It is plain that this was the type of satyr which the unknown source of the notice in _Etymologicum Magnum_ had in mind when attempting to explain the etymology of τραγῳδία: “... or because the choruses generally consisted of satyrs whom they called ‘goats’ in jest either _on account of the shagginess of their bodies_ or on account of their lasciviousness, for the animal is of such a sort; or because the choreutae plaited their hair, imitating the form of goats.”[68] This passage has been used to support the canonical doctrine that tragedy was the child of satyric drama (see pp. 2 and 22 f., above), but is far from adequate for that purpose. The words after δασύτητα (“shagginess”) are often ignored or even omitted. But it is necessary to interpret the final phrase, “imitating the form of goats,” in terms of the details stated in the context. So far as we are now concerned, the only point of resemblance mentioned is their “shagginess.” This and Horace’s expression about the tragic poet “stripping his satyrs” for the satyr-play[69] would be entirely suitable in describing the choreutae on the Naples crater. Furthermore, it will be noted that this explanation occurs only in a late Byzantine notice and that no earlier source is mentioned. The only way in which a respectable antiquity can be claimed, by means of literary evidence, for this interpretation consists in maintaining that it is implicit in Aristotle’s phrase ἐκ σατυρικοῦ μετέβαλεν. But we have already seen (see p. 22, above), that this expression need not, and probably does not, support this view. The only other passage which can be cited in this connection occurs in three other Byzantine writers.[70] The conclusion is irresistible that both the goat-men explanation of the word τραγῳδία and the supposed development of tragedy from satyric drama are due to “reconstructions” of literary history at an extremely late period. [Illustration: FIG. 3.—Caprine Sileni upon the François Vase, 600-550 B.C. See p. 24, n. 1] [Illustration: FIG. 5.—View of a Satyr-Play from a Dinos in Athens See p. 25, n. 2] [Illustration: FIG. 6.—View of a Satyr-Play from a Dinos in Athens See p. 25, n. 2] [Illustration: FIG. 7.—Views of a Satyr-Play from a Dinos in Bonn See p. 25, n. 2]