this form sometime before 501 BC”, which is supported by P. E. Easterling’s argument that by the 5th century the satyr play was considered an integral component of the tragike didaskalia. Brockett also suggests the possibility that the satyr play was the first form of drama from which both tragedy and comedy gradually emerged. A. E. Haigh however maintained that the satyr play is a survival from “the primitive period of Bacchic worship”. Haigh lists several examples of recorded entries to the City Dionysia: thus, in 472 BC Aeschylus won the first prize with Phineaus, Persae, Glaucus and the satyr play Prometheus. Among Euripides’ entries, Haigh underlines Theristae (431 BC), Sisyphus (415 BC) and Alcestis which Euripides was allowed to present as a replacement of the traditional satyr play. Much of the evidence and information found regarding satyr plays and their history has been located through vase paintings. The mythological origins of the satyrs are closely linked to the advent of Dionysus into Hellenic culture. The satyrs and their female counterpart, the maenads, were followers of Dionysus, a “late-comer to Olympus and probably of Asiatic origin”. According to Roger Lancelyn Green, the satyrs probably began as minor nature deities, while their designated leader Silenus originated as a water spirit, a maker of springs and fountains. Silenus was already an attendant to Dionysus when the satyrs joined the god’s following, and was subsequently proclaimed their father. The satyrs characterised themselves by amorality, excessive drinking and the breaking down of traditional values and barriers. Eric Csapo and Margaret C. Miller further argue that satyrs have a strong connection with music and dance and consider them to be “archetypal musicians and dancers”, thus linking them to Dionysiac processions and the origins of performance culture. The Great Dionysia went through a phase of change around the middle of the fourth century. This change brought with it a switch in the ways plays were performed. Plays were no longer performed in a completion/competition type setting. Satyrs were now performed outside of the Festival of Dionysus and were no longer subjected to the judgement among other plays. Satyrs and comedies became more relevant within the theatre community in the 430s. The newfound prevalence came after Morychides began to forbid fighting-related activities on the stage. Satyr plays did have some influence on other forms of performance as well; of the most noteworthy is Middle Comedy. This time