title: Microsoft Access

text: The original concept of Access was for end users to be able to access data from any source. Other features include: the import and export of data to many formats including Excel, Outlook, ASCII, dBase, Paradox, FoxPro, SQL Server and Oracle. It also has the ability to link to data in its existing location and use it for viewing, querying, editing, and reporting. This allows the existing data to change while ensuring that Access uses the latest data. It can perform heterogeneous joins between data sets stored across different platforms. Access is often used by people downloading data from enterprise level databases for manipulation, analysis, and reporting locally.


title: Microsoft Access

text: There is also the Access Database (ACE and formerly Jet) format (MDB or ACCDB in Access 2007) which can contain the application and data in one file. This makes it very convenient to distribute the entire application to another user, who can run it in disconnected environments.


title: Microsoft Access

text: One of the benefits of Access from a programmer's perspective is its relative compatibility with SQL (structured query language)—queries can be viewed graphically or edited as SQL statements, and SQL statements can be used directly in Macros and VBA Modules to manipulate Access tables. Users can mix and use both VBA and "Macros" for programming forms and logic and offers object-oriented possibilities. VBA can also be included in queries.


title: Microsoft Access

text: Microsoft Access offers parameterized queries. These queries and Access tables can be referenced from other programs like VB6 and .NET through DAO or ADO. From Microsoft Access, VBA can reference parameterized stored procedures via ADO.


title: Microsoft Access

text: The desktop editions of Microsoft SQL Server can be used with Access as an alternative to the Jet Database Engine. This support started with MSDE (Microsoft SQL Server Desktop Engine), a scaled down version of Microsoft SQL Server 2000, and continues with the SQL Server Express versions of SQL Server 2005 and 2008.


title: Microsoft Access

text: Microsoft Access is a file server-based database. Unlike client–server relational database management systems (RDBMS), Microsoft Access does not implement database triggers, stored procedures, or transaction logging. Access 2010 includes table-level triggers and stored procedures built into the ACE data engine. Thus a Client-server database system is not a requirement for using stored procedures or table triggers with Access 2010.


title: Microsoft Access

text: Tables, queries, forms, reports and macros can now be developed specifically for web based applications in Access 2010. Integration with Microsoft SharePoint 2010 is also highly improved.


title: Microsoft Access

text: The 2013 edition of Microsoft Access introduced a mostly flat design and the ability to install apps from the Office Store, but it did not introduce new features. The theme was partially updated again for 2016, but no dark theme was created for Access.


title: Microsoft Access

text: ASP.NET web forms can query a Microsoft Access database, retrieve records and display them on the browser.


title: Microsoft Access

text: SharePoint Server 2010 via Access Services allows for Access 2010 databases to be published to SharePoint, thus enabling multiple users to interact with the database application from any standards-compliant Web browser. Access Web databases published to SharePoint Server can use standard objects such as tables, queries, forms, macros, and reports. Access Services stores those objects in SharePoint.


title: Microsoft Access

text: Access 2013 offers the ability to publish Access web solutions on SharePoint 2013. Rather than using SharePoint lists as its data source, Access 2013 uses an actual SQL Server database hosted by SharePoint or SQL Azure. This offers a true relational database with referential integrity, scalability, maintainability, and extensibility compared to the SharePoint views Access 2010 used. The macro language is enhanced to support more sophisticated programming logic and database level automation.


title: Microsoft Access

text: Microsoft Access can also import or link directly to data stored in other applications and databases. Microsoft Office Access 2007 and newer can import from or link to:


title: Microsoft Access

text: Microsoft offers free runtime versions of Microsoft Access which allow users to run an Access desktop application without needing to purchase or install a retail version of Microsoft Access. This actually allows Access developers to create databases that can be freely distributed to an unlimited number of end-users. These runtime versions of Access 2007 and later can be downloaded for free from Microsoft. The runtime versions for Access 2003 and earlier were part of the Office Developer Extensions/Toolkit and required a separate purchase.


title: Microsoft Access

text: The runtime version allows users to view, edit and delete data, along with running queries, forms, reports, macros and VBA module code. The runtime version does not allow users to change the design of Microsoft Access tables, queries, forms, reports, macros or module code. The runtime versions are similar to their corresponding full version of Access and usually compatible with earlier versions; for example Access Runtime 2010 allows a user to run an Access application made with the 2010 version as well as 2007 through 2000. Due to deprecated features in Access 2013, its runtime version is also unable to support those older features. During development one can simulate the runtime environment from the fully functional version by using the codice_1 command-line option.


title: Microsoft Access

text: Access stores all database tables, queries, forms, reports, macros, and modules in the Access Jet database as a single file.


title: Microsoft Access

text: For query development, Access offers a "Query Designer", a graphical user interface that allows users to build queries without knowledge of structured query language. In the Query Designer, users can "show" the datasources of the query (which can be tables or queries) and select the fields they want returned by clicking and dragging them into the grid. One can set up joins by clicking and dragging fields in tables to fields in other tables. Access allows users to view and manipulate the SQL code if desired. Any Access table, including linked tables from different data sources, can be used in a query.


title: Microsoft Access

text: Access also supports the creation of "pass-through queries". These snippets of SQL code can address external data sources through the use of ODBC connections on the local machine. This enables users to interact with data stored outside the Access program without using linked tables or Jet.


title: Microsoft Access

text: When developing reports (in "Design View") additions or changes to controls cause any linked queries to execute in the background and the designer is forced to wait for records to be returned before being able to make another change. This feature cannot be turned off.


title: Microsoft Access

text: Non-programmers can use the macro feature to automate simple tasks through a series of drop-down selections. Macros allow users to easily chain commands together such as running queries, importing or exporting data, opening and closing forms, previewing and printing reports, etc. Macros support basic logic (IF-conditions) and the ability to call other macros. Macros can also contain sub-macros which are similar to subroutines. In Access 2007, enhanced macros included error-handling and support for temporary variables. Access 2007 also introduced embedded macros that are essentially properties of an object's event. This eliminated the need to store macros as individual objects. However, macros were limited in their functionality by a lack of programming loops and advanced coding logic until Access 2013. With significant further enhancements introduced in Access 2013, the capabilities of macros became fully comparable to VBA. They made feature rich web-based application deployments practical, via a greatly enhanced Microsoft SharePoint interface and tools, as well as on traditional Windows desktops.


title: Microsoft Access

text: In common with other products in the Microsoft Office suite, the other programming language used in Access is Microsoft VBA. It is similar to Visual Basic 6.0 (VB6) and code can be stored in modules, classes, and code behind forms and reports. To create a richer, more efficient and maintainable finished product with good error handling, most professional Access applications are developed using the VBA programming language rather than macros, except where web deployment is a business requirement.


title: Microsoft Access

text: To manipulate data in tables and queries in VBA or macros, Microsoft provides two database access libraries of COM components:


title: Microsoft Access

text: As well as DAO and ADO, developers can also use OLE DB and ODBC for developing native C/C++ programs for Access. For ADPs and the direct manipulation of SQL Server data, ADO is required. DAO is most appropriate for managing data in Access/Jet databases, and the only way to manipulate the complex field types in ACCDB tables.


title: Microsoft Access

text: In the database container or navigation pane in Access 2007 and later versions, the system automatically categorizes each object by type (e.g., table, query, macro). Many Access developers use the Leszynski naming convention, though this is not universal; it is a programming convention, not a DBMS-enforced rule. It is particularly helpful in VBA where references to object names may not indicate its data type (e.g. tbl for tables, qry for queries).


title: Microsoft Access

text: Developers deploy Microsoft Access most often for individual and workgroup projects (the Access 97 speed characterization was done for 32 users). Since Access 97, and with Access 2003 and 2007, Microsoft Access and hardware have evolved significantly. Databases under 1 GB in size (which can now fit entirely in RAM) and 200 simultaneous users are well within the capabilities of Microsoft Access. Of course, performance depends on the database design and tasks. Disk-intensive work such as complex searching and querying take the most time.


title: Microsoft Access

text: As data from a Microsoft Access database can be cached in RAM, processing speed may substantially improve when there is only a single user or if the data is not changing. In the past, the effect of packet latency on the record-locking system caused Access databases to run slowly on a virtual private network (VPN) or a wide area network (WAN) against a Jet database. broadband connections have mitigated this issue. Performance can also be enhanced if a continuous connection is maintained to the back-end database throughout the session rather than opening and closing it for each table access.


title: Microsoft Access

text: In July 2011, Microsoft acknowledged an intermittent query performance problem with all versions of Access and Windows 7 and Windows Server 2008 R2 due to the nature of resource management being vastly different in newer operating systems. This issue severely affects query performance on both Access 2003 and earlier with the Jet Database Engine code, as well as Access 2007 and later with the Access Database Engine (ACE). Microsoft has issued hotfixes KB2553029 for Access 2007 and KB2553116 for Access 2010, but will not fix the issue with Jet 4.0 as it is out of mainstream support.


title: Microsoft Access

text: In earlier versions of Microsoft Access, the ability to distribute applications required the purchase of the Developer Toolkit; in Access 2007, 2010 and Access 2013 the "Runtime Only" version is offered as a free download, making the distribution of royalty-free applications possible on Windows XP, Vista, 7 and Windows 8.x.


title: Microsoft Access

text: Microsoft Access applications can adopt a split-database architecture. The single database can be divided into a separate "back-end" file that contains the data tables (shared on a file server) and a "front-end" (containing the application's objects such as queries, forms, reports, macros, and modules). The "front-end" Access application is distributed to each user's desktop and linked to the shared database. Using this approach, each user has a copy of Microsoft Access (or the runtime version) installed on their machine along with their application database. This reduces network traffic since the application is not retrieved for each use. The "front-end" database can still contain local tables for storing a user's settings or temporary data. This split-database design also allows development of the application independent of the data. One disadvantage is that users may make various changes to their own local copy of the application and this makes it hard to manage version control. When a new version is ready, the front-end database is replaced without impacting the data database. Microsoft Access has two built-in utilities, Database Splitter and Linked Table Manager, to facilitate this architecture.


title: Microsoft Access

text: Linked tables in Access use absolute paths rather than relative paths, so the development environment either has to have the same path as the production environment or a "dynamic-linker" routine can be written in VBA.


title: Microsoft Access

text: For very large Access databases, this may have performance issues and a SQL backend should be considered in these circumstances. This is less of an issue if the entire database can fit in the PC's RAM since Access caches data and indexes.


title: Microsoft Access

text: To scale Access applications to enterprise or web solutions, one possible technique involves migrating to Microsoft SQL Server or equivalent server database. A client–server design significantly reduces maintenance and increases security, availability, stability, and transaction logging.


title: Microsoft Access

text: Access 2000 through Access 2010 included a feature called the Upsizing Wizard that allowed users to upgrade their databases to Microsoft SQL Server, an ODBC client–server database. This feature was removed from Access 2013. An additional solution, the SQL Server Migration Assistant for Access (SSMA), continues to be available for free download from Microsoft.


title: Microsoft Access

text: A variety of upgrading options are available. After migrating the data and queries to SQL Server, the Access database can be linked to the SQL database. However, certain data types are problematic, most notably "Yes/No". In Microsoft Access there are three states for the Yes/No (True/False) data type: empty, no/false (zero) and yes/true (-1). The corresponding SQL Server data type is binary, with only two states, permissible values, zero and 1. Regardless, SQL Server is still the easiest migration. Retrieving data from linked tables is optimized to just the records needed, but this scenario may operate less efficiently than what would otherwise be optimal for SQL Server. For example, in instances where multi-table joins still require copying the whole table across the network.


title: Microsoft Access

text: In previous versions of Access, including Access 2010, databases can also be converted to Access Data Projects (ADP) which are tied directly to one SQL Server database. This feature was removed from Access 2013. ADP's support the ability to directly create and modify SQL Server objects such as tables, views, stored procedures, and SQL Server constraints. The views and stored procedures can significantly reduce the network traffic for multi-table joins. SQL Server supports temporary tables and links to other data sources beyond the single SQL Server database.


title: Microsoft Access

text: Finally, some Access databases are completely replaced by another technology such as ASP.NET or Java once the data is converted. However any migration may dictate major effort since the Access SQL language is a more powerful superset of standard SQL. Further, Access application procedures, whether VBA and macros, are written at a relatively higher level versus the currently available alternatives that are both robust and comprehensive. Note that the Access macro language, allowing an even higher level of abstraction than VBA, was significantly enhanced in Access 2010 and again in Access 2013.


title: Microsoft Access

text: In many cases, developers build direct web-to-data interfaces using ASP.NET, while keeping major business automation processes, administrative and reporting functions that don't need to be distributed to everyone in Access for information workers to maintain.


title: Microsoft Access

text: While all Access data can migrate to SQL Server directly, some queries cannot migrate successfully. In some situations, you may need to translate VBA functions and user defined functions into T–SQL or .NET functions / procedures. Crosstab queries can be migrated to SQL Server using the PIVOT command.


title: Microsoft Access

text: Microsoft Access applications can be made secure by various methods, the most basic being password access control; this is a relatively weak form of protection.


title: Microsoft Access

text: A higher level of protection is the use of workgroup security requiring a user name and password. Users and groups can be specified along with their rights at the object type or individual object level. This can be used to specify people with read-only or data entry rights but may be challenging to specify. A separate workgroup security file contains the settings which can be used to manage multiple databases. Workgroup security is not supported in the Access 2007 and Access 2010 ACCDB database format, although Access 2007 and Access 2010 still support it for MDB databases.


title: Microsoft Access

text: Databases can also be encrypted. The ACCDB format offers significantly advanced encryption from previous versions.


title: Microsoft Access

text: Additionally, if the database design needs to be secured to prevent changes, Access databases can be locked/protected (and the source code compiled) by converting the database to a .MDE file. All changes to the VBA project (modules, forms, or reports) need to be made to the original MDB and then reconverted to MDE. In Access 2007 and Access 2010, the ACCDB database is converted to an ACCDE file. Some tools are available for unlocking and "decompiling", although certain elements including original VBA comments and formatting are normally irretrievable.


title: Microsoft Access

text: There are no Access versions between 2.0 and 7.0 because the Office 95 version was launched with Word 7. All of the Office 95 products have OLE 2 capabilities, and Access 7 shows that it was compatible with Word 7.


title: Pyrite

text: The mineral pyrite (), or iron pyrite, also known as fool's gold, is an iron sulfide with the chemical formula FeS (iron (II) disulfide). Pyrite is the most abundant sulfide mineral.


title: Pyrite

text: Pyrite's metallic luster and pale brass-yellow hue give it a superficial resemblance to gold, hence the well-known nickname of "fool's gold". The color has also led to the nicknames "brass", "brazzle", and "Brazil", primarily used to refer to pyrite found in coal.


title: Pyrite

text: The name "pyrite" is derived from the Greek ("pyritēs lithos"), "stone or mineral which strikes fire", in turn from ("pyr"), "fire". In ancient Roman times, this name was applied to several types of stone that would create sparks when struck against steel; Pliny the Elder described one of them as being brassy, almost certainly a reference to what we now call pyrite.


title: Pyrite

text: Pyrite is usually found associated with other sulfides or oxides in quartz veins, sedimentary rock, and metamorphic rock, as well as in coal beds and as a replacement mineral in fossils, but has also been identified in the sclerites of scaly-foot gastropods. Despite being nicknamed fool's gold, pyrite is sometimes found in association with small quantities of gold. A substantial proportion of the gold is "invisible gold" incorporated into the pyrite (see Carlin-type gold deposit). It has been suggested that the presence of both gold and arsenic is a case of coupled substitution but as of 1997 the chemical state of the gold remained controversial.


title: Pyrite

text: Pyrite enjoyed brief popularity in the 16th and 17th centuries as a source of ignition in early firearms, most notably the wheellock, where a sample of pyrite was placed against a circular file to strike the sparks needed to fire the gun.


title: Pyrite

text: Pyrite is used with flintstone and a form of tinder made of stringybark by the Kaurna people, people of South Australia, as a traditional method of starting fires.


title: Pyrite

text: Pyrite has been used since classical times to manufacture "copperas" (ferrous sulfate). Iron pyrite was heaped up and allowed to weather (an example of an early form of heap leaching). The acidic runoff from the heap was then boiled with iron to produce iron sulfate. In the 15th century, new methods of such leaching began to replace the burning of sulfur as a source of sulfuric acid. By the 19th century, it had become the dominant method.


title: Pyrite

text: Pyrite remains in commercial use for the production of sulfur dioxide, for use in such applications as the paper industry, and in the manufacture of sulfuric acid. Thermal decomposition of pyrite into FeS (iron(II) sulfide) and elemental sulfur starts at ; at around , "p" is about .


title: Pyrite

text: A newer commercial use for pyrite is as the cathode material in Energizer brand non-rechargeable lithium metal batteries.


title: Pyrite

text: Pyrite is a semiconductor material with a band gap of 0.95 eV. Pure pyrite is naturally n-type, in both crystal and thin-film forms, potentially due to sulfur vacancies in the pyrite crystal structure acting as n-dopants.


title: Pyrite

text: During the early years of the 20th century, pyrite was used as a mineral detector in radio receivers, and is still used by crystal radio hobbyists. Until the vacuum tube matured, the crystal detector was the most sensitive and dependable detector available—with considerable variation between mineral types and even individual samples within a particular type of mineral. Pyrite detectors occupied a midway point between galena detectors and the more mechanically complicated perikon mineral pairs. Pyrite detectors can be as sensitive as a modern 1N34A germanium diode detector.


title: Pyrite

text: Pyrite has been proposed as an abundant, non-toxic, inexpensive material in low-cost photovoltaic solar panels. Synthetic iron sulfide was used with copper sulfide to create the photovoltaic material. More recent efforts are working toward thin-film solar cells made entirely of pyrite.


title: Pyrite

text: Pyrite is used to make marcasite jewelry. Marcasite jewelry, made from small faceted pieces of pyrite, often set in silver, was known since ancient times and was popular in the Victorian era. At the time when the term became common in jewelry making, "marcasite" referred to all iron sulfides including pyrite, and not to the orthorhombic FeS mineral marcasite which is lighter in color, brittle and chemically unstable, and thus not suitable for jewelry making. Marcasite jewelry does not actually contain the mineral marcasite. The specimens of pyrite, when it appears as good quality crystals, are used in decoration. They are also very popular in mineral collecting. Among the sites that provide the best specimens are Soria and La Rioja provinces (Spain).


title: Pyrite

text: In value terms, China ($47 million) constitutes the largest market for imported unroasted iron pyrites worldwide, making up 65% of global imports. China is also the fastest growing in terms of the unroasted iron pyrites imports, with a CAGR of +27.8% from 2007 to 2016.


title: Pyrite

text: In July 2020 scientists reported that they have observed a voltage-induced transformation of normally diamagnetic pyrite into a ferromagnetic material, which may lead to applications in devices such as solar cells or magnetic data storage.


title: Pyrite

text: Researchers at Trinity College Dublin, Ireland have demonstrated that FeS can be exfoliated into few-layers just like other two-dimensional layered materials such as graphene by a simple liquid-phase exfoliation route. This is the first study to demonstrate the production of non-layered 2D-platelets from 3D bulk FeS. Furthermore, they have used these 2D-platelets with 20% single walled carbon-nanotube as an anode material in lithium-ion batteries, reaching a capacity of 1000 mAh/g close to the theoretical capacity of FeS.


title: Pyrite

text: In 2021,a natural pyrite stone has been crushed and pre-treated followed by liquid-phase exfoliation into two-dimensional nanosheets, which has shown capacities of 1200 mAh/g as an anode in lithium-ion batteries.


title: Pyrite

text: From the perspective of classical inorganic chemistry, which assigns formal oxidation states to each atom, pyrite and marcasite are probably best described as Fe[S]. This formalism recognizes that the sulfur atoms in pyrite occur in pairs with clear S–S bonds. These persulfide [S–S] units can be viewed as derived from hydrogen disulfide, HS. Thus pyrite would be more descriptively called iron persulfide, not iron disulfide. In contrast, molybdenite, MoS, features isolated sulfide S centers and the oxidation state of molybdenum is Mo. The mineral arsenopyrite has the formula FeAsS. Whereas pyrite has [S] units, arsenopyrite has [AsS] units, formally derived from deprotonation of arsenothiol (HAsSH). Analysis of classical oxidation states would recommend the description of arsenopyrite as Fe[AsS].


title: Pyrite

text: Iron-pyrite FeS represents the prototype compound of the crystallographic pyrite structure. The structure is simple cubic and was among the first crystal structures solved by X-ray diffraction. It belongs to the crystallographic space group "Pa" and is denoted by the Strukturbericht notation C2. Under thermodynamic standard conditions the lattice constant formula_1 of stoichiometric iron pyrite FeS amounts to . The unit cell is composed of a Fe face-centered cubic sublattice into which the ions are embedded. (Note though that the iron atoms in the faces are not equivalent by translation alone to the iron atoms at the corners.) The pyrite structure is also seen in other "MX" compounds of transition metals "M" and chalcogens "X" = O, S, Se and Te. Certain dipnictides with "X" standing for P, As and Sb etc. are also known to adopt the pyrite structure.


title: Pyrite

text: The Fe atoms are bonded to six S atoms, giving a distorted octahedron. The material is a semiconductor. The Fe ions is usually considered to be "low spin" divalent state (as shown by Mössbauer spectroscopy as well as XPS). The material as a whole behaves as a Van Vleck paramagnet, despite its low-spin divalency.


title: Pyrite

text: The sulfur centers occur in pairs, described as S. Reduction of pyrite with potassium gives potassium dithioferrate, KFeS. This material features ferric ions and isolated sulfide (S) centers.


title: Pyrite

text: The S atoms are tetrahedral, being bonded to three Fe centers and one other S atom. The site symmetry at Fe and S positions is accounted for by point symmetry groups "C" and "C", respectively. The missing center of inversion at S lattice sites has important consequences for the crystallographic and physical properties of iron pyrite. These consequences derive from the crystal electric field active at the sulfur lattice site, which causes a polarisation of S ions in the pyrite lattice. The polarisation can be calculated on the basis of higher-order Madelung constants and has to be included in the calculation of the lattice energy by using a generalised Born–Haber cycle. This reflects the fact that the covalent bond in the sulfur pair is inadequately accounted for by a strictly ionic treatment.


title: Pyrite

text: Arsenopyrite has a related structure with heteroatomic As–S pairs rather than S-S pairs. Marcasite also possesses homoatomic anion pairs, but the arrangement of the metal and diatomic anions differ from that of pyrite. Despite its name, chalcopyrite () does not contain dianion pairs, but single S sulfide anions.


title: Pyrite

text: Pyrite usually forms cuboid crystals, sometimes forming in close association to form raspberry-shaped masses called framboids. However, under certain circumstances, it can form anastomosing filaments or T-shaped crystals.


title: Pyrite

text: Pyrite can also form shapes almost the same as a regular dodecahedron, known as pyritohedra, and this suggests an explanation for the artificial geometrical models found in Europe as early as the 5th century BC.


title: Pyrite

text: Cattierite (CoS), vaesite (NiS) and hauerite (MnS), as well as sperrylite (PtAs) are similar in their structure and belong also to the pyrite group.


title: Pyrite

text: Pyrite is distinguishable from native gold by its hardness, brittleness and crystal form. Pyrite fractures are very uneven, sometimes conchoidal because it does not cleave along a preferential plane. Native gold nuggets, or glitters, do not break but deform in a ductile way. Pyrite is brittle, gold is malleable.


title: Pyrite

text: Natural gold tends to be anhedral (irregularly shaped without well defined faces), whereas pyrite comes as either cubes or multifaceted crystals with well developed and sharp faces easy to recognise. Well crystallised pyrite crystals are euhedral ("i.e.", with nice faces). Pyrite can often be distinguished by the striations which, in many cases, can be seen on its surface. Chalcopyrite () is brighter yellow with a greenish hue when wet and is softer (3.5–4 on Mohs' scale). Arsenopyrite (FeAsS) is silver white and does not become more yellow when wet.


title: Pyrite

text: Iron pyrite is unstable when exposed to the oxidizing conditions prevailing at the Earth's surface: iron pyrite in contact with atmospheric oxygen and water, or damp, ultimately decomposes into iron oxyhydroxides (ferrihydrite, FeO(OH)) and sulfuric acid (). This process is accelerated by the action of "Acidithiobacillus" bacteria which oxidize pyrite to first produce ferrous ions (), sulfate ions (), and release protons (, or ). In a second step, the ferrous ions () are oxidized by into ferric ions () which hydrolyze also releasing ions and producing FeO(OH). These oxidation reactions occur more rapidly when pyrite is finely dispersed (framboidal crystals initially formed by sulfate reducing bacteria (SRB) in argillaceous sediments or dust from mining operations).


title: Pyrite

text: Pyrite oxidation by atmospheric in the presence of moisture () initially produces ferrous ions () and sulfuric acid which dissociates into sulfate ions and protons, leading to acid mine drainage (AMD). An example of acid rock drainage caused by pyrite is the 2015 Gold King Mine waste water spill.


title: Pyrite

text: Pyrite oxidation is sufficiently exothermic that underground coal mines in high-sulfur coal seams have occasionally had serious problems with spontaneous combustion. The solution is the use of buffer blasting and the use of various sealing or cladding agents to hermetically seal the mined-out areas to exclude oxygen.


title: Pyrite

text: In modern coal mines, limestone dust is sprayed onto the exposed coal surfaces to reduce the hazard of dust explosions. This has the secondary benefit of neutralizing the acid released by pyrite oxidation and therefore slowing the oxidation cycle described above, thus reducing the likelihood of spontaneous combustion. In the long term, however, oxidation continues, and the hydrated sulfates formed may exert crystallization pressure that can expand cracks in the rock and lead eventually to roof fall.


title: Pyrite

text: Building stone containing pyrite tends to stain brown as pyrite oxidizes. This problem appears to be significantly worse if any marcasite is present. The presence of pyrite in the aggregate used to make concrete can lead to severe deterioration as pyrite oxidizes. In early 2009, problems with Chinese drywall imported into the United States after Hurricane Katrina were attributed to pyrite oxidation, followed by microbial sulfate reduction which released hydrogen sulfide gas (). These problems included a foul odor and corrosion of copper wiring. In the United States, in Canada, and more recently in Ireland, where it was used as underfloor infill, pyrite contamination has caused major structural damage. Concrete exposed to sulfate ions, or sulfuric acid, degrades by sulfate attack: the formation of expansive mineral phases, such as ettringite (small needle crystals exerting a huge crystallization pressure inside the concrete pores) and gypsum creates inner tensile forces in the concrete matrix which destroy the hardened cement paste, form cracks and fissures in concrete, and can lead to the ultimate ruin of the structure. Normalized tests for construction aggregate certify such materials as free of pyrite or marcasite.


title: Pyrite

text: Pyrite is the most common of sulfide minerals and is widespread in igneous, metamorphic, and sedimentary rocks. It is a common accessory mineral in igneous rocks, where it also occasionally occurs as larger masses arising from an immiscible sulfide phase in the original magma. It is found in metamorphic rocks as a product of contact metamorphism. It also forms as a high-temperature hydrothermal mineral, though it occasionally forms at lower temperatures.


title: Pyrite

text: Pyrite occurs both as a primary mineral, present in the original sediments, and as a secondary mineral, deposited during diagenesis. Pyrite and marcasite commonly occur as replacement pseudomorphs after fossils in black shale and other sedimentary rocks formed under reducing environmental conditions. Pyrite is common as an accessory mineral in shale, where it is formed by precipitation from anoxic seawater, and coal beds often contain significant pyrite.


title: Pyrite

text: Notable deposits are found as lenticular masses in Virginia, U.S., and in smaller quantities in many other locations. Large deposits are mined at Rio Tinto in Spain and elsewhere in the Iberian Peninsula.


title: Pyrite

text: In the beliefs of the Thai people (especially the southerner), pyrite is known by multiple names: "Khao tok Phra Ruang", "Khao khon bat Phra Ruang" (ข้าวตอกพระร่วง, ข้าวก้นบาตรพระร่วง) or "Phet na tang", "Hin na tang" (เพชรหน้าทั่ง, หินหน้าทั่ง). It is believed to be a sacred item that has the power to prevent evil, black magic or demons.


title: Chuck McGill

text: Charles Lindbergh "Chuck" McGill Jr. is a fictional character who appears in the crime drama television series "Better Call Saul", a spin-off prequel of "Breaking Bad". He is portrayed by Michael McKean and was created by Vince Gilligan and Peter Gould.


title: Chuck McGill

text: Chuck was born in Cicero, Illinois, United States and is the eldest son of Ruth and Charles McGill Sr. He is the older brother of fellow lawyer and titular character Jimmy McGill ("Saul Goodman"). Chuck is a successful attorney who runs his own law firm, Hamlin, Hamlin, & McGill (HHM), with business partner and friend Howard Hamlin. Chuck is semi-reclusive and believes that he suffers from electromagnetic hypersensitivity. He was amicably divorced from Rebecca Bois, who was unaware of his EHS, a few years before the events of "Better Call Saul".


title: Chuck McGill

text: Although in the first season it seemed that he was initially supportive of Jimmy, Chuck harbored resentful feelings toward him because of his conman past and charisma, in addition to Jimmy's approach to his career. From the second season onward, Chuck transforms into Jimmy's nemesis. His betrayal of and opposition to Jimmy and his subsequent death serve as a catalyst for Jimmy's transformation into Saul Goodman. Chuck's influence also deeply affects Howard Hamlin and Kim Wexler.


title: Chuck McGill

text: Chuck's character development and McKean's performance throughout the first three seasons received critical acclaim, with many critics arguing that McKean gave the best performance on television throughout 2017.


title: Chuck McGill

text: Michael McKean had previously worked with Vince Gilligan as the recurring character Morris Fletcher who first appeared in "The X-Files" episode "Dreamland." The two kept in touch since about potential projects, although during that time much of McKean's work was in New York City for Broadway theatre while Gilligan was in Los Angeles working in television.


title: Chuck McGill

text: When Gilligan eventually contacted McKean about acting in "Better Call Saul," he accepted the role knowing only the bare minimum regarding Chuck's electromagnetic sensitivity, since he was a fan of "Breaking Bad" and trusted Gilligan.


title: Chuck McGill

text: When filming of "Better Call Saul" started in 2014, McKean had to initially split his time between playing Chuck and performing in "All the Way", a Broadway play that coincidentally also starred Bryan Cranston who had played Walter White in "Breaking Bad". When McKean's casting was announced in April 2014, his character was deliberately misnamed as "Dr. Thurber," which McKean says was based on humorist James Thurber. Chuck's real name, Charles Lindbergh McGill, was inspired by the aviator Charles Lindbergh.


title: Chuck McGill

text: In interviews, McKean has stated that while Chuck did make efforts to foil Jimmy's attempts to get ahead as a lawyer, it wasn't always planned that Chuck would resort to underhanded tricks. He described Chuck as a person who, until the onset of his belief that he suffered from electromagnetic sensitivity, had "followed all the rules" and who suddenly saw all he had slip away. For this reason, Chuck could not understand how, in contrast, someone like Jimmy who didn't follow the rules could be thriving. Gilligan said that Chuck was originally planned as a Mycroft Holmes character, emotionally damaged but supportive of Jimmy's efforts, with Howard Hamlin to serve as the antagonist. However, as they filmed the initial episodes and saw the interactions, the writing team came to the idea of making Chuck the antagonist, while Howard would be more supportive of Jimmy, belying his outward rigor.


title: Chuck McGill

text: To aid in their portrayals of the characters, McKean and Odenkirk discussed Chuck and Jimmy's relationships with their parents and the way their parents would have treated them.


title: Chuck McGill

text: McKean stated that Gilligan and Gould told actors at the start of the season where generally they would like to see the characters go. Eventually, with little notice, Gilligan and Gould would give more specific direction to actors. Despite the short notice, McKean trusted that the showrunners were doing the right thing with the character.


title: Chuck McGill

text: Around the time of filming the third season's seventh episode "Expenses," McKean received Chuck's "death call." Gilligan and Gould informed him that Chuck would die in that season's finale, the tenth episode, "Lantern." McKean had been expecting the call based on the character's arc and had no regrets or issues with it. He said, "Chuck did not belong in Jimmy’s universe by the time he becomes Saul Goodman, so I knew that it was very possible [Chuck would die before that]."


title: Chuck McGill

text: Chuck McGill was born in 1944, and grew up in Cicero, Illinois. At the age of 14, he graduated from Francis Xavier High School as valedictorian, the youngest graduate in the school's history. He completed his undergraduate degree at the University of Pennsylvania and later graduated "magna cum laude" from Georgetown University Law Center. After clerking at both the Delaware Court of Chancery and the United States Court of Appeals for the Tenth Circuit, Chuck joined George Hamlin's solo practice in Albuquerque, New Mexico. Over the next 23 years, the two men, later joined by George's son Howard, built Hamlin, Hamlin and McGill into one of the largest law firms in the Southwestern United States. Early in his career, Chuck excelled in criminal law, famously arguing and winning the precedent-setting case of "State v. Gonzalez."


title: Chuck McGill

text: Ten years prior to the events of ""Better Call Saul"", Chuck defended his younger brother Jimmy after Jimmy defecated through the sunroof of a romantic rival's BMW, unaware the man's children were in the backseat. As a condition of helping Jimmy, Chuck demanded that Jimmy abandon his work as a con artist and take a legitimate job in HHM's mailroom. While working in HHM's mailroom, Jimmy was inspired by Chuck's skill as an attorney and decided to become one as well. To that end, Jimmy secretly completed his college degree, attended a correspondence law school, and passed the bar exam. He also became friendly, then romantically involved, with Kim Wexler, a law student who also worked in the mailroom and later became an associate attorney at HHM. Unlike Kim, Jimmy was not hired by HHM as an attorney and he left the firm's mailroom in order to build his solo law practice.


title: Chuck McGill

text: Around the time of his divorce from Rebecca Bois, Chuck began to think that he suffered from electromagnetic hypersensitivity and took a leave of absence from HHM. During this time, Jimmy took care of Chuck by buying and delivering his groceries and newspapers every day.


title: Chuck McGill

text: Jimmy continues to help Chuck with daily chores at his home. Although Chuck has taken a leave of absence, he maintains his position as a senior partner. Howard attempts to buy out Chuck's share of HHM with a token payment, but Jimmy makes Howard back down by demanding that Howard pay Chuck the full value.


title: Chuck McGill

text: Jimmy stages a fake rescue of a billboard worker to drum up publicity for his firm. Jimmy removes Chuck's local newspaper from his daily delivery to hide the fake rescue from Chuck. Chuck resorts to stealing the neighbor's paper (leaving $5 as payment). This leads to the police breaking into his home and tasing him. Chuck is taken to the hospital, and the doctor proves to Jimmy that Chuck's illness is psychosomatic. Jimmy refuses the doctor's recommendation to have Chuck committed to a mental institution and insists that he can care for Chuck in Chuck's home.


title: Chuck McGill

text: Jimmy suspects the Sandpiper Crossing retirement community is overcharging its residents. He collects shredded documents from the trash and starts piecing them together at Chuck's house. Chuck is impressed with Jimmy's legal instincts and steps in to help, discovering key documents that prove Jimmy is correct. Jimmy and Chuck attempt to get Sandpiper to settle the case out of court, but Sandpiper's lawyers refuse. Jimmy and Chuck begin a class action lawsuit and continue to collect evidence, which rekindles Chuck's enthusiasm for the law. While working with Jimmy, he absentmindedly goes outside to retrieve documents from Jimmy's car without his usual electromagnetic hypersensitivity precautions. Chuck suggests the case is too large for the two of them alone and that they should get HHM's help. Howard agrees to take the case and offers Jimmy a small of counsel fee and a percentage of the judgment or settlement but cuts him out of active participation.


title: Chuck McGill

text: Jimmy discovers that Chuck secretly used Howard to get him off the case—the same way Chuck used Howard to block Jimmy from becoming an attorney at HHM. Jimmy confronts Chuck, who tells Jimmy that he doesn't consider him a "real lawyer" since he is still the same "Slippin' Jimmy" from Cicero. Jimmy cuts ties with Chuck and arranges for Howard to take over Chuck's care.


title: Chuck McGill

text: Howard assigns Ernesto to care for Chuck. As the Sandpiper case grows, HHM brings in Davis & Main to assist. D&M hires Jimmy as an associate due to his familiarity with the case and rapport with the clients.


title: Chuck McGill

text: Chuck becomes suspicious after Jimmy uses questionable tactics to obtain new plaintiffs. Jimmy produces a television ad to reach even more potential plaintiffs and airs it without approval from Davis & Main. Jimmy decides to quit and behaves in a way that forces Davis & Main to terminate him without cause.


title: Chuck McGill

text: Kim, who knew of Jimmy's ad but did not inform the partners at HHM, is reassigned to entry-level document review work. To regain Howard's favor, she brings in a new client, Mesa Verde bank. Despite this, Howard keeps Kim in document review. Kim leaves HHM to start her own firm in an office space shared with Jimmy. She initially persuades Mesa Verde to become her client, but Howard and Chuck succeed in retaining Mesa Verde's business.


title: Chuck McGill

text: Chuck's electromagnetic hypersensitivity symptoms reappear as the result of his trip to HHM's offices to meet with Mesa Verde's president and counsel. Ernesto calls Jimmy for help and Jimmy offers to stay with Chuck overnight. Jimmy uses the opportunity to alter documents Chuck has prepared for a new Mesa Verde branch application. When the state banking board reviews the application, it discovers the errors, which result in a delay. Mesa Verde's president and counsel take the bank's business to Kim. Chuck immediately suspects Jimmy sabotaged him. Kim infers Jimmy's guilt and tells him if he left any evidence, Chuck will find it. Jimmy goes to the copy store where he altered the documents, intending to bribe the clerk for his silence. Ernesto is already there, having investigated copy stores throughout Albuquerque on Chuck's behalf. Ernesto leaves to pick up Chuck and bring him back to speak with the clerk. Jimmy bribes the clerk, then waits across the street for Chuck to arrive. Chuck attempts to question the clerk, but his electromagnetic hypersensitivity causes him to collapse and hit his head on the counter. Jimmy hesitates about whether to reveal his presence, but enters the store, administers first aid, and has the clerk summon an ambulance. At the hospital, Chuck wonders how Jimmy was on the scene so quickly, and Ernesto falsely claims to have called him out of concern for Chuck's health. Chuck later fakes a major mental breakdown, causing Jimmy to confess to the document tampering in an effort to calm Chuck down. After Jimmy leaves Chuck's home, Chuck reveals a hidden voice recorder, which he activated before Jimmy's arrival.


title: Chuck McGill

text: Chuck promises Jimmy consequences for his Mesa Verde fraud. Chuck and Howard discuss the recording, which Howard says is not admissible in court, but Chuck arranges for Ernesto to hear it, then swears him to silence. As Chuck expected, Ernesto tells Kim, who then tells Jimmy. Unsure of Chuck's plan, Kim wants Jimmy to let Chuck make the first move, but Jimmy breaks into Chuck's house and destroys the recording in the presence of Chuck, a private investigator, and Howard, resulting in Jimmy's arrest. Chuck suggests to the assistant district attorney that Jimmy could avoid prison by confessing to the break-in and making the confession available to the state bar association. With Jimmy facing disbarment, Kim offers to help him fight the charges.


title: Chuck McGill

text: Chuck admits to Kim that he has a copy of the recording and intends to use it at Jimmy's bar disciplinary hearing, which means Jimmy and Kim will be able to cross-examine him after he authenticates it. Kim cancels the repairman Chuck had called to fix the door Jimmy destroyed during the break-in and Jimmy asks Mike Ehrmantraut to pose as a repairman; Mike fixes the door while clandestinely photographing Chuck's home to document his bizarre living conditions. The hearing room is prepared for Chuck's testimony, including turning off all electrical devices and storing cell phones outside the room. Jimmy invites Chuck's ex-wife Rebecca to the hearing, claiming Chuck is in distress and needs her help, but Chuck sees it as an attempt to rattle him before he testifies. When Jimmy cross-examines Chuck about how sensitive he is to electricity, Chuck suspects a trick and accuses Jimmy of keeping his cell phone. Jimmy then reveals that he had Huell Babineaux secretly place Jimmy's cell phone battery in Chuck's pocket, and Chuck carried it for more than an hour without noticing. The suggestion that his illness is mental unnerves Chuck, who launches an extended tirade about Jimmy; he realizes too late that his outburst has shocked the entire courtroom into silence.


title: Chuck McGill

text: Jimmy is given a year's suspension, but not disbarred. Chuck shutters himself in his home, and Rebecca tries to get Jimmy to help her talk to him, but Jimmy refuses. Howard suggests Chuck consider Jimmy's suspension a victory and move on, and Chuck seems to agree. The possibility that his illness is psychosomatic leads Chuck to begin seeing Dr. Cruz, a therapist who helps him cope with his symptoms to the point where he can walk outside and perform chores such as grocery shopping.


title: Chuck McGill

text: When Jimmy meets with his malpractice insurer to obtain a refund on his premium, he finds that his policy must remain in effect during his suspension. He feigns an emotional breakdown about Chuck's condition, which prompts the insurance company's representatives to meet with Howard and Chuck. The insurers inform them that HHM's malpractice rates will rise substantially unless another attorney is assigned to constantly supervise Chuck. Chuck wants to fight, but Howard encourages him to retire. Chuck then sues HHM, hoping this will force Howard to back down. To his surprise, Howard buys out Chuck's share of the partnership, using personal funds and loans to make the first of three $3 million payments. Howard then announces that Chuck has retired, effective immediately.


title: Chuck McGill

text: When Kim is hospitalized after a car crash, Jimmy tries to make amends with Chuck but Chuck rebuffs him, saying that Jimmy was never really all that important to him. Chuck's EHS symptoms re-emerge and he becomes obsessed with finding a device that is causing his electric meter to run. He removes all his appliances, tears the walls open to remove the wiring, and finally destroys the meter. Having reached his breaking point, Chuck sits at his desk and kicks it until he knocks over a gas lantern, setting his house on fire.


title: Chuck McGill

text: Chuck dies in the fire he set. Jimmy is shocked at Chuck's death and believes himself to be at fault because of his interaction with the insurance company. Howard believes Chuck's death was his fault because he forced Chuck to retire. Upon hearing this, Jimmy allows Howard to shoulder the blame and regains his usual upbeat demeanor. Chuck leaves most of his estate to his ex-wife, with only a $5,000 bequest to Jimmy, which is just enough to prevent him from contesting the will. When Kim picks up Jimmy's inheritance check, Howard gives her a letter Chuck wrote to Jimmy. Kim eventually gives it to Jimmy, who reads it in her presence. The letter is undated but was apparently written while Jimmy was working in the HHM mailroom. It praises Jimmy's efforts to leave his conman past behind and work an honest job but is also vaguely condescending. Jimmy dismissively calls it "nice", but Kim is visibly upset by it. Jimmy learns HHM is struggling financially because of the payments due to Chuck's estate, and because recent events caused them to lose clients.


title: Chuck McGill

text: A year later, Jimmy attends his reinstatement hearing and is surprised to learn that his suspension will be continued because he failed to address the conflict with Chuck during questioning from the panel members. Jimmy appeals, and in preparation for the hearing Kim helps him fake several public displays of grief over Chuck's death. At the appeal, Jimmy begins to read from Chuck's letter, then stops and gives an impromptu speech in which he vows to be worthy of the McGill name if reinstated. Jimmy's appeal succeeds, but he reveals to Kim that the speech was an insincere performance and he plans to practice law as Saul Goodman.


title: Chuck McGill

text: Chuck appears in two flashbacks. In the first set in 1993, the staff at HHM congratulate pre-illness Chuck after he argues obscure case law to successfully close a lucrative case for the firm. The reception Chuck receives serves as a catalyst for Jimmy's subsequent legal studies, which he carries out in secret. In the second, Chuck appears with Jimmy before the board of bar examiners during the admission of new attorneys in 1998 and provides Jimmy's ritual introduction and character reference. Following the ceremony, Chuck attends a celebration for Jimmy at a karaoke bar. After Jimmy persuades an initially reluctant Chuck to sing "The Winner Takes It All" with him, Chuck takes center stage from his brother. The scene cuts to both of them at Jimmy's home, drunk and singing.


title: Chuck McGill

text: Chuck does not appear, but his life and death continue to affect Jimmy, Howard, and Kim. Jimmy has fully embraced the Saul Goodman alias he used while selling prepaid phones, telling Kim that continuing to use it gives him an instant client base for a criminal law practice. When Kim tries to talk him out of practicing law as Saul, Jimmy indicates that it is necessary if he is to escape the shadow left by Chuck's professional legacy. Chuck becomes Kim's posthumous brother-in-law when she marries Jimmy, a tactic that enables Jimmy to tell Kim the truth about his work as Saul by attaching spousal privilege to their conversations.


title: Chuck McGill

text: Howard proposes hiring Jimmy at HHM, assuring him that the feud was between Jimmy and Chuck, not the firm. Jimmy is unsettled by the reminder of his past and refuses Howard's offer. Jimmy is so unnerved that he irritates Howard by using bowling balls to vandalize his car and prostitutes to disrupt his business lunch with Clifford Main. When Howard confronts Jimmy and rescinds his offer, Jimmy responds by lambasting Howard for causing Chuck's death and angrily tells him that as Saul Goodman, he has grown too big for the constraints of a job at HHM.


title: Chuck McGill

text: When Howard sees Kim at the courthouse, she tells him she quit Schweikart and Cokely and her work for Mesa Verde so that she can concentrate on "pro bono" criminal defense cases. Howard assumes Jimmy is behind this decision and tells Kim about Jimmy's recent harassment campaign against him. Kim laughs at Howard, says she is insulted by the idea that she cannot decide for herself, and tells him he does not understand Jimmy. Howard angrily tells Kim that Chuck really did know Jimmy better than anyone else.


title: Chuck McGill

text: When Cary, a new HHM employee, drops several cans of soda while preparing for the mediation session connected to the Sandpiper lawsuit, Howard shows him the trick of rotating the can several times to prevent it from exploding when it is opened, a method he says he learned from Chuck. Howard goes on to tell Cary that Chuck was the greatest legal mind he's ever known. While confronting Jimmy and Kim after their plot humiliates him and forces a settlement of the Sandpiper case, Howard reminds Jimmy and Kim of Chuck's view that Jimmy cannot stop himself from causing harm to everyone around him.


title: Chuck McGill

text: In the series finale, Chuck appears in a flashback set before the events of "Better Call Saul", with Jimmy helping him manage his EHS symptoms by bringing him food deliveries. When Chuck asks why he does it, Jimmy states that they are brothers and that Chuck would do the same for him. This assertion seems to make Chuck briefly uncomfortable and he then insists that Jimmy stay so they could talk. Chuck asks if Jimmy ever considered a different life path, and Jimmy, uninterested in engaging with Chuck, retorts that Chuck never changed his path. Before Jimmy leaves, Chuck notes that "we always end up having the same conversation, don't we?"


title: Chuck McGill

text: McKean's portrayal of Chuck McGill has received critical acclaim. For his performances, he won a Satellite Award for Best Supporting Actor in 2018 at the 22nd Satellite Awards. McKean later received a nomination for a Primetime Emmy Award for Outstanding Guest Actor in a Drama Series for his guest appearance in the fourth season.


title: Chuck McGill

text: The first season episode "Pimento" received critical acclaim, with many critics praising the performances from Bob Odenkirk and McKean. Roth Cornet of IGN gave the episode a 9.0 rating; concluding: "Better Call Saul revealed the betrayal that may very well be at the heart of what turns Jimmy McGill into Saul Goodman, as this stunningly crafted story continues to unfold."


title: Chuck McGill

text: The third season episode "Chicanery" received universal acclaim, with some critics considering it to be a series-best. Terri Schwartz of IGN awarded the episode a perfect 10 out of 10, describing it as "the best episode of Better Call Saul to date". It currently holds a perfect 100% on Rotten Tomatoes with an average score of 9.5/10 based on 12 reviews. The site consensus reads: "The war between Jimmy and Chuck comes to an unprecedented climax in the heartbreaking, sober, and defining 'Chicanery', an episode that clearly cements "Better Call Saul" as essential television." TVLine named McKean the "Performer of the Week" for his performance in this episode, writing it was the "finest showcase yet for his fascinatingly layered performance as Jimmy's brother Chuck McGill." Donna Bowman of "The A.V. Club", who gave the episode an "A" rating, praised the courtroom scene, saying "it isn’t just to give us the satisfaction of a courtroom drama, the neat ending where the truth comes out. The brilliance of this structure is to give us a slow-motion view of the heavens falling, an outcome methodically pursued by Kim and Jimmy, which nevertheless seems to give them no satisfaction."


title: Chuck McGill

text: Many critics were disappointed when McKean, who was said to have given "one of the best performances by anyone in TV all year", failed to secure an Emmy nomination in 2017 while his co-star Jonathan Banks did.


title: Chuck McGill

text: Matt Zoller Seitz of "Vulture" considers him to be the "Better Call Saul" equivalent of "Breaking Bad" character Skyler White.


title: Chuck McGill

text: In 2020, "Screen Rant" ranked him #9 amongst main characters for likeability, only above Hector Salamanca. They said: "The first few seasons of the show go into a lot of detail showing how Jimmy lost his way in his career as an honest lawyer. A big part of the issue was due to his own brother, Chuck McGill. Chuck is a successful lawyer in his own right but instead of being proud of Jimmy following in his footsteps, he tried to hold him back."


title: Satyr

text: In Greek mythology, a satyr (, ), also known as a silenus or silenos ( ), is a male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection. Early artistic representations sometimes include horse-like legs, but, by the sixth century BC, they were more often represented with human legs. Comically hideous, they have mane-like hair, bestial faces, and snub noses and are always shown naked. Satyrs were characterized by their ribaldry and were known as lovers of wine, music, dancing, and women. They were companions of the god Dionysus and were believed to inhabit remote locales, such as woodlands, mountains, and pastures. They often attempted to seduce or rape nymphs and mortal women alike, usually with little success. They are sometimes shown masturbating or engaging in bestiality.


title: Satyr

text: In classical Athens, satyrs made up the chorus in a genre of play known as a "satyr play", which was a parody of tragedy and known for its bawdy and obscene humor. The only complete surviving play of this genre is "Cyclops" by Euripides, although a significant portion of Sophocles's "Ichneutae" has also survived. In mythology, the satyr Marsyas is said to have challenged the god Apollo to a musical contest and been flayed alive for his hubris. Though superficially ridiculous, satyrs were also thought to possess useful knowledge, if they could be coaxed into revealing it. The satyr Silenus was the tutor of the young Dionysus and a story from Ionia told of a "silenos" who gave sound advice when captured.


title: Satyr

text: Over the course of Greek history, satyrs gradually became portrayed as more human and less bestial. They also began to acquire goat-like characteristics in some depictions as a result of conflation with the Pans, plural forms of the god Pan with the legs and horns of goats. The Romans identified satyrs with their native nature spirits, fauns. Eventually the distinction between the two was lost entirely. Since the Renaissance, satyrs have been most often represented with the legs and horns of goats. Representations of satyrs cavorting with nymphs have been common in western art, with many famous artists creating works on the theme. Since the beginning of the twentieth century, satyrs have generally lost much of their characteristic obscenity, becoming more tame and domestic figures. They commonly appear in works of fantasy and children's literature, in which they are most often referred to as "fauns".


title: Satyr

text: The etymology of the term "satyr" (, "") is unclear, and several different etymologies have been proposed for it, including a possible Pre-Greek origin. Some scholars have linked the second part of name to the root of the Greek word θηρίον ("thēríon"), meaning "wild animal". This proposal may be supported by the fact that Euripides at one point refers to satyrs as "theres". Another proposed etymology derives the name from an ancient Peloponnesian word meaning "the full ones", alluding to their permanent state of sexual arousal. Eric Partridge suggested that the name may be related to the root "sat-", meaning "to sow", which has also been proposed as the root of the name of the Roman god Saturn. Satyrs are usually indistinguishable from "silenoi", whose iconography is virtually identical. According to "Brewer's Dictionary of Phrase and Fable", the name "satyr" is sometimes derogatorily applied to a "brutish or lustful man". The term satyriasis refers to a medical condition in males characterized by excessive sexual desire. It is the male equivalent of nymphomania.


title: Satyr

text: According to classicist Martin Litchfield West, satyrs and silenoi in Greek mythology are similar to a number of other entities appearing in other Indo-European mythologies, indicating that they probably go back, in some vague form, to Proto-Indo-European mythology. Like satyrs, these other Indo-European nature spirits are often human-animal hybrids, frequently bearing specifically equine or asinine features. Human-animal hybrids known as Kiṃpuruṣas or Kiṃnaras are mentioned in the "Rāmāyaṇa", an Indian epic poem written in Sanskrit. According to Augustine of Hippo (354 – 430 AD) and others, the ancient Celts believed in "dusii", which were hairy demons believed to occasionally take human form and seduce mortal women. Later figures in Celtic folklore, including the Irish "bocánach", the Scottish "ùruisg" and "glaistig", and the Manx "goayr heddagh", are part human and part goat. The lexicographer Hesychius of Alexandria (fifth or sixth century AD) records that the Illyrians believed in satyr-like creatures called "Deuadai". The Slavic "lešiy" also bears similarities to satyrs, since he is described as being covered in hair and having "goat's horns, ears, feet, and long clawlike fingernails."


title: Satyr

text: Like satyrs, these similar creatures in other Indo-European mythologies are often also tricksters, mischief-makers, and dancers. The "lešiy" was believed to trick travelers into losing their way. The Armenian Pay(n) were a group of male spirits said to dance in the woods. In Germanic mythology, elves were also said to dance in woodland clearings and leave behind fairy rings. They were also thought to play pranks, steal horses, tie knots in people's hair, and steal children and replace them with changelings. West notes that satyrs, elves, and other nature spirits of this variety are a "motley crew" and that it is difficult to reconstruct a prototype behind them. Nonetheless, he concludes that "we can recognize recurrent traits" and that they can probably be traced back to the Proto-Indo-Europeans in some form.


title: Satyr

text: On the other hand, a number of commentators have noted that satyrs are also similar to beings in the beliefs of ancient Near Eastern cultures. Various demons of the desert are mentioned in ancient Near Eastern texts, although the iconography of these beings is poorly-attested. Beings possibly similar to satyrs called "śě’îrîm" are mentioned several times in the Hebrew Bible. "Śĕ’îr" was the standard Hebrew word for "he-goat", but it could also apparently sometimes refer to demons in the forms of goats. They were evidently subjects of veneration, because Leviticus 17:7 forbids Israelites from making sacrificial offerings to them and 2 Chronicles 11:15 mentions that a special cult was established for the "śě’îrîm" of Jeroboam I. Like satyrs, they were associated with desolate places and with some variety of dancing. Isaiah 13:21 predicts, in Karen L. Edwards's translation: "But "wild animals" ["ziim"] will lie down there, and its houses will be full of "howling creatures" ["ohim"]; there ostriches will live, and there "goat-demons" ["śĕ’îr"] will dance." Similarly, Isaiah 34:14 declares: ""Wildcats" ["ziim"] shall meet with "hyenas" ["iim"], "goat-demons" ["śĕ’îr"] shall call to each other; there too "Lilith" ["lilit"] shall repose and find a place to rest." "Śě’îrîm" were understood by at least some ancient commentators to be goat-like demons of the wilderness. In the Latin Vulgate translation of the Old Testament, "śĕ’îr" is translated as ""pilosus"", which also means "hairy". Jerome, the translator of the Vulgate, equated these figures with satyrs. Both satyrs and "śě’îrîm" have also been compared to the jinn of Pre-Islamic Arabia, who were envisioned as hairy demons in the forms of animals who could sometimes change into other forms, including human-like ones.


title: Satyr

text: In archaic and classical Greek art, satyrs are shown with the ears and tails of horses. They walk upright on two legs, like human beings. They are usually shown with bestial faces, snub noses, and manelike hair. They are often bearded and balding. Like other Greek nature spirits, satyrs are always depicted nude. Sometimes they also have the legs of horses, but, in ancient art, including both vase paintings and in sculptures, satyrs are most often represented with human legs and feet.


title: Satyr

text: Satyrs' genitals are always depicted as either erect or at least extremely large. Their erect phalli represent their association with wine and women, which were the two major aspects of their god Dionysus's domain. In some cases, satyrs are portrayed as very human-like, lacking manes or tails. As time progressed, this became the general trend, with satyrs losing aspects of their original bestial appearance over the course of Greek history and gradually becoming more and more human. In the most common depictions, satyrs are shown drinking wine, dancing, playing flutes, chasing nymphs, or consorting with Dionysus. They are also frequently shown masturbating or copulating with animals. In scenes from ceramic paintings depicting satyrs engaging in orgies, satyrs standing by and watching are often shown masturbating.


title: Satyr

text: One of the earliest written sources for satyrs is the "Catalogue of Women", which is attributed to the Boeotian poet Hesiod. Here satyrs are born alongside the nymphs and Kouretes and are described as "good-for-nothing, prankster Satyrs". Satyrs were widely seen as mischief-makers who routinely played tricks on people and interfered with their personal property. They had insatiable sexual appetites and often sought to seduce or ravish both nymphs and mortal women alike, though these attempts were not always successful. Satyrs almost always appear in artwork alongside female companions of some variety. These female companions may be clothed or nude, but the satyrs always treat them as mere sexual objects. A single elderly satyr named Silenus was believed to have been the tutor of Dionysus on Mount Nysa. After Dionysus grew to maturity, Silenus became one of his most devout followers, remaining perpetually drunk.


title: Satyr

text: This image was reflected in the classical Athenian satyr play. Satyr plays were a genre of plays defined by the fact that their choruses were invariably made up of satyrs. These satyrs are always led by Silenus, who is their "father". According to Carl A. Shaw, the chorus of satyrs in a satyr play were "always trying to get a laugh with their animalistic, playfully rowdy, and, above all, sexual behavior." The satyrs play an important role in driving the plot of the production, without any of them actually being the lead role, which was always reserved for a god or tragic hero. Many satyr plays are named for the activity in which the chorus of satyrs engage during the production, such as Δικτυουλκοί ("Diktyoulkoí"; "Net-Haulers"), Θεωροὶ ἢ Ἰσθμιασταί ("Theōroì ē Isthmiastaí"; "Spectators or Competitors at the Isthmian Games"), and Ἰχνευταί ("Ichneutaí"; "Searchers"). Like tragedies, but unlike comedies, satyr plays were set in the distant past and dealt with mythological subjects. The third or second-century BC philosopher Demetrius of Phalerum famously characterized the satiric genre in his treatise "De Elocutione" as the middle ground between tragedy and comedy: a "playful tragedy" (, "tragōdía paízdousa").


title: Satyr

text: The only complete extant satyr play is Euripides's "Cyclops", which is a burlesque of a scene from the eighth-century BC epic poem, the "Odyssey", in which Odysseus is captured by the Cyclops Polyphemus in a cave. In the play, Polyphemus has captured a tribe of satyrs led by Silenus, who is described as their "Father", and forced them to work for him as his slaves. After Polyphemus captures Odysseus, Silenus attempts to play Odysseus and Polyphemus off each other for his own benefit, primarily by tricking them into giving him wine. As in the original scene, Odysseus manages to blind Polyphemus and escape. Approximately 450 lines, most of which are fragmentary, have survived of Sophocles's satyr play "Ichneutae" ("Tracking Satyrs"). In the surviving portion of the play, the chorus of satyrs are described as "lying on the ground like hedgehogs in a bush, or like a monkey bending over to fart at someone." The character Cyllene scolds them: "All you [satyrs] do you do for the sake of fun!... Cease to expand your smooth phallus with delight. You should not make silly jokes and chatter, so that the gods will make you shed tears to make me laugh."


title: Satyr

text: In Dionysius I of Syracuse's fragmentary satyr play "Limos" ("Starvation"), Silenus attempts to give the hero Heracles an enema. A number of vase paintings depict scenes from satyr plays, including the Pronomos Vase, which depicts the entire cast of a victorious satyr play, dressed in costume, wearing shaggy leggings, erect phalli, and horse tails. The genre's reputation for crude humor is alluded to in other texts as well. In Aristophanes's comedy "Thesmophoriazusae", the tragic poet Agathon declares that a dramatist must be able to adopt the "personae" of his characters in order to successfully portray them on stage. In lines 157–158, Euripides's unnamed relative retorts: "Well, let me know when you're writing satyr plays; I'll get behind you with my hard-on and show you how." This is the only extant reference to the genre of satyr plays from a work of ancient Greek comedy and, according to Shaw, it effectively characterizes satyr plays as "a genre of 'hard-ons.'"


title: Satyr

text: In spite of their bawdy behavior, however, satyrs were still revered as semi-divine beings and companions of the god Dionysus. They were thought to possess their own kind of wisdom that was useful to humans if they could be convinced to share it. In Plato's "Symposium", Alcibiades praises Socrates by comparing him to the famous satyr Marsyas. He resembles him physically, since he is balding and has a snub-nose, but Alcibiades contends that he resembles him mentally as well, because he is "insulting and abusive", in possession of irresistible charm, "erotically inclined to beautiful people", and "acts as if he knows nothing". Alcibiades concludes that Socrates's role as a philosopher is similar to that of the paternal satyr Silenus, because, at first, his questions seem ridiculous and laughable, but, upon closer inspection, they are revealed to be filled with much wisdom. One story, mentioned by Herodotus in his "Histories" and in a fragment by Aristotle, recounts that King Midas once captured a silenus, who provided him with wise philosophical advice.


title: Satyr

text: According to classicist William Hansen, although satyrs were popular in classical art, they rarely appear in surviving mythological accounts. Different classical sources present conflicting accounts of satyrs' origins. According to a fragment from the Hesiodic "Catalogue of Women", satyrs are sons of the five granddaughters of Phoroneus and therefore siblings of the Oreads and the Kouretes. The satyr Marsyas, however, is described by mythographers as the son of either Olympos or Oiagros. Hansen observes that "there may be more than one way to produce a satyr, as there is to produce a Cyclops or a centaur." The classical Greeks recognized that satyrs obviously could not self-reproduce since there were no female satyrs, but they seem to have been unsure whether satyrs were mortal or immortal.


title: Satyr

text: Rather than appearing "en masse" as in satyr-plays, when satyrs appear in myths it is usually in the form of a single, famous character. The comic playwright Melanippides of Melos ( 480–430 BC) tells the story in his lost comedy "Marsyas" of how, after inventing the "aulos", the goddess Athena looked in the mirror while she was playing it. She saw how blowing into it puffed up her cheeks and made her look silly, so she threw the aulos away and cursed it so that whoever picked it up would meet an awful death. The aulos was picked up by the satyr Marsyas, who challenged Apollo to a musical contest. They both agreed beforehand that whoever won would be allowed to do whatever he wanted to the loser. Marsyas played the aulos and Apollo played the lyre. Apollo turned his lyre upside-down and played it. He asked Marsyas to do the same with his instrument. Since he could not, Apollo was deemed to victor. Apollo hung Marsyas from a pine tree and flayed him alive to punish him for his hubris in daring to challenge one of the gods. Later, this story became accepted as canonical and the Athenian sculptor Myron created a group of bronze sculptures based on it, which was installed before the western front of the Parthenon in around 440 BC. Surviving retellings of the legend are found in the "Library" of Pseudo-Apollodorus, Pausanias's "Guide to Greece", and the "Fabulae" of Pseudo-Hyginus.


title: Satyr

text: In a myth referenced in multiple classical texts, including the "Bibliotheke" of Pseudo-Apollodorus and the "Fabulae" of Pseudo-Hyginus, a satyr from Argos once attempted to rape the nymph Amymone, but she called to the god Poseidon for help and he launched his trident at the satyr, knocking him to the ground. This myth may have originated from Aeschylus's lost satyr play "Amymone". Scenes of one or more satyrs chasing Amymone became a common trope in Greek vase paintings starting in the late fifth century BC. Among the earliest depictions of the scene come from a bell krater in the style of the Peleus Painter from Syracuse (PEM 10, pl. 155) and a bell krater in the style of the Dinos Painter from Vienna (DM 7).


title: Satyr

text: The names of the satyrs according to various vase paintings were: Babacchos, Briacchos, Dithyrambos, Demon, Dromis, Echon, Hedyoinos ("Sweet Wine"), Hybris ("Insolence"), Hedymeles, ("Sweet Song"), Komos ("Revelry"), Kissos ("Ivy"), Molkos, Oinos, Oreimachos, Simos ("Snub-nose"), Terpon and Tyrbas ("Rout").


title: Satyr

text: The iconography of satyrs was gradually conflated with that of the Pans, plural forms of the god Pan, who were regularly depicted with the legs and horns of a goat. By the Hellenistic Period (323–31 BC), satyrs were beginning to sometimes be shown with goat-like features. Meanwhile, both satyrs and Pans also continued to be shown as more human and less bestial. Scenes of satyrs and centaurs were very popular during the Hellenistic Period. They often appear dancing or playing the aulos. The maenads that often accompany satyrs in Archaic and Classical representations are often replaced in Hellenistic portrayals with wood nymphs.


title: Satyr

text: Artists also began to widely represent scenes of nymphs repelling the unwanted advances of amorous satyrs. Scenes of this variety were used to express the dark, beastly side of human sexuality at a remove by attributing that sexuality to satyrs, who were part human and part animal. In this way, satyrs became vehicles of a metaphor for a phenomenon extending far beyond the original narrative purposes in which they had served during earlier periods of Greek history. Some variants on this theme represent a satyr being rebuffed by a hermaphrodite, who, from the satyr's perspective, appears to be a beautiful, young girl. These sculptures may have been intended as kind of sophisticated erotic joke.


title: Satyr

text: The Athenian sculptor Praxiteles's statue "Pouring Satyr" represented the eponymous satyr as very human-like. The satyr was shown as very young, in line with Praxiteles's frequent agenda of representing deities and other figures as adolescents. This tendency is also attested in the descriptions of his sculptures of Dionysus and the Archer Eros written in the third or fourth century AD by the art critic Callistratus. The original statue is widely assumed to have depicted the satyr in the act of pouring an "oinochoe" over his head into a cup, probably a "kantharos". Antonio Corso describes the satyr in this sculpture as a "gentle youth" and "a precious and gentle being" with "soft and velvety" skin. The only hints at his "feral nature" were his ears, which were slightly pointed, and his small tail.


title: Satyr

text: The shape of the sculpture was an S-shape, shown in three-quarter view. The satyr had short, boyish locks, derived from those of earlier Greek athletic sculpture. Although the original statue has been lost, a representation of the pouring satyr appears in a late classical relief sculpture from Athens and twenty-nine alleged "copies" of the statue from the time of the Roman Empire have also survived. Olga Palagia and J. J. Pollitt argue that, although the "Pouring Satyr" is widely accepted as a genuine work of Praxiteles, it may not have been a single work at all and the supposed "copies" of it may merely be Roman sculptures repeating the traditional Greek motif of pouring wine at "symposia".


title: Satyr

text: The Romans identified satyrs with their own nature spirits, fauns. Although generally similar to satyrs, fauns differed in that they were usually seen as "shy, woodland creatures" rather than the drunk and boisterous satyrs of the classical Greeks. Also, fauns generally lacked the association Greek satyrs had with secret wisdom. Unlike classical Greek satyrs, fauns were unambiguously goat-like; they had the upper bodies of men, but the legs, hooves, tail, and horns of goats. The first-century BC Roman poet Lucretius mentions in his lengthy poem "De rerum natura" that people of his time believed in "goat-legged" ("capripedes") satyrs, along with nymphs who lived in the mountains and fauns who played rustic music on stringed instruments and pipes.


title: Satyr

text: In Roman-era depictions, satyrs and fauns are both often associated with music and depicted playing the Pan pipes or "syrinx". The poet Virgil, who flourished during the early years of the Roman Empire, recounts a story in his sixth "Eclogue" about two boys who tied up the satyr Silenus while he was in a drunken stupor and forced him to sing them a song about the beginning of the universe. The first-century AD Roman poet Ovid makes Jupiter, the king of the gods, express worry that the viciousness of humans will leave fauns, nymphs, and satyrs without a place to live, so he gives them a home in the forests, woodlands, and mountains, where they will be safe. Ovid also retells the story of Marsyas's hubris. He describes a musical contest between Marsyas, playing the aulos, and the god Apollo, playing the lyre. Marsyas loses and Apollo flays him as punishment.


title: Satyr

text: The Roman naturalist and encyclopedist Pliny the Elder conflated satyrs with gibbons, which he describes using the word "satyrus", a Latinized form of the Greek "satyros". He characterizes them as "a savage and wild people; distinct voice and speech they have none, but in steed thereof, they keep a horrible gnashing and hideous noise: rough they are and hairie all over their bodies, eies they have red like the houlets [owls] and toothed they be like dogs."


title: Satyr

text: The second-century Greek Middle Platonist philosopher Plutarch records a legendary incident in his "Life of Sulla", in which the soldiers of the Roman general Sulla are reported to have captured a satyr sleeping during a military campaign in Greece in 89 BC. Sulla's men brought the satyr to him and he attempted to interrogate it, but it spoke only in an unintelligible sound: a cross between the neighing of a horse and the bleating of a goat. The second-century Greek travel writer Pausanias reports having seen the tombs of deceased silenoi in Judaea and at Pergamon. Based on these sites, Pausanias concludes that silenoi must be mortal.


title: Satyr

text: The third-century Greek biographer Philostratus records a legend in his "Life of Apollonius of Tyana" of how the ghost of an Aethiopian satyr was deeply enamored with the women from the local village and had killed two of them. Then, the philosopher Apollonius of Tyana set a trap for it with wine, knowing that, after drinking it, the ghost-satyr would fall asleep forever. The wine diminished from the container before the onlookers' eyes, but the ghost-satyr himself remained invisible. Once all the wine had vanished, the ghost-satyr fell asleep and never bothered the villagers again. Amira El-Zein notes similarities between this story and later Arabic accounts of jinn. The treatise "Saturnalia" by the fifth-century AD Roman poet Macrobius connects both the word "satyr" and the name "Saturn" to the Greek word for "penis". Macrobius explains that this is on account of satyrs' sexual lewdness. Macrobius also equates Dionysus and Apollo as the same deity and states that a festival in honor of Bacchus is held every year atop Mount Parnassus, at which many satyrs are often seen.


title: Satyr

text: Starting in late antiquity, Christian writers began to portray satyrs and fauns as dark, evil, and demonic. Jerome ( 347 – 420 AD) described them as symbols of Satan on account of their lasciviousness. Despite this, however, satyrs were sometimes clearly distinguished from demons and sometimes even portrayed as noble. Because Christians believed that the distinction between humans and animals was spiritual rather than physical, it was thought that even a satyr could attain salvation. Isidore of Seville ( 560 – 636) records an anecdote later recounted in the "Golden Legend", that Anthony the Great encountered a satyr in the desert who asked to pray with him to their common God. During the Early Middle Ages, features and characteristics of satyrs and the god Pan, who resembled a satyr, became absorbed into traditional Christian iconography of Satan.


title: Satyr

text: Medieval storytellers in Western Europe also frequently conflated satyrs with wild men. Both satyrs and wild men were conceived as part human and part animal and both were believed to possess unrestrained sexual appetites. Stories of wild men during the Middle Ages often had an erotic tone and were primarily told orally by peasants, since the clergy officially disapproved of them. In this form, satyrs are sometimes described and represented in medieval bestiaries, where a satyr is often shown dressed in an animal skin, carrying a club and a serpent. In the "Aberdeen Bestiary", the "Ashmole Bestiary", and MS Harley 3244, a satyr is shown as a nude man holding a wand resembling a jester's club and leaning back, crossing his legs. Satyrs are sometimes juxtaposed with apes, which are characterized as "physically disgusting and akin to the Devil". In other cases, satyrs are usually shown nude, with enlarged phalli to emphasize their sexual nature. In the Second-Family Bestiary, the name "satyr" is used as the name of a species of ape, which is described as having a "very agreeable face, restless, however, in its twitching movements."


title: Satyr

text: During the Renaissance, satyrs and fauns began to reappear in works of European art. During the Renaissance, no distinction was made between satyrs and fauns and both were usually given human and goat-like features in whatever proportion the artist deemed appropriate. A goat-legged satyr appears at the base of Michelangelo's statue "Bacchus" (1497). Renaissance satyrs still sometimes appear in scenes of drunken revelry like those from antiquity, but they also sometimes appear in family scenes, alongside female and infant or child satyrs. This trend towards more familial, domestic satyrs may have resulted from conflation with wild men, who, especially in Renaissance depictions from Germany, were often portrayed as living relatively peaceful lives with their families in the wilderness. The most famous representation of a domestic satyr is Albrecht Dürer's 1505 engraving "The Satyr's Family", which has been widely reproduced and imitated. This popular portrayal of satyrs and wild men may have also helped give rise to the later European concept of the noble savage.


title: Satyr

text: Satyrs occupied a paradoxical, liminal space in Renaissance art, not only because they were part human and part beast, but also because they were both antique and natural. They were of classical origin, but had an iconographical canon of their own very different from the standard representations of gods and heroes. They could be used to embody what Stephen J. Campbell calls a "monstrous double" of the category in which human beings often placed themselves. It is in this aspect that satyrs appear in Jacopo de' Barbari's 1495 series of prints depicting satyrs and naked men in combat and in Piero di Cosimo's "Stories of Primitive Man", inspired by Lucretius. Satyrs became seen as "pre-human", embodying all the traits of savagery and barbarism associated with animals, but in human-like bodies. Satyrs also became used to question early modern humanism in ways which some scholars have seen as similar to present-day posthumanism, as in Titian's "Flaying of Marsyas" ( 1570–1576). "The Flaying of Marysas" depicts the scene from Ovid's "Metamorphoses" in which the satyr Marysas is flayed alive. According to Campbell, the people performing the flaying are shown calmly absorbed in their task, while Marsyas himself even displays "an unlikely patience". The painting reflects a broad continuum between the divine and the bestial.


title: Satyr

text: In the 1560 Geneva Bible, the word "sa’ir" in both of the instances in Isaiah is translated into English as "satyr". The 1611 King James Version follows this translation and likewise renders "sa’ir" as "satyr". Edwards states that the King James Version's translation of this phrase and others like it was intended to reduce the strangeness and unfamiliarity of the creatures described in the original Hebrew text by rendering them as names of familiar entities. Edmund Spenser refers to a group of woodland creatures as Satyrs in his epic poem "The Faerie Queene". In Canto VI, Una is wandering through the forest when she stumbles upon a "troupe of Fauns and Satyrs far away Within the wood were dancing in a round." Although Satyrs are often negatively characterized in Greek and Roman mythology, the Satyrs in this poem are docile, helpful creatures. This is evident by the way they help protect Una from Sansloy. Sylvanus, the leader, and the rest of the Satyrs become enamored by Una's beauty and begin to worship her as if she is a deity. However, the Satyrs prove to be simple-minded creatures because they begin to worship the donkey she was riding.


title: Satyr

text: In the seventeenth century, satyrs became identified with great apes. In 1699, the English anatomist Edward Tyson (1651–1708) published an account of his dissection of a creature which scholars have now identified as chimpanzee. In this account, Tyson argued that stories of satyrs, wild men, and other hybrid mythological creatures had all originated from the misidentification of apes or monkeys. The French materialist philosopher Julien Offray de La Mettrie (1709–1751) included a section titled "On savage men, called Satyrs" in his "Oeuvres philosophiques", in which he describes great apes, identifying them with both satyrs and wild men. Many early accounts of the orangutan describe the males as being sexually aggressive towards human women and towards females of its own species, much like classical Greek satyrs. The first scientific name given to this ape was "Simia satyrus".


title: Satyr

text: Relationships between satyrs and nymphs of this period are often portrayed as consensual. This trend is exemplified by the 1623 painting "Satyr and Nymph" by Gerard van Honthorst, which depicts a satisfied satyr and nymph lasciviously fondling each other after engaging in obviously consensual sex. Both are smiling and the nymph is showing her teeth, a sign commonly used by painters of the era to signify that the woman in question is of loose morals. The satyr's tongue is visible as the nymph playfully tugs on his goat beard and he strokes her chin. Even during this period, however, depictions of satyrs uncovering sleeping nymphs are still common, indicating that their traditional associations with rape and sexual violence had not been forgotten.


title: Satyr

text: During the nineteenth century, satyrs and nymphs came to often function as a means of representing sexuality without offending Victorian moral sensibilities. In the novel "The Marble Faun" (1860) by the American author Nathaniel Hawthorne, the Italian count Donatello is described as bearing a remarkable resemblance to one of Praxiteles's marble satyr statues. Like the satyrs of Greek legend, Donatello has a carefree nature. His association with satyrs is further cemented by his intense sexual attraction to the American woman Miriam.


title: Satyr

text: Satyrs and nymphs provided a classical pretext which allowed sexual depictions of them to be seen as objects of high art rather than mere pornography. The French emperor Napoleon III awarded the Academic painter Alexandre Cabanel the Legion of Honour, partly on account of his painting "Nymph Abducted by a Faun". In 1873, another French Academicist William-Adolphe Bouguereau painted "Nymphs and Satyr", which depicts four nude nymphs dancing around "an unusually submissive satyr", gently coaxing him into the water of a nearby stream. This painting was bought that same year by an American named John Wolfe, who displayed it publicly in a prominent location in the bar at the Hoffman House, a hotel he owned on Madison Square and Broadway. Despite its risqué subject, many women came to the bar to view the painting. The painting was soon mass reproduced on ceramic tiles, porcelain plates, and other luxury items in the United States.


title: Satyr

text: In 1876, Stéphane Mallarmé wrote "The Afternoon of a Faun", a first-person narrative poem about a faun who attempts to kiss two beautiful nymphs while they are sleeping together. He accidentally wakes them up. Startled, they transform into white water birds and fly away, leaving the faun to play his pan pipes alone. Claude Debussy composed a symphonic poem "Prélude à l'après-midi d'un faune" ("Prelude to the Afternoon of a Faun"), which was first performed in 1894.The late nineteenth-century German Existentialist philosopher Friedrich Nietzsche was either unaware of or chose to ignore the fact that, in all the earliest representations, satyrs are depicted as horse-like. He accordingly defined a satyr as a "bearded" creature "who derived his name and attributes from the goat." Nietzsche excluded the horse-like satyrs of Greek tradition from his consideration entirely and argued that tragedy had originated from a chorus of men dressed up as satyrs or goats ("tragoi"). Thus, Nietzsche held that tragedy had begun as a Dionysian activity. Nietzsche's rejection of the early evidence for horse-like satyrs was a mistake his critics severely excoriated him for. Nonetheless, he was the first modern scholar to recognize the full importance of satyrs in Greek culture and tradition, as Dionysian symbols of humanity's close ties to the animal kingdom. Like the Greeks, Nietzsche envisioned satyrs as essentially humans stripped down to their most basic and bestial instincts.


title: Satyr

text: In 1908, the French painter Henri Matisse produced his own "Nymph and Satyr" painting, in which the animal nature of the satyr is drastically minimized. The satyr is given human legs, but is exceptionally hairy. The seduction element is removed altogether; the satyr simply extends his arms towards the nymph, who lies on the ground, defeated. Penny Florence writes that the "generic scene displays little sensuality" and that the main factor distinguishing it is its tone, because "[i]t does not seem convincing as a rape, despite the nymph's reluctance." In 1912, Vaslav Nijinsky choreographed Debussy's symphonic poem "Prelude to the Afternoon of a Faun" as a ballet and danced in it as the lead role of the faun. The choreography of the ballet and Nijinsky's performance were both highly erotic and sexually charged, causing widespread scandal among upper-class Parisians. In the 1980 biographical film "Nijinsky", directed by Herbert Ross, Nijinsky, who is played by George de la Peña, is portrayed as actually masturbating on stage in front of the entire live audience during the climax of the dance.


title: Satyr

text: The 1917 Italian silent film "Il Fauno", directed by Febo Mari, is about a statue of a faun who comes to life and falls in love with a female model. Fauns appear in the animated dramatization of Ludwig van Beethoven's Symphony No. 6 (1808) in the 1940 Disney animated film "Fantasia". Their goat-legs are portrayed as brightly colored, but their hooves are black. They play the Pan pipes and, like traditional satyrs and fauns, are portrayed as mischievous. One young faun plays hide-and-seek with a unicorn and imitates a statue of a faun atop a pedestal. Though the fauns are not portrayed as overtly sexual, they do assist the Cupids in pairing the centaurs into couples. A drunken Bacchus appears in the same scene.


title: Satyr

text: A faun named Mr. Tumnus appears in the classic juvenile fantasy novel "The Lion, the Witch and the Wardrobe" (1950) by C. S. Lewis. Mr. Tumnus has goat legs and horns, but also a tail long enough for him to carry it draped over his arm to prevent it from dragging in the snow. He is a domesticated figure who lacks the bawdiness and hypersexuality that characterized classical satyrs and fauns. Instead, Mr. Tumnus wears a scarf and carries an umbrella and lives in a cozy cave with a bookshelf with works such as "The Life and Letters of Silenus", "Nymphs and their Ways", and "Is Man a Myth?". He entertains Lucy Pevensie, the first child to visit Narnia, hoping to put her to sleep so he can give her over to the White Witch, but his conscience stops him and he instead escorts her back home. Later, the children discover him missing from his home and, eventually, they discover that the White Witch has turned him to stone for his disobedience.


title: Satyr

text: The satyr has appeared in all five editions of the "Dungeons & Dragons" role-playing game, having been introduced in 1976 in the earliest edition, in Supplement IV: "Gods, Demi-Gods & Heroes" (1976), then in the first edition of the Monster Manual (1977), where it is described as a sylvan woodland inhabitant primarily interested in sport such as frolicking, piping, and chasing wood nymphs. The life history of satyrs was further detailed in "Dragon" No. 155 (March 1990), in "The Ecology of the Satyr". The satyr was later detailed as a playable character race in "The Complete Book of Humanoids" (1993), and is later presented as a playable character race again in "" (1995). The satyr appears in the Monster Manual for the 3.0 edition. "Savage Species" (2003) presented the satyr as both a race and a playable class. The satyr appears in the revised Monster Manual for version 3.5 and also appears in the Monster Manual for the 4th edition, and as a playable character race in the "Heroes of the Feywild" sourcebook (2011).


title: Satyr

text: Matthew Barney's art video "Drawing Restraint 7" (1993) includes two satyrs wrestling in the backseat of a moving limousine. A satyr named Grover Underwood appears in the young adult fantasy novel "The Lightning Thief" (2005) by American author Rick Riordan, as well as in subsequent novels in the series "Percy Jackson & the Olympians". Though consistently referred to as a "satyr", Grover is described as having goat legs, pointed ears, and horns. Grover is not portrayed with the sexually obscene traits that characterized classical Greek satyrs. Instead, he is the loyal protector to the main character Percy Jackson, who is the son of a mortal woman and the god Poseidon.


title: Jean Louisa Kelly

text: Jean Louisa Kelly (born March 9, 1972) is an American actress and singer. After making her film debut as Tia Russell in "Uncle Buck" (1989) alongside John Candy, she appeared in a wide range of other films including "The Fantasticks" (1995) and "Mr. Holland's Opus" (1995). From 2000 to 2006, she portrayed Kim Warner on the CBS sitcom "Yes, Dear".


title: Jean Louisa Kelly

text: Before attending college, she already had roles in the original Broadway cast of Sondheim's "Into the Woods" (as Snow White and understudy to Rapunzel and Little Red Ridinghood) and as Tia Russell in the film "Uncle Buck" with John Candy. She also took roles in college productions, including with the Barnard College Gilbert and Sullivan Society.