X Aphrodite Pandemus
For the proper understanding of the status of woman among the Greeks of ancient times, it becomes necessary for the historian of Greek womanhood to call attention to a conspicuous social phenomenon pervading the life of all the nations of antiquity, but nowhere else so marked a feature of the higher life as in the lands of Hellas—a phenomenon bringing about social conditions that divided the female population of Greece into two sharply distinguished classes: the citizen-woman and the courtesan or mistress.
This notable aspect of Greek life is due to the fact that the ancient Hellene, as a rule, sought recreation and pleasure, not at the domestic hearth, but in the society of clever women, who had not only cultivated their physical charms, but had also trained their intellects and sensibilities so as to become virtuosi in all the arts of pleasure. Their pleasing forms of intercourse, their light and vivacious conversation, lent to association with them a peculiar seductiveness and fascination.
To designate this class of women in a manner which would distinguish them from the citizen-women on the one hand and the debased prostitute on the other, they were euphemistically called “hetæræ,” or companions. The term hetæræ had been originally a most honorable one, and Sappho had used it, in the highest and best sense, of her girl friends as implying companions of like rank and interests. It is not known when it was first used with sinister suggestion, but, like our word mistress, it fell from its honorable estate and became the usual term to describe these women of pleasure.
The causes of the extent of hetairism among the Greeks are to be found in their religious conceptions, their political institutions, and the innate sensualism of the Greek peoples.
The Greeks were worshippers of the productive forces of nature as manifested in animal and plant life. Aphrodite is the female and Dionysius the male personification of the generative principles, and in consequence the religious ceremonials of these two deities assumed at times a most licentious aspect. In course of time, a distinction arose in the conception of Aphrodite, expressed by the surname applied to her. Thus Aphrodite Urania came to be generally regarded as the goddess of the highest love, especially of wedded love and fruitfulness, in contrast to Aphrodite Pandemus, the goddess of sensual lust and the patron deity of courtesans.
We could hardly expect high moral ideas in regard to sexual relations among the Greeks, whose deities were so lax. Zeus himself was given to illicit intercourse with mortal maidens and was continually arousing the jealousy of his prudent wife, the Lady Hera. Aphrodite was not faithful to her liege lord, Hephæstus, but was given to escapades with the warlike Ares. Apollo had his mortal loves, and Hades abducted the beautiful Proserpina. A people who from their childhood were taught such stories could hardly be expected to be more moral than their deities.
As has been shown in a previous chapter, the Greek conception of the city-state lay at the basis of laws and customs which repressed the citizen-woman and prevented proper attention to her education and to the full and well-rounded cultivation of womanly graces. The State hedged itself about with the most rigid safeguards to preserve the purity of the citizen blood. Stringent laws were passed prohibiting any citizen-man from marrying a stranger-woman, or any stranger-man from marrying a citizen-woman. To enforce these laws, it was necessary to keep the wives and daughters of the State within the narrow bounds of the gynæceum; and they were forbidden a knowledge of public affairs, which would make them more interesting to men. Hence the limitations of their culture made it impossible for them to be in every sense the companions of their husbands. But it is not natural for men to be deprived of the sympathy and inspiration that is found in association with cultivated women; hence there was, especially in Athens, a peculiar sphere for the cultivated hetæra. The men of the city recognized the need of feminine society in their recreations, in their political life, and on military expeditions. The hetæra entered this sphere, from which the citizen-woman was excluded.
A further reason for the predominance of hetairism is seen in the artistic impulses of the Greek people. These courtesans made an art of the life of pleasure. Cultivating every feminine grace, carefully attentive to all the little niceties of social intercourse, studying in every way how to be agreeable to the men, adepts in conversation, devotees of the Muses and the Graces, they knew how to make their relations with men answer to all the impulses of a beauty-loving people. And as the Greeks found æsthetic satisfaction in their masterpieces of prose and poetry, in their works of architecture and sculpture and painting, so they found it in their association with the hetæræ.
Owing to such conditions, there arose a most unnatural division of the admitted functions of woman in the world-order. Says the great orator Demosthenes: “We take a hetæra for our pleasure, a concubine for daily attention to our physical wants, a wife to give us legitimate children and a respected house”—an utterance narrowly defining the status of the hetæra as contrasted with that of the honorable wife. The latter was the housewife and mother, nothing more, though surrounded by all the dignities and privileges of her high station; the former was the companion, the comrade in whose society were found recreation and sympathy and intellectual delight, but she was outside the pale of society, not respected, yet not altogether despised.
It is difficult to ascertain the beginnings of hetairism among the Greeks. There is a noteworthy absence of it in the Homeric poems, though the Greek chieftains frequently had concubines, who were slaves captured in war.
Allusions in the lyric poets show that as early as the sixth century before our era the hetæra had made her appearance. The earliest reference to the social evil in the history of Athens is found in the administration of the lawgiver Solon, who was the first to legalize prostitution. With the avowed purpose of forestalling the seduction of virgins and wives, he bought slave girls in the markets of Asia Minor and placed them in public houses in Athens. This regulation for the protection of the home was generally regarded as deserving of praise. Thus speaks the comic poet Philemon:
“But you did well for every man, O Solon:
For they do say you were the first to see
The justice of a public-spirited measure,
The saviour of the State (and it is fit
For me to utter this avowal, Solon);
You, seeing that the State was full of men,
Young, and possessed of all the natural appetites,
And wandering in their lusts where they’d no business.
Bought women and in certain spots did place them,
Common to be and ready for all comers.
They naked stood: look well at them, my youth,—
Do not deceive yourself; aren’t you well off?
You’re ready, so are they: the door is open—
The price an obol: enter straight—there’s
No nonsense here, no cheat or trickery;
But do just what you like, how you like.
You’re off: wish her good-bye; she’s no more claim on you.”
In the early days antedating the Persian War, before the Athenians had been corrupted by power and by extensive intercourse with the outside world, it was regarded as shameful for a married man to associate with a hetæra. When the husband was guilty of such conduct, the insulted wife could obtain a decree of separation, which involved the return to the wife’s family of the full dowry, while the enmity of the wife’s kindred was visited upon the unfaithful husband. During the Golden Age of Pericles, however, Athens departed from her earlier simplicity, and the increase of wealth and the influx of foreigners swept away the old-fashioned standards of morality. The influence of Pericles and Aspasia on smaller minds seems to have been unfortunate. Reverential regard for the marriage bond became a thing of the past, and hetairism became the common practice. Almost all the great men of Athens had relations with hetærsæ; the young men gave themselves up to the life of pleasure; and with the disruption of family ties began the downfall of the State.
In Corinth, hetairism was invested with all the sanctity of religion, and these votaries of pleasure enjoyed a distinction accorded them in no other Greek city. When Xerxes was advancing against Hellas with his vast armament, the courtesans of Corinth betook themselves in solemn procession to the temple of Aphrodite, the patron deity of the city, and implored her aid for the preservation of the fatherland, dedicating their services to her in return for a favorable answer to their prayers, and vowing to reward with their unpurchased embraces the victorious warriors upon their return. The goddess was supposed to have heard their petitions, and out of gratitude the Corinthians dedicated to Aphrodite a painting, in which were represented various hetaerae who had supplicated the goddess, while beneath were inscribed the following verses of Simonides:
“These damsels, in behalf of Greece, and all
Their gallant countrymen, stood nobly forth,
Praying to Venus, the all-powerful goddess;
Nor was the queen of beauty willing ever
To leave the citadel of Greece to fall
Beneath the arrows of the unwarlike Persians.”
Private individuals frequently vowed, upon the fortunate issue of some undertaking, to dedicate to the goddess of love a certain number of hetæræ. These votaries of Aphrodite were called hierodulæ, or temple attendants. Pindar in his immortal verses thus describes them:
“O hospitable damsels, fairest train
Of soft Persuasion,—
Ornament of the wealthy Corinth,
Bearing in willing hands the golden drops
That from the frankincense distil, and flying
To the fair mother of the Loves,
Who dwelleth in the sky,
The lovely Venus,—you do bring to us
Comfort and hope in danger, that we may
Hereafter, in the delicate beds of Love,
Reap the long-wished-for fruits of joy
Lovely and necessary to all mortal men.”
Strabo states that there were over a thousand hierodulæ in the Corinth of his day. Because of the enormous number of such damsels and of the respect which was accorded them, Corinth became the most noted hetæra city. Here dwelt the wealthiest and most beautiful hetæræ. As the most important commercial centre of Greece, the city was the abiding place of wealthy merchants and travellers; these fell victims to the voluptuous and licentious life of the place, and the vast fortunes accumulated by the professional courtesans were acquired by the ruin of many a merchant. The expression “Corinthian maiden” denoted the acme of voluptuousness, and to “Corinthianize” became synonymous with leading the most dissolute life.
In other prominent commercial centres of Hellas and of the Greek colonies hetairism also flourished. Piræus, the harbor of Athens, had its demi-monde quarter, and the number of courtesans in Athens and its harbor town was only surpassed by that of Corinth.
The inland cities were much more moral in this regard. From Sparta, in its best days, hetæræ were rigidly excluded. Plutarch records a saying of the Spartans, that when Aphrodite passed over the Eurotas River she put off her gewgaws and female ornaments, and for the sake of Lycurgus armed herself with shield and spear. This Venus armata of the Spartans, as well as their sturdy morals, forbade the presence of the seductive strangers in their midst; but Ares was ever susceptible to Aphrodite, and the Spartan warrior, when located in the voluptuous Ionian cities, frequently forgot his early training, and fell a victim to his environment.
There were in Athens, in the fifth and fourth centuries, four classes of hetæræ, graded according to political standing. The first and lowest class was that of the public prostitute—slaves bought by the State for the public houses, which were taxed for the benefit of the city and were under the supervision of city inspectors. These unfortunate women were gathered from the slave markets of Samos, Lesbos, Cyprus, and the Ionian cities, where every year large numbers of wretched human beings, who had been torn from their homes, usually as a result of war, were exposed for sale. These included many young girls who had been taken captive in the sacking of cities or had been stolen from their homes by the fiends in human form who made it a business to secure maidens of promising beauty or charm for the bawdy houses of the Greek cities. From these markets, too, came usually the hetæræ of the second class, who were likewise slaves, but were the property of panders or procuresses, who bought girls of tender age and educated them for the sake of the wealth to be acquired from traffic in lust. Aged and faded hetæræ, who had passed their lives in gross licentiousness and had finally lost their hold on the public, especially devoted themselves to this horrible trade. They owned their own houses, and had in conjunction with them regular schools or institutes for the training of hetæræ. In these institutes the girls were trained in physical culture, in music and dancing, and frequently in all the branches of learning that were popular at the time. They became experts in all the arts of pleasure, and were offered every advantage that would make them pleasing to men. From these institutes often emerged young women who played an important role in the social and intellectual life of the day, as Leontium, Gnathæna, Pythionice, and others. The names of certain of these establishments are preserved, as those of Nicarete, of Bacchis, and of the Thracian Sinope, who removed her institute from Ægina to Athens. Girls in such establishments remained at all times in the relation of slaves, and were compelled always to surrender to the mistresses or the panders the funds they collected from the sale of their favors. As young girls they acted as musicians or dancers at the banquets of the men, and as they developed into womanhood they entered upon their careers as regular courtesans. Often they were hired out for a considerable time; or if a good purchaser presented himself, they were sold outright, and lived as the kept mistress of a single lover. From him they usually obtained their freedom, in time, either as a mark of favor, or as the readiest means of ridding himself of a burden when the lover had wearied of the hetæra’s charm.
Slave girls who obtained their freedom belonged to the third and most numerous hetæra class; they lived on a fully independent footing, and conducted their business on their own account. This class attached themselves especially to young and inexperienced men, preferably to youths who were still under parental control. They frequented the schools of rhetoricians and philosophers and the studios of artists, and sought in every way possible to make themselves interesting and indispensable to men. The jeunesse dorée of the day found in association with these young and beautiful and independent damsels their especial delight. At the banquets and drinking bouts of the young men, they were invited to take part; and the gay and frivolous youths would assemble in numbers at their houses, or take them on pleasure trips in the suburbs of the city, and would frequently engage in serenades and torchlight processions in their honor. Such a life was full of pitfalls for the young men, and they frequently brought down on themselves the rage of parents for their intercourse with these sirens. The avarice and greed of women of this class was such that they led their lovers into every form of deceit to obtain for them money and presents. To purloin and sell a mother’s jewels and to contract debts in a father’s name were frequent devices to which youths resorted whose parents kept a tight hold on the purse strings. These heroines of the demi-monde also sought to draw their lovers away from serious pursuits. Lucian, in his Dialogues of Courtesans, recounts an interesting conversation between two hetæræ, Chelidonion [Little Swallow] and Drosis [Dewdrop], about a youth whom his father had suddenly checked in his wild career and placed in the hands of a wise and artful tutor, to the end that he might be drawn away from his wild associations and given instruction in philosophy.
The fourth and most elevated hetæra class was that of freeborn women, who were attracted to this calling because of dissatisfaction with the restraint of home and longing for the ease and independent life which it seemed to offer. Frequently, the daughters of citizens, through the poverty or greed of their parents, or their own wilfulness, were driven to a life of shame. Usually, they changed their names, to bring forgetfulness of their former standing, and they sought by outward splendor to make up for the loss of virtue. To us in this day such a change seems most disgraceful; but to the Greeks it appeared to be in many instances nothing more serious than a change of patron goddess. Thus the maiden transferred herself from the protection of one of the austere virgin goddesses, Artemis and Athena, to that of the gracious and seductive Paphian goddess; or the widow, who with the death of her husband had lost her means of subsistence, would renounce Hera, the goddess of wedded love, for the frivolous and light-minded Aphrodite. This transfer was usually accompanied with solemn religious ceremonies, Greek epigrammatists frequently give us a poetical treatment of such life histories, and we thereby gain glimpses into the woes of many a feminine heart; thus we have a pathetic genre picture of a maiden, who, weary of the spindle and the service of Athena, betakes herself to the patron goddess of the hetæræ and pledges to her for her protection a tithe of all her earnings in her new calling.
The giving of votive offerings to Aphrodite for successes and rich gains in their dealings with men was a customary act of “pious” hetæræ. Toilet articles which enhance beauty, and costly gifts, such as statues, were frequently dedicated to the goddess. The hetæræ who followed in the wake of the Athenian army led by Pericles to Samos built a temple to Aphrodite from the tithes of their gains. This giving of votive offerings is frequently the subject of Greek epigrams.
The daughters or widows of citizens constituted but the smaller number of hetæræ of this class. The larger number were stranger-women, chiefly from Ionia, who came to Athens, attracted by its prominence in politics and the arts, that they might play their role on a larger and more brilliant stage. In the various cities of Asia Minor, there were groups of freeborn women who had broken away from the conventional bonds and had devoted themselves to intellectual and artistic pursuits and to the cultivation of every personal grace and charm. It was natural that they and others like them from other parts of Hellas should flock to Athens. Such women, though they were politically only resident aliens, were granted great freedom and had the benefit of all the intellectual advantages the city afforded. Marriage was the only political sin these beautiful and cultivated strangers could commit; they might do anything else that they liked. Hence they entered into relations with citizens as “companions,” and soon became an important factor in the social life of the day. Bringing with them from their homes all the attractions and graces that attended the service of the Muses, they undoubtedly exercised a beneficial influence on the social customs and manners, but they also contributed much to the general demoralization of the Athenian people.
From the number of these women of foreign birth came the most beautiful and distinguished, as also the most selfish and proud, representatives of the hetæra class. Through their beauty and the outward splendor of their station they posed as veritable priestesses of Aphrodite, while through their intellectual brilliancy and their social charms they exercised a great influence over the daily life of the Athenians.
To this class belonged the celebrated “daughters of the people,” for whose favor the most prominent and dignified men of the State became suppliants. As Propertius sang of Lais, they could literally boast that “all Hellas lay before their doors.” Among these hetæræ we see the high life of the day on a most brilliant scale. Their dwellings were most sumptuous in their appointments; the walls were painted in frescoes, pieces of statuary and rich tapestries embellished their apartments, while the grounds about their houses were laid off with flower beds and beautiful fountains. Their apparel was of the richest fabrics and was made up in the most fashionable styles. They possessed numberless jewels and ornaments of enormous value. They never appeared in public without an imposing cortége of female slaves and eunuchs. Much of the etiquette of the courts of princes was maintained in their establishments.
To keep up this elaborate state, they sold their favors at almost shameless prices. Thus the elder Lais, Gnathæna, and Phryne were celebrated for their incredible demands. There is a story that the orator Demosthenes made a trip to Corinth and paid ten thousand drachmæ for a single evening with the younger Lais. As has been intimated, Corinth possessed the most voluptuous, Athens the most highly cultivated hetæræ. The excessive charges of “the Corinthian maiden” gave occasion for the proverb: “Not every man can journey to Corinth.” Not only the celebrated beauties made such exorbitant demands, but even the ordinary courtesans asked prices which forbade to men of moderate means intercourse with them.
Beauty and wealth were the factors which determined the social status of the hetæræ, and with the fading of beauty and the squandering of their gains many celebrated hetæræ fell from the highest to the lowest station.
The principal classification of the queens of the demi-monde, however, was into “domestic” and “learned” hetæræ. The former attracted chiefly by their beauty and their social grace; the latter, by their native wit, their vivacity, and their intellectual endowments. These gifted women entered into intimate relations with the philosophers and rhetoricians of the day; they visited the lecture halls, devoted themselves to earnest study, and carried on their prostitution under the protection of philosophy. They allied themselves with the various philosophical schools, and by their manner of bestowing their favors sought to advance the interests of the sect they espoused.
They found, too, in the pursuit of philosophy the justification of their calling. The hetæræ of the Academy claimed that they were merely putting into practice Plato’s doctrine of the community of women. The followers of the Cyrenaic school, with its doctrine of moderation in the pursuit of pleasure, maintained that they carried out the maxims of Aristippus in their pursuit of the joys of love. The female adherents of the Cynics, or “the Bitches,” as they were called, sought to surpass one another in taking the beasts as models of imitation. The Dialecticians found in their system the widest range for feminine cleverness of speech, and defended hetairism with the greatest subtlety and the most ingenious sophism. The feminine Epicureans saw in the teachings of their school, with its doctrine of friendship and of the broadest cultivation of the sensibilities, the fullest justification for the pursuit of sexual enjoyment, and they sought to illustrate the greatest voluptuousness and refinement in their methods of gratifying animal passion.
The hetæræ of the various schools surpassed the men in their imitation of the jargon and the manners of the leading lights of their systems. Many of the philosophers yielded themselves readily to the seductions of their beautiful and clever adherents; yet there were some choice spirits who deplored the demoralizing tendencies which hetairism brought into serious pursuits, and protested in no uncertain language.
These philosopher-hetæræ were indisputably the most interesting phenomenon in the social life of ancient times, to which the later Greek world and modern times afford no adequate parallel. They were present always at theatrical exhibitions and on all public occasions when respectable women remained at home. They took an absorbing interest in politics and in all public affairs; they discussed with the citizens the burning questions of the day; they criticised the acts of statesmen, the speeches of orators, the dramas of the poets, the productions of painters and sculptors. They exerted, in a word, an enormous influence for good or ill on the social and political life of the day; while they themselves had the consciousness of a mission to perform in having in their hands the real power of their sex.
Almost every great man in Athens had his “companion,” usually in addition to a lawful wife. Plato had Archeanassa, to whom he wrote sonnets; but we know not what were her attractions. “For dear to me Theoris is,” sings Sophocles; and we should like to know more of Archippa, to whom he left his fortune. Aristotle had his Herpyllis, and the eloquent Isocrates his Metaneira. Speusippus, Plato’s successor, found a “companion” in Lasthenia, and Epicurus in Leontium. It is difficult to believe that all these for whom the learned men of the day showed such regard were vicious women; in fact, some of them are described as noble and high-minded.
“She was a citizen, without a guardian
Or any near relations, and her manner
Pure, and on virtue’s strictest model form’d,
A genuine mistress [Greek: heraira]: for the rest of the crew
Bring into disrepute, by their vile manner,
A name which in itself has nothing wrong.”
But if the careers of the learned hetæræ were influential, they did not equal in brilliancy and power those of the more celebrated domestic hetæræ. The vastness of the influence of this latter class is best shown by naming the prominent rulers of various periods who were under the domination of their “companions.” We have in an earlier chapter called attention to the work of Thargelia in moulding Persian sentiment before the invasions of Darius and Xerxes, and to the influence of Aspasia during the Periclean Age. Many later hetæræ played prominent roles in the courts of princes and kings, and not infrequently enjoyed royal honors, Leæna, Myrrhine, and Lamia were favorites of Demetrius the Besieger, and the latter shared with him all except the throne. Thais, for a time beloved of Alexander the Great, and at whose nod he set fire to the palace of the Persian kings, later bore two sons and a daughter to Ptolemy Soter, the first Macedonian king of Egypt. Pythionice and Glycera were in high favor at the court of Harpalus. Hieronymus of Syracuse elevated a beautiful prostitute named Pytho from the bawdy house to his palace and throne. Ptolemy Philadelphus was celebrated for the number of his mistresses, among them being a Didyma, a Blistyche, a Stratonice, a Myrtion. Ptolemy Philopator was under the degrading influence of an Agathoclea, daughter of the procuress Oenanthe, both of whom, in the trenchant phrase of Plutarch, trod diadems under their feet and were finally murdered by the Alexandrian mob.
Some hetæræ inspired such regard that they were honored with public monuments. The first instance of this in Athens was in the case of Leæna, who, after the murder of the tyrant Hipparchus, bit out her tongue rather than reveal the accomplices of her lover, Aristogiton. The Athenians at this early date felt a reluctance to erect a statue representing a hetæra, but they placed on the Acropolis a bronze lioness to commemorate perpetually the name of Leæna, and to preserve the memory of her noble deed. In honor of Phryne there was a marble statue at Thespian sculptured by Praxiteles, as well as another of gold at Delphi. In Sparta, in her degenerate days, there was a monument to the celebrated hetæra Cottine. There were also famous statues of Lais, Glycera, Pythionice, Neæra, Clino, Blistyche, Stratonice, and other women of pleasure. To Lamia, the renowned flute player, and to her rival, Leæna of Corinth, favorites of Demetrius the Besieger, the servile Athenians erected temples, in which they were revered as goddesses. There was also in Athens a most beautiful and costly tomb in honor of Pythionice, erected by the Macedonian governor Harpalus, described by Pausanias as “the best worth seeing of all ancient tombs.” Such are instances of the tributes offered by the beauty-loving Greeks to these beautiful but light-minded women, who were regarded as incarnations, as it were, of the goddess Aphrodite herself.
“’Tis not for nothing that where’er we go
We find a temple of hetæræ there,
But nowhere one to any wedded wife,”
sings one of the poets of the Anthology.
The characteristic traits of these reigning queens of the demi-monde were in almost all cases the same. The principal attributes of their characters were selfishness and greed. With all their outward good nature and apparent warmth of disposition, they were at all times “marble-hearted,” cold, incapable of any noble emotion, and impervious to the stirrings of true love. There are a few exceptional cases of self-sacrificing devotion, as of Leæna, and of Timandra, who stood by Alcibiades in all his misfortune, but their exceeding rarity proves the rule. A few were of good character and were faithful to the relations which they had formed; many were merely fair and frail; while most of them descended to the lowest depths of corruption and depravity. While the deportment of those hetæræ who cultivated every womanly charm presents much that is attractive, yet their manner of life has been aptly compared to baskets of noxious weeds and garbage, covered over with roses. Extravagance, debauchery, and dissolute habits were sure to work out in time the attendant ills of wretchedness, destitution, and penury. Realizing that for them there was possible no such thing as true love and domestic happiness, they became rapacious and vindictive, cynical and ill-tempered. Nothing could be mare fearful than the pictures which the comic poets and satirists draw of some of these women; Anaxilas, for example, thus describes them as a class:
“The man whoe’er has loved a courtesan,
Will say that no more lawless, worthless race
Can anywhere be found: for what ferocious,
Unsociable she-dragon, what Chimæra,
Though it breathe fire from its mouth, what Charybdis,
What three-headed Scylla, dog o’ the sea,
Or hydra, sphynx, or raging lioness,
Or viper, or winged harpy (greedy race),
Could go beyond those most accursed harlots?
There is no monster greater. They alone
Surpass all other evils put together.”
Their outward behavior and manner were characterized by great elegance. One comic poet remarks that they took their food most delicately and not like the citizen-women, who “stuffed their cheeks and tore off the meat.” Their speech, however, was unrestrained, and they delighted in indelicate witticisms and doubles entendres. Machon made a collection of the witty remarks of the most celebrated hetæræ, in his book of anecdotes. In Athenæus we also have specimens of their witticisms. Sinope of Ægina was particularly famous for her coarse wit, and had many clever encounters with the brilliant men of her day. To preserve or to enhance their natural beauty, the hetæræ were given to the use of cosmetics. Eubulus, in a fragment, thus represents a citizen-woman reviling the much-hated class:
“By Jove, we are not painted with vermilion,
Nor with dark mulberry juice, as you are often:
And then, if in the summer you go out,
Two rivulets of dark, discolored hue
Flow from your eyes, and sweat drops from your jaws
And makes a scarlet furrow down your neck,
And the light hair which wantons o’er your face
Seems gray, so thickly is it plastered o’er.”
The secret mysteries of hetairism, which were celebrated chiefly by the Lesbian and Samlan hetæræ and which occasioned a hetasra literature, prepared in part by such members of the craft as Philænis, Elephantine, Niko, and others, constitute an important aspect of our subject, which must be briefly noticed. Suffice it to say that the women of pleasure of Lesbos and Samos excelled in the invention and practice of shameful, unnatural arts, and that the lasciviousness of the Lesbian courtesans led to the loathsome form of lust known as “Lesbian love,” which has become proverbial.
Plutarch expressly distinguishes from the hetæræ a class known as “emancipated women,” whose preeminent virtue, however, was certainly not modesty. To this class belonged many of the flower girls, wreath weavers, painters’ and sculptors’ models, who earned a living by means of their good looks, though they did not follow a life of shame. The best known representative of this class was Glycera, whom Goethe has immortalized. She was a native of Sicyon, and supported herself by the sale of flower wreaths, which she knew how to make most artistically, for use at banquets, funerals, and for adornment of the door of one’s sweetheart. The painter Pausias, likewise a native of Sicyon, loved her passionately and used to enter into competition with her, whether she could wreathe flowers more artistically than he himself could paint them. He painted a portrait which represented her seated with a flower wreath; it was so excellent that the Roman general Lucullus, after the Mithridatic War, when he was making a collection of statues and paintings, paid two talents for a copy.
It is not strange that many of the hetæræ, noted for their superlative beauty and for their cultivation of art and literature and the refinements of life, should attain historical celebrity and, as heroines of the demi-monde, should influence for weal or woe the destinies of Greece. We shall briefly notice important incidents in the careers of a few of the members of this prominent class.
Gnathæna, daughter of the panderess Sinope, was one of the most keen-witted and clever of Athenian hetæræ. She was noted for her happy play on words. She also devised a set of rules for the conduct of dinners and banquets, which lovers had to observe when they visited her or her daughter, Gnathænion. In this she imitated the most cultured hosts of Athens, and exhibited a regard for social forms which throws a commendable light on the deportment of the more cultivated hetæræ. Gnathænion, the daughter, was for some time the favorite of the comic poet Diphilus, and he had many a brilliant passage of repartee with the mother on the occasion of his visits to the daughter.
Melitta was another famous hetæræ, beloved for her beautiful figure and voice as well as for her pleasing conversation and sprightliness. As each of her lovers said, “the fair Melitta was his madness,” she was also called Mania. She was one of the many favorites of Demetrius the Besieger. More celebrated, however, than Melitta as a favorite of Demetrius was the beautiful Lamia, the most renowned flute player of antiquity. She was the daughter of a prominent Athenian citizen, by name Cleanor, and, choosing to follow the independent life of a hetæræ, she made her native city the first scene of her exploits. From here she journeyed to Alexandria, where by her art and her beauty she speedily won recognition at the court of Ptolemy. Accompanying Ptolemy Soter in his naval war against Antigonus and Demetrius, she fell a prisoner into the hands of the latter. Although her youth and beauty were already on the wane, she succeeded in captivating Demetrius, who was much younger than herself, so that, as Plutarch states, he appeared to be actually her lover, while with other women he was only the object of love. Lamia ruled him completely and led him into many excesses. Thus he once compelled the Athenians to collect for him at short notice two hundred and fifty talents, and when it was finally brought to him he sent it straightway to Lamia and her companions, “for pin money,” Lamia herself on one occasion exacted from the citizens an enormous sum of money to prepare a magnificent banquet for Demetrius. This banquet, because of the exorbitant expenses which it occasioned, was so extraordinarily notorious that Lycurgus of Samos wrote a book about it. On this account, a comic poet characterized Lamia as the true Helepolis, or city destroyer, the name of one of the most famous engines of war of Demetrius. Demetrius remained passionately enamored of her, even after her beauty had faded. As a means of flattering Demetrius, the Athenians erected altars to her, made propitiatory offerings, and celebrated her festival. The Thebans went so far as to erect a temple in her honor, and worshipped her as Aphrodite Lamia.
Pythionice, the favorite of Harpalus, the friend and confidant of Alexander the Great, partook of honors which rivalled those of Lamia. During the most brilliant period of Harpalus’s career, Pythionice was summoned to Babylon, where she shared his honors and bore the title of a queen of Babylon. A letter from the historian Theopompus to Alexander is extant, in which he speaks of the passionate devotion of Harpalus to his favorite, and thus alludes to her: “To this Pythionice, a slave of the flute player Bacchis, who in turn was a slave of the hetæra Sinope, Harpalus erected two monuments, one at Athens and one at Babylon, at a cost of more than two hundred talents, which seemed cheap to that spend-thrift; and, in addition, he had a precinct and a sanctuary dedicated to her, which he named the temple and altar of Aphrodite Pythionice. She bore him a daughter, and died before the sudden change which came in his fortunes.”
Another favorite of Harpalus, and later of the celebrated deformed comic poet Menander, was Glycera, the daughter of Thalassis. She was a native of Athens, and passed most of her time in the company of littérateurs and philosophers. The Megarian philosopher Stilpo once accused her, at a banquet, of misleading the youth through her seductive art. She made the reply: “Stilpo, we are in this under like condemnation. It is said of you that you impart to your pupils profitless and eristic sophisms, of me that I teach them erotic sophisms.” Some of Glycera’s letters to her poet lover Menander, still extant, show how warm a sympathy existed between the two, and how delicate a sentiment could characterize such a union.
One of the names of hetæræ famous in both ancient and modern times is that of Lais, which belonged to two Greek women celebrated for their extraordinary beauty, who are differentiated by being known as Lais the Elder and Lais the Younger.
The elder and indisputably more famous of the two was the daughter of that hetæra, Timandra, who remained faithful to Alcibiades in his evil fortunes. As a seven-year-old maiden, Lais was taken captive by the Athenians during the sack of her birthplace, Hyccara in Sicily, and was brought as a slave to Corinth. Here she was early initiated into the arts of gallantry and was given a thorough training in the culture of the day.
The physical charms of Lais developed into a beauty rarely witnessed. Her bosom was of such indescribable perfection that sculptors and painters took it as a model in their creations of the ideal female form. She was regarded as surpassing not only all her contemporaries, but also all the famous beauties of earlier times; and later ages regarded her as the prototype of womanly beauty, and delighted in giving lengthy and minute descriptions of her charms, as, for example, that by the sophist Aristænetus in the first of his fifty erotic epistles.
Soon after her first appearance, Lais was talked of, was celebrated, was deified, in all Hellenic lands. It was considered good fortune, as a Greek poet expressed it, that Lais, the most beautiful of her sex, adopted the hetæra life; for were she not accessible to all, there would have been in Greece a conflict comparable only to that over Argive Helen.
The reputation of her beauty occasioned in a short time a formidable immigration to Corinth of the most wealthy and distinguished men, partly to enjoy her favor, partly to gaze in wonder at her charms, and partly to study this paragon of female beauty for imitation in works of art. From the homage that she received, and especially the wealth that was poured at her feet by her lovers, she was soon rendered so proud and selfish that she secluded herself from all except the richest. Her proud heart, however, was not entirely closed to emotions of love. She took a fancy to the Cynic philosopher Diogenes, in spite of his filth and brusqueness; and Ælian tells the story of her inclination for a young athlete, Eubatas of Cyrene, who had come to Corinth for the games, leaving behind a most beautiful and beloved wife. “When Lais became acquainted with Eubatas of Cyrene,” says Ælian, “she was so enamored of him that she made a proposal of marriage. In order not to bring down on himself the vengeance of the powerful hetæra, he became betrothed to her, but yet continued to live a continent life. At the conclusion of the games, he had to fulfil his promise. But after he had been declared victor, in order to avoid the appearance of breaking faith with the courtesan, he had a picture of Lais painted, and took it with him to Cyrene, affirming that he had not broken his promise, but had brought Lais home with him. As a reward for his fidelity, his virtuous wife in Cyrene had a statue erected in his honor.”
Aristippus, the founder of the Cyrenaic school of philosophy, tried in vain to win the love of this beautiful hetæra, though, of all her lovers, he passed the most time in her society, and on her lavished considerable sums of money.
Lais gained much knowledge from intercourse with this learned philosopher, so that she ranked not only as the most beautiful, but also as one of the most brilliant women of her time. She allied herself with the Cyrenaic school, whose system of philosophy appealed to her much more naturally than did the gross system of her favorite, Diogenes, who on his side sought in every way to win the celebrated beauty to Cynicism. Lais had nothing but contempt, however, for the moral claims of philosophy. “I do not understand,” she said, “what is meant by the austerity of philosophers; for they of this fine name are as much in my power as the rest of the citizens.”
The charms of Lais, though so unapproachable in their bloom, yet proved transient, and pitiable was the metamorphosis which the brilliancy of the famous beauty underwent with their fading. Wealthy admirers became fewer and fewer, and finally they ceased to appear, and with them her resources failed. The once proud beauty became the plaything of every man. She sought to drown her sorrow in the wine cup—a practice altogether too common among Greek women of disreputable life. At this sad period of her career, Lais dedicated her mirror, as being an unpleasant reminder of her lost beauty, to the goddess to whose service she had devoted her life. In her later years, she followed the vile trade of a procuress.
After her death, the Corinthians remembered what a reputation it had given their city to be the abiding place of so famous a woman, and they erected to her a mausoleum at Craneion, a cypress grove near the city, on which a lioness tearing a kid in pieces symbolized the rapacity of the deceased hetæra.
Lais the Younger was a contemporary of the orator Demosthenes and the painter Apelles, and flourished nearly a century after her more celebrated namesake. She too lived at Corinth, and was famous for her beauty and her association with distinguished men. She was born out of wedlock, and the names of both her father and mother are unknown. As she grew up, a waif in the dissolute city, Apelles, the celebrated painter, is said to have been the first to have noticed her budding beauty and to have educated her. According to the prevailing tradition, Apelles saw her when, as a young girl, she was drawing water from the fountain Pirene, and was at once so captivated by her beauty that he took her with him to a banquet whither he was going. When his friends jestingly reproached him because, instead of bringing a hetæra, as was usual, he had brought a child to the feast, he rejoined: “Be not surprised. I will show her again to you before three years have passed; you can then see how beautiful and vivacious she has become.”
Before this period had passed, Lais became the most celebrated hetæra of the city. Her name was on everyone’s lips, in the baths, in the theatres, and on the streets and public squares. Her fame spread throughout Hellas, and the richest men of Hellas flocked to Corinth. She was surpassed in the number and prominence of her lovers only by her contemporary, Phryne of Athens.
When at the height of her triumph, this celebrated and petted hetæra, “who inflamed all Hellas with love, and for whose favors two seas contended,” suddenly disappeared from the scene of her conquests. A Thessalian, by name Hippolochus, had taught her the meaning of true love. She fled with him from the company of her other lovers, and lived in honorable marriage in Thessaly. Her beauty, however, caused a sad ending to this pleasing romance. From envy and jealousy, the Thessalian women enticed her into the temple of Aphrodite and there stoned her to death. Some historians relate that she had many Thessalian lovers; this aroused the jealousy of the women, and they took her life at a festival of Aphrodite at which no men were present. After her murder, a pestilence is said to have broken out in Thessaly, which did not end until in expiation a temple had been erected to Aphrodite.
Phryne was the most beautiful woman of all antiquity. She was born at Thespiæ in Boeotia, but flourished at Athens toward the latter part of the fourth century before our era. The name Phryne belongs essentially to the history of Greek art, for all her life was associated with the activities of the most eminent painters and sculptors. In her youth she was loved by the sculptor Praxiteles. Pausanias tells a story how “once when Phryne asked for the most beautiful of his works, Praxiteles, lover-like, promised to give it to her, but would not tell which he thought the most beautiful. So a servant of Phryne ran in, declaring that the sculptor’s studio had caught fire, and that most, but not all, of his works had perished. Praxiteles at once ran for the door, protesting that all his labor was lost if the flames had reached the Satyr and the Love. But Phryne bade him stay and be of good cheer, telling him that he had suffered no loss, but had only been entrapped into saying which were the most beautiful of his works. So she chose the Love.”
PHRYNE
After the painting by Henry I. Siemiradsky.
Phryne, with a modesty one would not expect in a woman
of her class, was very careful to keep her beautiful figure
concealed, avoiding the public baths and having her body
always enveloped in a long and graceful tunic. But on
two occasions the beauty-loving Greeks had displayed to
them the charms of her person. The fist was at the
solemn assembly at Eleusis, on the feast of the Poseidonia.
Having loosened her beautiful hair and let fall her drapery,
Phryne plunged into the sea in the sight of all the assembled Greeks.
Phryne was of very humble origin, and originally
obtained her livelihood by gathering capers; but her beauty
afterward gained great wealth for her. At Delphi there
was erected a statue in gold of her.
Either this or a similar statue of Eros was dedicated by Phryne in Thespiæ, the city of her birth. Later, Praxiteles made of her a statue of gold, which was set up at Delphi between those of two kings. She also served as his model for the celebrated Aphrodite of Cnidos, which Pliny describes as “the finest statue, not only by Praxiteles, but in the whole world.” The inhabitants of Cnidos placed the image, which they believed had been made under the direct inspiration of the goddess of love herself, in a beautiful shrine surrounded by myrtle trees, so arranged that the figure might be seen from many different points of view; “and from all sides,” adds Pliny, “it was equally admired.” Hither came Greeks from all parts of the world merely to behold the statue and to worship at the shrine of the goddess. King Nicomedes of Bithynia, in his eagerness to possess the statue, offered to pay for it the whole public debt of the island, which was enormous; but the Cnidians preferred to suffer anything rather than give up their treasure; and with good reason, “for by that statue Praxiteles made Cnidos famous.” Writers of epigrams were fond of extolling the statue; and many of the extant statues of Venus are but replicas or adaptations of this great prototype, modelled after the form of Phryne. The most celebrated copy of the Cnidian statue is in the Vatican, disfigured, however, by false drapery. The statue gives us some idea of the superlative beauty of Phryne. It is very pure, very unconscious of its charms, and captivates the beholder by its simple grace and naturalness. Lucian, the æsthetic critic, in the construction of his ideal statue selected for description the head of the Aphrodite of Cnidos. He particularly admired the finely pencilled telling him that he had suffered no loss, but had only been entrapped into saying which were the most beautiful of his works. So she chose the Love.”
Either this or a similar statue of Eros was dedicated by Phryne in Thespiæ, the city of her birth. Later, Praxiteles made of her a statue of gold, which was set up at Delphi between those of two kings. She also served as his model for the celebrated Aphrodite of Cnidos, which Pliny describes as “the finest statue, not only by Praxiteles, but in the whole world.” The inhabitants of Cnidos placed the image, which they believed had been made under the direct inspiration of the goddess of love herself, in a beautiful shrine surrounded by myrtle trees, so arranged that the figure might be seen from many different points of view; “and from all sides,” adds Pliny, “it was equally admired.” Hither came Greeks from all parts of the world merely to behold the statue and to worship at the shrine of the goddess. King Nicomedes of Bithynia, in his eagerness to possess the statue, offered to pay for it the whole public debt of the island, which was enormous; but the Cnidians preferred to suffer anything rather than give up their treasure; and with good reason, “for by that statue Praxiteles made Cnidos famous.” Writers of epigrams were fond of extolling the statue; and many of the extant statues of Venus are but replicas or adaptations of this great prototype, modelled after the form of Phryne. The most celebrated copy of the Cnidian statue is in the Vatican, disfigured, however, by false drapery. The statue gives us some idea of the superlative beauty of Phryne. It is very pure, very unconscious of its charms, and captivates the beholder by its simple grace and naturalness. Lucian, the æsthetic critic, in the construction of his ideal statue selected for description the head of the Aphrodite of Cnidos. He particularly admired the finely pencilled eyebrows and the melting gaze of the eyes, with their sweet, joyous expression.
Phryne, with a modesty one would not expect in a woman of her class, was very careful to keep her beautiful figure concealed, avoiding the public baths and having her body always enveloped in a long and graceful tunic. But on two occasions the beauty-loving Greeks had displayed to them the charms of her person. The first was at the solemn assembly at Eleusis, on the feast of the Poseidonia. Having loosened her beautiful hair and let fall her drapery, Phryne plunged into the sea in the sight of all the assembled Greeks. Apelles, the painter, transported with admiration at the sight, retired at once to his studio and transferred to canvas the mental image which was indelibly impressed upon his fancy; and the resulting picture was the Aphrodite Anadyomene, the most celebrated of his paintings.
The second exhibition was before the austere court of the Heliasts. Phryne had been cited to appear before the tribunal on the charge of profaning the Eleusinian mysteries, and Hyperides, the brilliant young orator, was her advocate. Failing to move the judges by his arguments, he tore the tunic from her bosom and revealed to them the perfection of her figure. The judges, beholding as it were the goddess of love incarnate, and moved by a superstitious fear, could not dare to condemn to death “a prophetess and priestess of Aphrodite.” They saw and they pardoned, and, amid the applause of the people, Phryne was carried in triumph to the temple of Aphrodite. To us in this day such a scene appears highly theatrical, but Aphrodite is no longer esteemed among men, and the Greek worship of beauty is something not understood in this material age.
Phryne’s life was by no means free from blame, and as the result of her popularity she acquired great riches. She is said to have offered to rebuild the walls of Thebes, which had been torn down by Alexander, on condition that she might place on them the inscription: Alexander destroyed Thebes; but Phryne, the hetæra, rebuilt it; but the offer was rejected, showing that though the times were corrupt, yet shame had not altogether departed from men.
One cannot emphasize in too trenchant terms the demoralizing influences of hetairism on the social life of the Greeks, or fail to see in the gross immorality of the sexes one of the paramount causes of the downfall of the Greek peoples.
Yet it is a truism that feminine shamelessness was most advantageous for the arts of sculpture and painting. Sensuousness is close akin to sensuality, and from their passion for these “priestesses of Aphrodite” the Greek artists, without doubt, derived much of their inspiration, while the opportunities which hetairism offered for the study of the female form enabled Praxiteles and his contemporaries and successors to produce masterpieces which equalled in idealism the works of æsthetic art produced in the preceding century.
To become the ideal for the painter and the sculptor was the greatest ambition of the beautiful and cultivated hetæra. In permitting the artist to portray her charms she not only performed a lasting service for art, but she also rendered herself celebrated and immortal. The fame of her beauty was spread throughout all Hellenic lands, and the national devotion to the goddess Aphrodite was at once extended to her earthly counterpart. If she united intellectual brilliancy with beauty, fortune at once cast its most precious gifts at her feet. The most celebrated men of every city contested for her favors, poets made her the theme of their verses, artists portrayed her charms with chisel and with brush, and the wealthy filled her coffers with gold and precious stones.