Part 2 (1/2)

Before proceeding to discuss the conditions under which paiderastia existed in Athens, it may be well to pause and to consider the tone adopted with regard to it by some of the earlier Greek poets. Much that is interesting on the subject of the true h.e.l.lenic Eros can be gathered from Theognis, Solon, Pindar, aeschylus, and Sophocles; while the lyrics of Anacreon, Alcaeus, Ibycus, and others of the same period ill.u.s.trate the wanton and illiberal pa.s.sion (_Hybris_) which tended to corrode and undermine the n.o.bler feeling.

It is well known that Theognis and his friend Kurnus were members of the aristocracy of Megara. After Megara had thrown off the yoke of Corinth in the early part of the sixth century, the city first submitted to the democratic despotism of Theagenes, and then for many years engaged in civil warfare. The larger number of the elegies of Theognis are specially intended to instruct Kurnus how he ought to act as an ill.u.s.trious party-leader of the n.o.bles (_Esthloi_) in their contest with the people (_Deiloi_). They consist, therefore, of political and social precepts, and for our present purpose are only important as ill.u.s.trating the educational authority a.s.sumed by a Dorian _Philetor_ over his friend. The personal elegies intermingled with these poems on conduct reveal the very heart of a Greek lover at his early period. Here is one on loyalty:--

”Love me not with words alone, while your mind and thoughts are otherwise, if you really care for me and the heart within you is loyal. But love me with a pure and honest soul, or openly disown and hate me; let the breach between us be avowed. He who hath a single tongue and a double mind is a bad comrade, Kurnus, better as a foe than a friend.”[57]

The bitter-sweet of love is well described in the following couplets:--

”Harsh and sweet, alluring and repellent, until it be crowned with completion, is love for young men. If one brings it to perfection, then it is sweet; but if a man pursues and does not love, then it is of all things the most painful.”[58]

The same strain is repeated in the lines which begin, ”a boy's love is fair to keep, fair to lay aside.”[59] As one time Theognis tells his friend that he has the changeable temper of a hawk, the skittishness of a pampered colt.[60] At another he remarks that boys are more constant than women in their affection.[61] His pa.s.sion rises to its n.o.blest height in a poem which deserves to rank with some of Shakespeare's sonnets, and which, like them, has fulfilled its own promise of immortality.[62] In order to appreciate the value of the fame conferred on Kurnus by Theognis, and celebrated in such lofty strains, we must remember that these elegies were sung at banquets. ”The fair young men,”

of whom the poet speaks, boy-lovers themselves, chaunted the praise of Kurnus to the sound of flutes, while the cups went round or the lyre was pa.s.sed from hand to hand of merry-making guests. A subject to which Theognis more than once refers is calumny:--

”Often will the folk speak vain things against thee in my ears, and against me in thine. Pay thou no heed to them.”[63]

Again, he frequently reminds the boy he loves, whether it be Kurnus or some other, that the bloom of youth is pa.s.sing, and that this is a reason for showing kindness.[64] This argument is urged with what appears like coa.r.s.eness in the following couplet:--

”O boy, so long as thy chin remains smooth, never will I cease from fawning, no, not if it is doomed for me to die.”[65]

A couplet, which is also attributed to Solon, shows that paiderastia at this time in Greece was a.s.sociated with manly sports and pleasures:--

”Blest is the man who loves brave steeds of war, Fair boys, and hounds, and stranger guests from far.”[66]

Nor must the following be omitted:--

”Blest is the man who loves, and after play, Whereby his limbs are supple made and strong, Retiring to his home, 'twixt sleep and song, Sports with a fair boy on his breast all day.”[67]

The following couplet is attributed to him by Plutarch,[68] nor does there seem any reason to doubt its genuineness. The text seems to be corrupt, but the meaning is pretty clear:--

”In the charming season of the flower-time of youth thou shalt love boys, yearning for their thighs and honeyed mouth.”

Solon, it may be remembered, thought it wise to regulate the conditions under which the love of free youths might be tolerated.

The general impression produced by a careful reading of Theognis is that he entertained a genuine pa.s.sion for Kurnus, and that he was anxious to train the young man's mind in what he judged the n.o.blest principles.

Love, at the same time, except in its more sensual moments, he describes as bitter-sweet and subject to anxiety. That perturbation of the emotions, which is inseparable from any of the deeper forms of personal attachment, and which the necessary conditions of boy-love exasperated, was irksome to the Greek. It is not a little curious to observe how all the poets of the despotic age resent and fret against the force of their own feeling, differing herein from the singers of chivalry, who idealised the very pains of pa.s.sion.

Of Ibycus, who was celebrated among the ancients as the lyrist of paiderastia,[69] very little has been preserved to us, but that little is sufficient to indicate the fervid and voluptuous style of his art.

His imagery resembles that of Anacreon. The onset of love, for instance, in one fragment is compared to the down-swooping of a Thracian whirlwind; in another the poet trembles at the approach of Eros like an old racehorse who is dragged forth to prove his speed once more.

Of the genuine Anacreon we possess more numerous and longer fragments, and the names of his favourites, Cleobulus, Smerdies, Leucaspis, are famous. The general tone of his love-poems is relaxed and Oriental, and his language abounds in phrases indicative of sensuality. The following may be selected:--

”Cleobulus I love, for Cleobulus I am mad, Cleobulus I watch and wors.h.i.+p with my gaze.”[70]

Again:--

”O boy, with the maiden's eyes, I seek and follow thee, but thou heedest not, nor knowest that thou art my soul's charioteer.”

In another place he speaks of[71]--

”Love, the virginal, gleaming and radiant with desire.”