Figure above:

Interior of an Attic red-figure cup, dating to about 480 B.C., now in the Staatliche Antikensammlungen, Munich, Germany. The image shows a Maenad who tries to turn away a Silenus imbued with sexual frenzy. The procession of Nymphs and Satyrs/Sileni led by Dionysus was the mythical pattern for the Bacchanals, that is Dionysian rituals, during which the god was present in his worshipers inducing a condition of ecstatic frenzy. This kind of possession implied a breakdown of social conventions, the outburst of sexual drives and of vital energy, allowing his followers to identify themselves with life, which unceasingly renewed itself. The element of sexual aggressiveness, experienced in an instinctive and uncontrolled way, is a recurrent trait in the figure of the Wild Man in Europe, and appears still nowadays in many popular celebrations of Carnival.

[Source: http://commons.wikimedia.org/wiki/File:Mainade_satyros_Staatliche_ Antikensammlungen_2654.jpg]

Figure below:

Detail of a painting on a red-figure Attic vase, dating to the V century B.C., now in the National Archaeological Museum (Museo Archeologico Nazionale), Naples, Italy. The scene seems to show a theatrical representation, whose protagonists are Heracles, recognizable by the club he holds in his hand, and Papposilenus, the old Silenus who took charge of Dionysus’s education. The latter, unlike the usual iconography showing the Sileni with pointed ears and horse tail, presents characteristics which anticipate those later attributed to the Wild Man in European folklore: body entirely covered with a thick hair, dress made with an animal skin, bearded face, vegetation elements around the head and a rod in his hand.

[Source: https://www.beazley.ox.ac.uk/tools/pottery/painters/keypieces/redfigure/ pronomos.htm]