Part 3 (1/2)

THE DICTERIADES, OR COMMON PROSt.i.tUTES OF ATHENS.

This cla.s.s approaches more nearly than any other to the prost.i.tutes of our day, the main difference being that the former were bound by law to prost.i.tute themselves when required to do so, on the payment of the fixed sum, and that they were not allowed to leave the state. Their home, as mentioned already, was properly at the port of Piraeus. An open square in front of the citadel was their usual haunt. It was surrounded with booths, where petty trade or gambling was carried on by day. At nightfall the prost.i.tutes swarmed into the square. Some were noisy and obscene; others quiet, and armed with affected modesty. When a man pa.s.sed on his way from the port to the city, the troop a.s.sailed him. If he resisted, coa.r.s.e abuse was lavished on him. If he yielded, there was the temple of Venus the Courtesan close by, and there was the wall of Themistocles, under the friendly shelter of either of which the bargain could be consummated. Were the customer nice, the great dicterion was not far distant, and a score or more of smaller rivals were even nearer at hand, as a well-known sign was there to testify.

The Dicteria were under the control of the munic.i.p.al police. The door was open night and day, a bright curtain protecting the inmates from the eye of the pa.s.ser-by; and in the better cla.s.s of establishments, a fierce dog, chained in the vestibule, served as sentinel. At the curtain sat an old woman, often a Thessalian and a pretended witch, who received the money before admitting visitors. Originally the fee was an obolus[35]--about three cents; but this attempt to regulate the value of a variable merchandise was soon abandoned. Within, at night, the sounds of music, revelry, and dancing might be constantly heard. The visitor was not kept in suspense. The curtain pa.s.sed, he was in full view of the dicteriades, standing, sitting, or lying about the room; some engaged in smoothing their blonde hair, some in conversation, some anointing themselves with perfumery. The legal principle with regard to the dicteriades appears to have been that they should conceal nothing; no doubt in contrast to the irregular prost.i.tutes, of whom something will be said presently. There was no rule, however, forbidding the wearing of garments in the dicterion, but the common practice appears to have been to dispense with them, or to wear a light scarf thrown over the person. This custom was observed by day as well as by night, and a visitor has described the girls in a large dicterion as standing in a row, in broad daylight, without any robes or covering.[36]

It seems that in later times any speculator had a right to set up a dicterion on paying the tax to the state. An Athenian forfeited his right of citizens.h.i.+p by so doing; but, as a popular establishment was very lucrative, avaricious men frequently embarked in the business under an a.s.sumed name. Comic writers have lashed these wretches severely. On paying the tax to the state regularly, the _p.o.r.n.o.bosceion_, or master of the house, acquired certain rights. The dicterion was an inviolable asylum, no husband being allowed to pursue his wife, or the wife her husband, or the creditor his debtor, within its walls. Public decency requires, says Demosthenes, that men shall not be exposed in houses of prost.i.tution.[37]

It was not, however, considered wholly shameful to frequent such places.

There appear to have been attached to these dicteria schools of prost.i.tution, where young women were initiated into the most disgusting practices by females who had themselves acquired them in the same manner.

Alexis vigorously describes the frauds taught in these places,[38] while there is a shocking significance in an expression of Athenaeus--”You will be well satisfied with the performance of the women in the dicteria.”[39]

Besides these regular dicteriades, there were at Athens, as there have been in every large city, a number of women who exercised the calling of prost.i.tutes, without properly belonging to any of the recognized cla.s.ses.

They were sometimes called free dicteriades, sometimes she-wolves, and also cheap hetairae. Some were native Athenians who had been seduced and abandoned, and who, led by stings of conscience and idleness to pursue their career, had still an invincible repugnance to adopt the flowered robe and yellow hair of the regular courtesan. They roamed the Piraeus, and even the streets of Athens, after dark, eking out a miserable subsistence by the hardest of trades, and haunting the dark recesses of old houses or the shade of trees. Others, again, were old hetairae whose charms had faded, and who sought a scanty subsistence where they were not known, and shrank from encountering the eye of a lover where the friendly shade of night would not hide the ravages of time. Others were the servants of hotels and taverns, who were always expected to serve the caprices of visitors.

All of these led a most miserable life. Now and then we hear of one or two of them meeting a rich and inexperienced traveler, after which the heroine of the exploit naturally ascended to the rank of hetaira; but, in general, their customers were the lowest of the port people--sailors, fishermen, farm-servants. Their price was a meal, a fish, a handful of fruit, or a bottle of wine. One poor creature, who belonged to no cla.s.s in particular, but acquired some celebrity by being kept by the orator Ithatocles, was named Didrachma because she offered her favors to the public generally for two drachmas, about thirty-five cents.[40]

Perhaps the most curious fact in reference to these prost.i.tutes is the singular predominance of old women among them. It appears to have been adopted as an invariable rule for this sort of courtesans to paint their faces with a thick ointment, and it is even said that the great painters of Greece did not disdain to beguile their leisure hours by thus improving upon nature.[41] Of course, under this disguise, it was impossible to distinguish a young face from an old one. An aged prost.i.tute thus bedizened would place herself at an open window with a sprig of myrtle in her hand, with which she would beckon to people in the street. When a customer was found, a servant would open the door and conduct him in silence to the chamber of her mistress. Before entering he paid the sum demanded, when he found himself in a room lighted only by a feeble glimmer pa.s.sing through the curtain, which now hung down over the window. In such a twilight the most venerable old woman could not be distinguished from a Venus.[42]

THE AULETRIDES, OR FLUTE-PLAYERS.

Female flute-players were a common accompaniment to an Athenian banquet.

The flute, which in modern times is played by men, was rarely seen in male hands in Greece. Though the fable ascribed its invention to the G.o.d Pan, and its development to the mythical king Midas, it was monopolized at a very early period by women, who consoled themselves for the ravages it wrought in their beauty by the power of fascination it imparted among a people intensely musical. Flute-playing soon became an essential rite in the service of certain deities. Ceres was invariably wors.h.i.+ped to the sound of the flute. And when the Athenians had once tried the experiment of listening to flute-players after dinner, they never would dine in company without them.

Thebes appears to have been the native city of the earliest famous flute-players,[43] but before long the superior beauty of the Asiatic girls--Ionians and Phrygians--drove their Theban rivals out of the field.

Dancing was combined with flute-playing, and in this art the Asiatics bore the palm from the world. During the golden days of Greece, numbers of beautiful girls were every year imported into Athens from Miletus and the other Ionic ports in Asia Minor, just as in more modern times a similar trade was carried on between Trebizond and Constantinople.

An Athenian hired his flute-players as a modern European n.o.ble hires his band. They charged so much for their musical performances, reserving the right of accepting presents in the course of the evening. Some were singers as well as performers. At each course a new air was played, increasing in tenderness and expression as the wine circulated. It is stated that the sounds of a good flute-concert excited people to such a state of phrensy that they would take off their rings and jeweled ornaments to throw them to the performers: those who have witnessed a triumphant operatic soiree can readily believe the statement. But the fair artists did not wholly rely on their music for their success. The performer danced while she played, accompanying every note with a harmonious movement of the body. There is no doubt these dances were in the highest degree immoral and lascivious. Athenaeus tells a story of an emba.s.sy from Arcadia waiting upon King Antigonus, and being invited to dinner. After the hunger of the venerable guests was appeased, Phrygian flute-players were introduced. They were draped in semi-transparent veils, arranged with much coquetry. At the given signal they began to play and dance, balancing themselves alternately on each foot, and gradually increasing the rapidity of their movements. As the performance went on, the dancers uncovered their heads, then their busts; lastly, they threw the veils aside altogether, and stood before the wondering emba.s.sadors with only a short tunic around the loins. In this state they danced so indecently that the aged Arcadians, excited beyond control, forgot where they were, and rushed upon them. The king laughed; the courtiers were shocked at such ill-breeding, but the dancers discharged the sacred duty of hospitality.[44]

A flute-player who had achieved a success of this kind was enabled to conclude a lucrative bargain for other performances. We find allusions to fees as high as two talents (say $2500) and fifty pieces of gold,[45]

though these were evidently unusual charges. Many of the most fas.h.i.+onable flute-players were slaves who had been brought to Greece by speculators.

They were commonly sold by auction at the dinner-table, when their owner judged that the enthusiasm of the guests had attained the highest point.

An anecdote is told of one of the most esteemed names in Greek philosophy in reference to this strange custom. He was dining with a party of young men, when a youthful flute-player was introduced. She crept to the philosopher's feet, and seemed to shelter herself from insult under the shadow of his venerable beard; but he, a disciple of Zeno, spurned her, and burst forth into a strain of moralizing. Piqued by the affront, the girl rose, and played and danced with inimitable grace and pruriency. At the close of the performance her owner put her up to auction, and one of the first bidders was the philosopher. She was adjudged to another, however, and the white-haired sage so far forgot his principles as to engage in a fierce conflict with the victor for the possession of the prize.[46] Hand to hand battles on these occasions were common in the best society at Athens, and a flute-player in fas.h.i.+on made a boast of the riots she had caused.[47] Of the fortunes realized by successful artists in this line, an idea may be formed from the gorgeous presents made to the Delphian oracle by flute-players, and from the fact that the finest houses at Alexandria were inscribed with the names of famous Greek auletrides.[48]

As might be inferred from the character of their dances, the auletrides were capable of every infamy. Constantly breathing an atmosphere of debauchery, and accustomed to the daily spectacle of nudities, they naturally attained a pitch of amorous exaltation of which we, at the present day, can hardly form an idea. They kept a cherished festival in honor of Venus Peribasia, which was originally established by Cypselus of Corinth. At that ceremony all the great flute-players of Greece a.s.sembled to celebrate their calling. Men were not usually allowed to be present, a regulation prompted perhaps by modesty, as the judgment of Paris was renewed at the festival, and prizes were awarded for every description of beauty. The ceremony was often mentioned as the Callipygian games; and a sketch of a scene which took place at one of these reunions, contained in a letter from a famous flute-player, justifies the appellation. The banquet lasted from dark till dawn, with wines, perfumes, delicate viands, songs, and music. An after-scene was a dispute between two of the guests as to their respective beauty. A trial was demanded by the company, and a long and graphic account is given of the exhibition, but modern tastes will not allow us to transcribe the details.[49]

A knowledge of these scandalous scenes, it may be briefly observed, would be worse than useless, were it not that they ill.u.s.trate the life of Greek courtesans; and, being performed under the sanction of religion and the law, they throw no inconsiderable light on the real character of Greek society. Their value may be best apprehended by trying to realize what the effect would be if similar scenes occurred annually in some public edifice in our large cities, under the auspices of the police, with the approval of the clergy, and with the full knowledge of the best female society.

It has been suggested that these festivals were originated by, or gave rise to, those enormous aberrations of the Greek female mind known to the ancients as Lesbian love. There is, no doubt, grave reason to believe something of the kind. Indeed, Lucian affirms that, while avarice prompted common pleasures, taste and feeling inclined the flute-payers toward their own s.e.x. On so repulsive a theme it is unnecessary to enlarge.

Many flute-players seem to have been susceptible of lasting affections. In the remains we have of the erotic works of the Greeks, several names are mentioned as those of successful flute-players whose gains were consumed by exacting lovers. It does not appear that they often, or ever, married.

The most famous of all the flute-players was Lamia, who, after being the delight of Alexandria and of King Ptolemy for some fifteen or twenty years, was taken with the city by Demetrius of Macedon, and raised to the rank of his mistress. She was forty years of age at this time, yet her skill was such that she ruled despotically her dissolute lover, and left a memorable name in Greek history. The ancients a.s.serted that she owed her name, Lamia, which means a sort of vampire or bloodsucker, to the most loathsome depravities. Her power was so great that, when Demetrius levied a tax of some $250,000 on the city of Athens, he gave the whole to her, to buy her soap, as he said. The Athenians revenged themselves by saying that Lamia's person must be very dirty, since she needed so much soap to wash it. But they soon found it to their interest to build a temple in her honor, and deify her under the name of Venus Lamia.[50]

THE HETAIRae, OR KEPT WOMEN.

The Hetairae were by far the most important cla.s.s of women in Greece. They filled so large a place in society that virtuous females were entirely thrown into the shade, and it must have been quite possible for a chaste Athenian girl, endowed with ambition, to look up to them, and covet their splendid infamy. An Athenian matron was expected to live at home. She was not allowed to be present at the games or the theatres; she was bound, when she appeared in public, to be veiled, and to hasten whither she was going without delay; she received no education, and could not share the elevated thoughts or ideas of her husband; she had no right to claim any warmth of affection from him, though he possessed entire control over her.[51]

Now, to judge of the position into which this social system thrust the female s.e.x, one must glance at the mythology, or, to speak more correctly, at the religious faith of the Greek people. It has been conjectured that they derived their idea of Venus from the East. However this be, Venus was certainly one of the earliest G.o.ddesses to whom their homage was paid.

Solon erected opposite his dicterion a temple to Venus Pandemos, or the public Venus. In that temple were two statues: one of the G.o.ddess, the other of a nymph, Pitho, who presided over persuasion; and the att.i.tudes and execution of the statues were such that they explained the character without inscription. At this temple a festival was held on the fourth of each month, to which all the men of Athens were invited. But Venus Pandemos soon made way for newer and more barefaced rivals. Twenty temples were raised in various cities of Greece to Venus the Courtesan. In one author we find allusion made to Venus Mucheia, or the Venus of houses of ill-fame. Another celebrates Venus Castnia, or the G.o.ddess of indecency.