This book argues in detail that certain fragments traditionally attributed to the early tragedian Pratinas must in fact come from a satyr play by a later author. It further identifies the play’s subject as the tale of the satyr Marsyas, who took up the aulos (the standard wind instrument) when its inventor Athena had discarded it. It explores the play’s context in the development of the tale of Marsyas and in attitudes to a controversial movement known as the New Music. These new findings are rooted in exploration of language, metre and the visual arts and have wide implications for the history of theatre and the development of musical and poetic styles through the fifth century and beyond.