerenyi observes of the flaying of Marsyas' "shaggy hide: a penalty which will not seem especially cruel if one assumes that Marsyas' animal guise
343-514: A subject include "Apollo and Marsyas" by Michelangelo Anselmi (c. 1492 – c.1554), "The Flaying of Marsyas" by Jusepe de Ribera (1591–1652), the Flaying of Marsyas by Titian (c. 1570–1576), "Apollo and Marsyas" by Bartolomeo Manfredi (St. Louis Art Museum), and " Apollo and Marsyas " by Luca Giordano (c.1665). James Merrill based a poem, "Marsyas", on this myth; it appears in The Country of
392-674: A talented young weaver, was transformed into a spider when she said that her skills exceeded those of the goddess Athena , even though her claim was true. Additional examples include Icarus , Phaethon , Salmoneus , Niobe , Cassiopeia , Tantalus , and Tereus . The goddess Hybris is described in the Encyclopædia Britannica Eleventh Edition as having "insolent encroachment upon the rights of others". These events were not limited to myth, and certain figures in history were considered to have been punished for committing hubris through their arrogance. One such person
441-471: Is a stub . You can help Misplaced Pages by expanding it . Marsyas In Greek mythology , the satyr Marsyas ( / ˈ m ɑːr s i ə s / ; Ancient Greek : Μαρσύας ) is a central figure in two stories involving music: in one, he picked up the double oboe ( aulos ) that had been abandoned by Athena and played it; in the other, he challenged Apollo to a contest of music and lost his hide and life. Literary sources from antiquity often emphasize
490-430: Is accused of breaking the law of hubris by submitting himself to prostitution and anal intercourse. Aeschines brought this suit against Timarchus to bar him from the rights of political office and his case succeeded. Aristotle defined hubris as shaming the victim, not because of anything that happened to the committer or might happen to the committer, but merely for that committer's own gratification: to cause shame to
539-485: Is also associated with the term hubris , but is not synonymous with it. According to studies, hubris, arrogance, and pretension are related to the need for victory (even if it does not always mean winning) instead of reconciliation, which "friendly" groups might promote. Hubris is usually perceived as a characteristic of an individual rather than a group, although the group the offender belongs to may suffer collateral consequences from wrongful acts. Hubris often indicates
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#1732855752806588-489: Is applied to gloss over the somewhat ambivalent morality of the flaying of Marsyas. Marsyas is often seen with a flute , pan pipes , or even bagpipes . Apollo is shown with his lyre , or sometimes a harp , viol , or other stringed instrument. The contest of Apollo and Marsyas is seen as symbolizing the eternal struggle between the Apollonian and Dionysian aspects of human nature and cultures. Paintings taking Marsyas as
637-466: Is partially broken along with a portion of her arm. In Greek myth, Athena was once associated with the pipes that later became those of Marsyas, so that other narratives were developed explaining the transfer as Athena having discarded the instrument in a pique (as in Ovid's Metamorphoses ). The flaying of Marsyas is set on the end opposite to Athena, on the extreme right. In the art of later periods, allegory
686-633: Is this aspect of the wise satyr that is intended. Jocelyn Small identifies in Marsyas an artist great enough to challenge a deity, who can only be defeated through a ruse. A prominent statue of Marsyas as a wise old silenus stood near the Roman Forum . This is the Marsyas of the journal, Marsyas: Studies in the History of Art , published since 1941 by students of the Institute of Art, New York University . Among
735-461: The hubris of Marsyas and the justice of his punishment. One strand of modern comparative mythography regards the domination of Marsyas by Apollo as an example of myth that recapitulates a supposed supplanting by the Olympian pantheon of an earlier "Pelasgian" religion of chthonic heroic ancestors and nature spirits . Marsyas was a devoté of the ancient Mother Goddess Rhea / Cybele , and
784-487: The plebs , is credited with having dedicated the statue that stood in the Roman forum, most likely in 294 BC, when he became the first plebeian censor and added the cognomen Censorinus to the family name . Marcius Rutilus was also among the first plebeian augurs, co-opted into their college in 300 BC, and so the mythical teacher of augury was an apt figure to represent him. In 213 BC, two years after suffering one of
833-561: The New Testament parallels the Hebrew word pesha , meaning "transgression". It represents a pride that "makes a man defy God", sometimes to the degree that he considers himself an equal. In its modern usage, hubris denotes overconfident pride combined with arrogance. Hubris is also referred to as "pride that blinds" because it often causes a committer of hubris to act in foolish ways that belie common sense. Hubris has also been presented as
882-511: The Roman period on the river Marsyas is still called by the satyr's name, Marsiyas . The late composer Kyle Rieger wrote a duet for saxophone and piano based on the contest between Marsyas and Apollo titled "Aulos & Lyre". Hubris Hubris ( / ˈ h juː b r ɪ s / ; from Ancient Greek ὕβρις ( húbris ) 'pride, insolence, outrage'), or less frequently hybris ( / ˈ h aɪ b r ɪ s / ), describes
931-568: The Roman senate and elected officials would control. The prophecy was attributed to Gnaeus Marcius, reputed to be a descendant of Marsyas. The games were duly carried out, but the Romans failed to bring the continuing wars with the Carthaginians to a victorious conclusion until they heeded a second prophecy and imported the worship of the Phrygian Great Mother, Cybele , whose song Marsyas
980-515: The Marsi. The Roman coloniae Paestum and Alba Fucens , along with other Italian cities, set up their own statues of Marsyas as assertions of their political status. During the Principate , Marsyas became a subversive symbol in opposition to Augustus , whose propaganda systematically associated Augustus with Apollo as the torturer of sileni. Augustus's daughter Julia held nocturnal assemblies at
1029-455: The Romans, Marsyas was cast as the inventor of augury and a proponent of free speech (the philosophical concept παρρησία, " parrhesia ") and "speaking truth to power". The earliest known representation of Marsyas at Rome stood for at least 300 years in the Roman Forum near or in the comitium , the space for political activity. He also was depicted as a silen , carrying a wineskin on his left shoulder and raising his right arm. The statue
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#17328557528061078-564: The St. Petersburg lebes gamikos , was found at Kerch . It depicts the epaúlia , the celebration dedicated to a newly married wife. A pelike with Peleus and Thetis by him (now at the British Museum ) shows one of the best nudes known from Greek vase painting; it may be viewed online. Recently, some scholars equate him with the Eleusinian Painter . This article about a Greek artist
1127-447: The ancient Greek concepts of honour (τιμή, timē ) and shame (αἰδώς, aidōs ). The concept of honour included not only the exaltation of the one receiving honour, but also the shaming of the one overcome by the act of hubris. This concept of honour is akin to a zero-sum game. Rush Rehm simplifies this definition of hubris to the contemporary concept of "insolence, contempt, and excessive violence". Two well-known cases are found in
1176-481: The aulos away and cursed it so that whoever picked it up would meet an awful death. Marsyas picked up the aulos and was later killed by Apollo for his hubris . The fifth-century BC poet Telestes doubted that virginal Athena could have been motivated by such vanity. Later, however, Melanippides's story became accepted as canonical and the Athenian sculptor Myron created a group of bronze sculptures based on it, which
1225-695: The boundaries of permissible free speech during Rome's transition from republic to imperial monarchy . Pliny indicates that in the first century AD, the painting Marsyas religatus ("Marsyas Bound"), by Zeuxis of Heraclea , could be viewed at the Temple of Concordia in Rome. The goddess Concordia , like the Greek Harmonia , was a personification of both musical harmony as it was understood in antiquity , and of social order , as expressed by Cicero 's phrase concordia ordinum . The apparent incongruity of exhibiting
1274-408: The double-piped double reed instrument known as the aulos . The dithyrambic poet Melanippides of Melos ( c. 480 – 430 BC) embellished the story in his dithyramb Marsyas , claiming that the goddess Athena , who was already said to have invented the aulos, once looked in the mirror while she was playing it and saw how blowing into it puffed up her cheeks and made her look silly, so she threw
1323-411: The first round, when Apollo, turning his lyre upside down, played the same tune. This was something that Marsyas could not do with his flute. According to Diodorus Siculus, Marsyas was defeated when Apollo added his voice to the sound of the lyre. Marsyas protested, arguing that the skill with the instrument was to be compared, not the voice. However, Apollo replied that when Marsyas blew into the pipes, he
1372-465: The flayed skin of Marsyas was still to be seen, and Ptolemy Hephaestion recorded a "festival of Apollo, where the skins of all those victims one has flayed are offered to the god". Plato was of the opinion that the skin of Marsyas had been made into a wineskin . Ovid touches upon the theme of Marsyas twice, very briefly telling the tale in Metamorphoses vi.383–400, where he concentrates on
1421-516: The life of women and other aspects of everyday life, as well as mythological themes. His figures are harmonic in spite of their monumentality; his drawing style exhibits great delicacy and skill. He is a master of spatial perspective, using foreshortening and reduction to great effect. Textiles and garments are depicted in great detail and appear voluminous. "His vases typically were elaborately decorated with gilding, raised relief, and unusual colors such as white, pink, blue, and green." His masterpiece
1470-608: The mythographers situate his episodes in Celaenae (or Kelainai), in Phrygia , at the main source of the Meander (the river Menderes in Turkey ). When a genealogy was applied to him, Marsyas was the son of the "divine" Hyagnis . His father was called Oeagrus or Olympus . Alternatively, the latter was said to be Marsyas' son and/or pupil and eromenos . Marsyas was an expert player on
1519-553: The powers of the plebeian tribunes , and to restore the dominance of the senate and the privileges of patricians . Marsyas was claimed as the eponym of the Marsi as well, one of the ancient peoples of Italy. The Social War of 91–88 BC , in which the Italian peoples fought to advance their status as citizens under Roman rule, is sometimes called the Marsic War because of the leadership of
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1568-457: The process of flaying from the perspective of Marsyas. In 2002, British artist Anish Kapoor created and installed an enormous sculpture in London's Tate Modern entitled, "Marsyas". Consisting of three huge steel rings and a single red PVC membrane, The work was impossible to view as a whole because of its size, but had obvious anatomical connotations. A bridge that was built toward the end of
1617-519: The speeches of Demosthenes , a prominent statesman and orator in ancient Greece . These two examples occurred when first Midias punched Demosthenes in the face in the theatre ( Against Midias ), and second when (in Against Conon ) a defendant allegedly assaulted a man and crowed over the victim. Yet another example of hubris appears in Aeschines ' Against Timarchus , where the defendant, Timarchus,
1666-472: The statue of Marsyas, at a time when the augural college was the subject of political controversy during the Sullan civil wars of the 80s BC . On the coin, Marsyas wears a Phrygian cap or pilleus , an emblem of liberty. This Marcius Censorinus was killed by Sulla and his head displayed outside Praeneste . Sulla's legislative program attempted to curtail power invested in the people, particularly restricting
1715-488: The statue, and crowned it to defy her father. The poet Ovid , who was ultimately exiled by Augustus, twice tells the story of Marsyas's flaying by Apollo, in his epic Metamorphoses and in the Fasti , the calendrical poem left unfinished at his death. Although the immediate cause of Ovid's exile remains one of literary history's great mysteries, Ovid says that a "poem and transgression" were contributing factors; his poetry tests
1764-718: The tears shed into the river Marsyas, and making an allusion in Fasti , vi.649–710, where Ovid's primary focus is on the aulos and the roles of flute-players rather than Marsyas, whose name is not mentioned. The hubristic Marsyas in surviving literary sources eclipses the figure of the wise Marsyas that is suggested in a few words by the Hellenistic historian Diodorus Siculus , who refers to Marsyas as admired for his intelligence ( sunesis ) and self-control ( sophrosune ), not qualities found by Greeks in ordinary satyrs. In Plato 's Symposium , when Alcibiades likens Socrates to Marsyas, it
1813-400: The terms stated that the winner could treat the defeated party any way he wanted. Marsyas played his flute, putting everyone there into a frenzy, and they started dancing wildly. When it was Apollo's turn, he played his lyre so beautifully that everyone was still and had tears in their eyes. There are several versions of the contest; according to Hyginus, Marsyas was departing as victor after
1862-535: The tortured silenus in a temple devoted to harmony has been interpreted in modern scholarship as a warning against criticizing authority. A sarcophagus depicting the competition between Marsyas and Apollo, dating to around 300 CE, was discovered in 1853 on the bank of the river Chiarone in Tuscany , on the former Emilia-Aurelia road. Its gathering of deities reads visually from left to right, starting from Athena with her staff and Erichthonius , forming her caduceus , which
1911-567: The victim, not in order that anything may happen to you, nor because anything has happened to you, but merely for your own gratification. Hubris is not the requital of past injuries; this is revenge. As for the pleasure in hubris, its cause is this: naive men think that by ill-treating others they make their own superiority the greater. In the Septuagint , the "hubris is overweening pride, superciliousness or arrogance, often resulting in fatal retribution or nemesis ". The word hubris as used in
1960-460: The welfare of the plebs . The freedom that the ecstasies of Dionysian worship represented took on a political meaning in Rome as the libertas that distinguished the free from the enslaved. The Liberalia , celebrated March 17 in honor of Liber, was a time of speaking freely, as the poet and playwright Gnaeus Naevius declared: "At the Liberalia games we enjoy free speech." Nonetheless, Naevius
2009-520: The worst military defeats in its history at the Battle of Cannae , Rome was in the grip of a reactionary fear that led to excessive religiosity . The senate , alarmed that its authority was being undermined by "prophets and sacrificers" in the forum, began a program of suppression. Among the literature confiscated was an "authentic" prophecy calling for the institution of games in the Greek manner for Apollo , which
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2058-617: Was arrested for his invectives against the powerful. Marsyas was sometimes considered a king and contemporary of Faunus , portrayed by Vergil as a native Italian ruler at the time of Aeneas . Servius , in his commentary on the Aeneid , says that Marsyas sent Faunus envoys who showed techniques of augury to the Italians. The plebeian gens of the Marcii claimed that they were descended from Marsyas. Gaius Marcius Rutilus , who rose to power from
2107-425: Was defined as the use of violence to shame the victim (this sense of hubris could also characterize rape). In legal terms, hubristic violations of the law included what might today be termed assault -and- battery , sexual crimes, or the theft of public or sacred property. In some contexts, the term had a sexual connotation. Shame was frequently reflected upon the perpetrator, as well. Crucial to this definition are
2156-407: Was doing almost the same thing. The Nysean nymphs supported Apollo's claim, leading to his victory. Yet another version states that Marsyas played the flute out of tune, and hence accepted his defeat. Out of shame, he chose the penalty of being skinned to be used as a winesack. He was flayed alive in a cave near Celaenae for his hubris to challenge a deity. Apollo then nailed Marsyas' skin to
2205-605: Was installed before the western front of the Parthenon around 440 BC. In the second century AD, the travel writer Pausanias saw this set of sculptures and described it as "a statue of Athena striking Marsyas the Silenos for taking up the flutes [aulos] that the goddess wished to be cast away for good". In the contest between Apollo and Marsyas, which was judged by the Muses or the Nysean nymphs,
2254-631: Was king Xerxes as portrayed in Aeschylus's play The Persians , and who allegedly threw chains to bind the Hellespont sea as punishment for daring to destroy his fleet. What is common in all of these examples is the breaching of limits, as the Greeks believed that the Fates (Μοῖραι) had assigned each being with a particular area of freedom, an area that even the gods could not breach. In ancient Athens , hubris
2303-429: Was merely a masquerade". Classical Greeks were unaware of such shamanistic overtones, and the flaying of Marsyas became a theme for painting and sculpture. His brothers, nymphs, gods, and goddesses mourned his death, and their tears, according to Ovid 's Metamorphoses , were the source of the river Marsyas in Phrygia (called Çine Creek today), which joins the Meander near Celaenae, where Herodotus reported that
2352-564: Was regarded as an indicium libertatis , a symbol of liberty, and was associated with demonstrations of the plebs , or common people. It often served as a sort of kiosk upon which invective verse was posted. Marsyas served as a minister for Dionysus or Bacchus, who was identified by the Romans with their Father Liber , one of three deities in the Aventine Triad , along with Ceres and Libera (identified with Persephone ). These deities were regarded as concerning themselves specially with
2401-619: Was said to have composed; the song had further relevance in that it was also credited by the Phrygians with protecting them from invaders. The power relations between Marsyas and Apollo reflected the continuing Struggle of the Orders between the elite and the common people, expressed in political terms by optimates and populares . The arrest of Naevius for exercising free speech also took place during this period. Another descendant of Marcius Rutilus, L. Marcius Censorinus , issued coins depicting
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