Abstract
Approximately 80 satyric fragments can be attributed to Aeschylus with relative certainty, but many of these were preserved by lexicographers interested in a single word or short phrase. A detailed examination of the fragments and their theatrical context provides a glimpse at what made Aeschylean satyr drama particularly celebrated. When Aeschylus was born, satyr drama had not yet been introduced at the City Dionysia, but satyric performances, in which men dressed up, danced and sang as satyrs, were already a prominent part of festival life in and outside Athens. In addition to employing myth in his satyr plays, Aeschylus also seems to have been fond of composing satyric productions that were part of a full tetralogy based on the same myth. Aeschylus's Oresteia, the only extant tragic trilogy, comprises a coherent intergenerational story from start to finish, with the second and third play's action picking up after that of the previous play.
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