Part 17 (1/2)
For she was but a girl of nineteen years:-- Yet stronger far than what most men can write: Had death delayed, what fame had equalled hers?”
The names of the next two of the Terrestrial Nine are closely a.s.sociated with that of Pindar of Thebes,--Myrtis and Corinna, the one the instructor, the other the rival, of the great composer. Myrtis was the eldest of the three, and probably gave instruction to her younger contemporaries. She later entered the lists in a poetic contest with Pindar, and for this she was censured by Corinna. The younger woman, who defeated Pindar five times in poetic contests, gave her rival some good advice, by which he profited in his later productions. She reproached him for devoting too much attention to the form and neglecting the soul of the poem. When, following her counsel, Pindar brought to her a poem abounding in mythological allusions, Corinna smiled, and remarked to him that in future he should ”sow by the handful, not with the whole sack.”
Pausanias saw the tomb of Corinna in a conspicuous part of her native town of Tanagra; and also a picture of her in the gymnasium, representing her binding a fillet about her head in honor of the victory she had gained over Pindar at Thebes. But he ungallantly ascribes her victory partly to her dialect--for she composed not in Doric, like Pindar, but in a dialect which aeolians would understand--and partly to her beauty; for, judging from her portrait, she was the fairest woman of her time.
Telesilla of Argos was not only a poet, but an antique Joan of Arc as well. Being of feeble const.i.tution, she was told by the oracle to devote herself to the service of the Muses, and in this salutary mental exercise she found health and preeminence among her fellows. Famous hymns to Apollo and to Artemis were composed by her. Her love of beauty also inspired her with n.o.ble ideals of patriotism and self-sacrifice, and in the crisis of the war between her native town and Sparta she armed her countrywomen and led them forth to victory against the enemy.
As a memorial of this n.o.ble action, her statue was erected in the temple of Aphrodite at Argos.
Praxilla of Sicyon was placed by ancient critics by the side of Anacreon for the softness and delicacy of her verses, and she was honored in her native city with a statue from the hand of Lysippus. She sang beautiful songs of Aphrodite and retold in pa.s.sionate verse the legend of Adonis.
The next name on this immortal list takes us to Locris, in Italy, and down to the fourth century before Christ. Like Sappho, Nossis ”of womanly accents” is a love poetess, and twelve epigrams attributed to her are found in the Anthology. Her poetry was symbolized by the _fleur-de-lis_ with its penetrating perfume. In praising the portrait of her child she sees the reflection of her own beauty, and in the epitaph which she composed for her tomb she declares herself equal to Sappho; hence humility cannot be cla.s.sed among the many virtues which caused her to be adored by her contemporaries.
The little poems of Anyte of Tegea and Moero of Byzantium, the last two of the Terrestrial Nine, are often symbolized by the lilies for their purity and delicacy. These poets flourished in the third century of our era. Antipater surnames Anyte ”a feminine Homer”; rather should she be called ”a feminine Simonides,” though even this is too high praise. Her soul was simple and pure, and her sweet sentiments are reflected in a style as limpid as a running stream. Charm and freshness characterize her invitation to some pa.s.ser-by to repose under the trees and taste of the cool water; deep and melancholy emotions pervade the poem in which she bewails the death of a young maiden; and a masculine philosophy of life is manifest in the epitaph of a slave whom death has made equal with the Great King. Moero's range was not so great, nor her touch so delicate. A heroic poem, _Mnemosyne_, was the most ambitious of her works; she also composed elegies and epigrams, and two of the latter have been preserved to us, revealing a soul sensitive to natural beauty.
Here and there, other names and occasional verses of Greek poetesses are found--Cleobuline of Rhodes, Megalostrata and c.l.i.tagora, of Sparta, and others; but they did not attain the fame of the Terrestrial Muses.
As the verses of the Greek women were to be sung to the accompaniment of the lyre, the daughters of the Muses were as celebrated in music as they were in poetry. Nor were the maidens of Greece without distinction in other arts. It is in part to a Corinthian maiden that legend ascribes the invention of modelling in clay. Cora, daughter of Butades, is about to say farewell--perhaps forever--to her lover, who is going on a long journey. The light of a lamp throws his shadow on the wall, and, to preserve at least this image of him, she deftly sketches the outline of the shadow. Her father, with the instinct of an artist, observes the outline and fills it in with potter's clay, and then bakes the model which he has obtained. There are no names recorded of Greek women who were sculptors, but doubtless in the studio of many an artist a daughter delighted in a.s.sisting him at his work.
Many Greek women distinguished themselves in painting. Timarete, the daughter of Micon, produced an image of Artemis, which was long to be seen at Ephesus; it was one of the most ancient monuments of this art, and the G.o.ddess was probably represented under a strange and symbolic form, such as she had in her sanctuary in Ephesus. Eleusis possessed a painting made by Irene, daughter of Cratinus, representing the figure of a young girl, perhaps a priestess initiated into the mysteries of the great G.o.ddesses. Calypso, Alcisthene, Aristarete, and Olympias are the names of other female painters, whose memories at least have been preserved.
The most celebrated of all, however, was Lalla, a native of the city of Cyzicus, to which Apollo had accorded the gift of arts. Though she worked with extreme rapidity, this did not detract from the merits of her work, and she was considered the first painter of her time. Painting with pencil and on ivory were equally familiar to her. The portraits which she painted were princ.i.p.ally of persons of her own s.e.x. Pliny mentions a portrait, which was at Naples during his life, in which Lalla had represented an old woman. He adds that she had reproduced in this her own picture reflected in a mirror. There has been found at Pompeii a painting of an artist which is believed to be a portrait of Lalla, probably painted by herself. It represents a young woman seated on a stool on a little porch, with her eyes fixed on a statue of Bacchus, which she is reproducing on a tablet held by a child. In her right hand is a pencil, which she plunges into a small box evidently containing her colors; in her left hand she holds a palette. Her garments are elegantly draped around her; a band encircles her waving hair, which falls over her neck and shoulders, A deep, intellectual look illuminates her delicate features. If this be really a picture of Lalla, she was wonderfully beautiful.
Not only in poetry and the fine arts, but also in philosophy and intellectual pursuits did the Greek woman show herself capable of great achievements. In the schools of Pythagoras, established at Croton in Magna Graecia, women were freely admitted and took a prominent part in the exercises, together with their husbands and brothers.
There is a tradition that the ascendency of Pythagoras at Croton was so great that the ladies of the city brought their rich apparel, their jewels, necklaces and bracelets, to the temple of Hera, and dedicated them as an offering to domestic virtue, vowing that henceforth prudence and modesty, not luxurious apparel, were to be the true ornaments of their s.e.x. Whether this story be true or not, there is no doubt that Pythagoras had a large number of women among his disciples, and that the ”Pythagorean Women” attained throughout the Greek world a great and enviable reputation. Pythagoras's friendly att.i.tude toward the s.e.x was probably in part the result of his cordial relations with the Delphian priestess Aristoclea, renowned for her amiability and her wisdom, with whom he carried on a learned correspondence. The general results of his teachings upon woman were a high ideal of feminine morality, careful attention to household duties, and the elevation of the conception of motherhood, especially in the careful rearing of children.
Existing fragments of the works of ”Pythagorean Women” indicate their lofty views of moral perfection and harmony, and their practical judgment in everyday affairs. _Sophrosyne_ is constantly commended as the chief feminine virtue, a term connoting moderation, self-containedness, modesty, and wifely fidelity--in a word, all that is essentially womanly.
The Neo-pythagorean philosopher, Iamblichus, in his biography of Pythagoras mentions fifteen celebrated women of the School. Other writers name other female adepts in Pythagorean philosophy, who lived during and after the time of Pythagoras. The number was so large that the comic poets Alexis and Cratinus the Younger, who, like most Athenians, had a genuine contempt for blue-stockings, made them the object of much drollery and ridicule.
Of all the Pythagorean Women, none attained such exalted rank as Pythagoras's wife, the high-minded Theano. She combined virtue and wisdom in such perfect harmony that she was regarded in antiquity not only as the foremost representative of feminine scholars.h.i.+p, but also as the brilliant prototype of true womanhood. Of the life of Theano we know only a few characteristic incidents, and these give insight into her character mainly by relating ”sayings” uttered by her on certain occasions. She was once asked for what she wished to be distinguished.
She replied by quoting a verse of Homer (II. 1:31): ”Minding the spindle and tending my marriage bed.” Another time, she was asked what most became a wife; she answered: ”to live entirely for her husband.”--Again, she was asked what was love; ”the sickness of a longing soul,” was her answer. Once, while she was throwing off her mantle, it happened that her arm was exposed. A gentleman, struck by its beauty and shapeliness, exclaimed: ”What a beautiful arm!” ”But not for the public gaze,”
replied the wise Theano, while she hastily adjusted her robes. This remark has been quoted by Plutarch, by two Church Fathers, Clement of Alexandria and Theodoret, and by the Byzantine auth.o.r.ess Anna Comnena, as a noteworthy apothegm, tending to promote womanly modesty and reserve.
Theano was both prose writer and poetess. Of a long epic poem written by her in hexameters we have not even a fragment; of her philosophical works, there are still extant three letters of great charm and a fragment of a philosophic and didactic work _On Piety_. This fragment is too short for us to distinguish in it anything more than the highly developed reasoning power of the author; in her letters, however, discussing the rearing of children, the treatment of servants, and the suppression of jealousy, the sentiments are forceful, and the style has a familiar grace and tenderness. The relics that we have abound in axiomatic expressions, emphasizing womanly virtues and manifesting the lofty morality and high culture of the writer.
After the death of Pythagoras, Theano, in conjunction with her two sons, Telauges and Mnesarchus, kept up the secret order; and Theano, as teacher and as writer, promulgated her husband's doctrines. The time and circ.u.mstances of her death are unknown.
Theano's three daughters followed in their mothers footsteps. Myia, the most distinguished, had been so carefully reared and was of such preeminent virtue that she was chosen as a virgin to lead the chorus of maidens, and as a wife the chorus of matrons, at all the sacred festivals of Croton, and she knelt at the head of her companions before the altars of the G.o.ds. She was the wife of Malon, the celebrated athlete, also of the Pythagorean order; their union was in all respects a happy one. Myia was also a writer, but we have only one letter attributed to her. Her work in the spirit of her father was so brilliant that she spread the fame of his teachings throughout all h.e.l.lenic lands.
There was probably an extensive literature about her in antiquity, for Lucian, several centuries later, says he had much to tell of her, but that her history was already generally known.
Not without distinction were also Myia's sisters, of whom Arignote attained a great reputation as a philosopher and writer of epigrams, while Damo distinguished herself by her fidelity to her father's dying request. The story goes that he consigned to her his most precious treasure,--his memoirs,--with the injunction that she should keep them secret from all who were not of the family. Though offered large sums for them, she never yielded, preferring poverty to disobedience. At her death she turned the works over to her daughter Bistalia, with the same mandate her father had given herself. The granddaughter remained equally faithful, and these invaluable works perished with the family. Some ancient writers mention as another daughter of Pythagoras, Theano the Younger, of Thurii, but, according to Suidas, she was a daughter of Lycophron. She was a clever philosopher and a prolific auth.o.r.ess.
Other Pythagorean Women of whom we know more than the mere name are Phintys, Perictyone, Melissa, Ptolemais, and Timycha. Phintys wrote a book _On Womanly Virtue_; Perictyone--often erroneously identified with the mother of Plato--composed a work _On Wisdom_, much prized by Aristotle, and another _Concerning the Harmony of Women_,--that is, concerning the accord of life and thought, of feelings and actions, the right relations between body and spirit. Fragments of these works show the Pythagorean idea concerning the mission of woman. They connect the duties of woman with the propensities and faculties peculiarly her own.
To the men, they leave the defence of the country and the administration of public affairs; to the women, they a.s.sign the government of the home, the guardians.h.i.+p of the family hearth, and the education of children. Personality is regarded as the dominating virtue of man--chast.i.ty, of woman.
Melissa is known only by a short fragment on feminine love of adornment; and Ptolemais was a specialist in music and an authority on the Pythagorean theory of music in its relation to life. Of Timycha we have a characteristic story. She lived in the time of Dionysius of Syracuse.
A party of Pythagorean pilgrims, while on their way to Metapontum to celebrate certain rites, were attacked by a band of Syracusans. They at first fled; but when they saw they must pa.s.s through a field of beans, they suddenly stopped and fought till the last one was killed. The Syracusans shortly after came upon Mylias of Croton and his wife, Timycha, who, on account of her delicate condition, had been left behind by the rest of their party. They were arrested and brought before the tyrant. Dionysius promised them liberty and an escort to their destination if they would tell him why the deceased Pythagoreans refused to tread on the beans. But they refused to tell. Dionysius's curiosity was all the more excited, and he had the husband taken aside, that he might question the wife alone, feeling convinced that he could compel her to answer his question. Threatened with the torture, and fearing lest in her weakness she might be overcome, Timycha bit out her tongue rather than reveal the secrets of her order.
In these Pythagorean Women, we observe the perfect blending of intellectual beauty with moral elevation. Perhaps no later age has presented a higher ideal of feminine perfection. Their system of culture taught them how to pursue at the same time the most abstruse philosophical speculations and the most insignificant duties of practical life, and the higher learning in their hands never led to a sacrifice of true womanliness.