Greek Women Part 16

Women could, however, run their horses in the hippodrome and thus win a prize, as was done by Cynisca, daughter of Archid.a.m.nus, King of Sparta, who was the first woman that bred horses and gained a chariot victory at Olympia. After her, other women, chiefly Spartans, won Olympic victories, but none of them attained such fame as did Cynisca. So honored was she by her people that a shrine was erected to her at her death; there was also erected at Sparta a statue of the maiden Euryleon, who won an Olympic victory with a two-horse chariot.

Though excluded from the games at the great festival of Zeus, there were yet some games at Olympia in which women took part. These were a feature of the festival of Hera, whose temple was also in the Altis. At this festival, sixteen women, duly appointed, wove a robe for the G.o.ddess and conducted games called the Heraea, partic.i.p.ated in by the maidens of Elis and surrounding districts. Pausanias thus describes the spectacle: "The games consist of a race between virgins. The virgins are not all of the same age; but the youngest run first, the next in age run next, and the eldest virgins run last of all. They run thus: their hair hangs down, they wear a shirt that reaches to a little above the knee, the right shoulder is bare to the breast. The course a.s.signed to them for the contest is the Olympic stadium; but the course is shortened by about one-sixth of the stadium. The winners receive crowns of olive and a share of the cow which is sacrificed to Hera; moreover, they are allowed to dedicate statues of themselves, with their names engraved on them."

From a consideration of woman's part in the religious ceremonials at the national centres of Greece,--Delphi and Olympia,--we must now turn to Athens, with whose festive calendar we are much better acquainted. The Athenians were rightly characterized by the Apostle Paul as being very religious. In all parts of the city were temples and statues; according to one writer, it was easier to find there a G.o.d than a man. More than eighty days out of each year were given up to religious festivities.

Pallas Athena, daughter of Zeus, was the patron G.o.ddess of Athens, and the Acropolis was her sacred precinct; but other deities were worshipped, even on the Acropolis, and throughout the city there were shrines to numberless G.o.ds and G.o.ddesses.

From earliest times, women were intimately a.s.sociated with the worship of Athena. Varro preserves a tradition which records that it was women's votes that determined the choice of Athena over Poseidon as patron deity of Athens. Originally, women took part in the public councils with men and had a voice therein, and when the weighty question of the rivalry of the two divinities came up they outvoted the men by a majority of one in favor of the G.o.ddess. Poseidon was angered, and submerged the land of Attica. To appease the G.o.d, the citizens deprived the women of the right to vote and forbade them in future to transmit their names to their children and to be called Athenians. But though their political rights were thus sadly infringed and they were relegated to ignorance and obscurity, they retained their part in the exercises of religion, especially in the worship of their patron G.o.ddess. Little is known of the various priestesses of Athena, who figured so prominently in the art of Athens and who presided at the G.o.ddess's temples on the Acropolis. It was an important office and was always held by a woman of great wisdom, high moral character, and mature years. Under her direction were the maidens of the city who were chosen from time to time from the n.o.blest families to take part in the festivals of the G.o.ddess. Pausanias gives us a glimpse of the duties of certain of these maidens, and we could wish that he had cleared up the mystery that surrounded their office.

"Two maidens," said he, "dwell not far from the temple of the Polias; the Athenians call them Arrephorae. They are lodged for a time with the G.o.ddess; but when the festival comes around, they perform the following ceremony by night. They put on their heads the things which the priestess of Athena gives them to carry, but what it is she gives is known neither to her who gives nor to them who carry. Now, there is in the city an enclosure, not far from the sanctuary of Aphrodite, called Aphrodite in the Gardens, and there is a natural underground descent through it. Down this way the maidens go. Below, they leave their burdens; and getting something else which is wrapped up, they bring it back. These maidens are then discharged and others are brought to the Acropolis in their stead." Other maidens resided for a time on the Acropolis, engaged in weaving the saffron-colored peplus which was to be presented to the G.o.ddess at the Great Panathenaea--the most brilliant festival of the Athenians. This was the highest honor that could be conferred on Athenian maidens, and while engaged in this work they shared in the deference shown the G.o.ddess. They dwelt with the great priestess, and were under her immediate direction when they appeared in public; they were clad in tunics of white, with cloaks of gold, and were universally recognized as votaries of Athena. It has been conjectured that the mysterious bundles which the Arrephorae carried down from the Acropolis contained the remnants of the wool which had served to make the peplus of the preceding year, and that they brought back the material destined for the future peplus; but of this there is no positive evidence. Certain it is, however, that the garment intended for the G.o.ddess was a masterpiece of the textile art, woven of the finest fabrics and embroidered in gold with scenes of Athena battling with the G.o.ds against the giants, and of such other incidents as the State had judged worthy to figure beside her exploits. Athena was, among her many functions, also the G.o.ddess of weaving and other feminine arts, and as such had a shrine on the Acropolis, where she was worshipped under the t.i.tle of Athena Ergane. Within this precinct were statues to Lysippe, Timostrata, and Aristomache, maidens thus honored because of their skill in womanly occupations.

For the origin of the Panathenaea--the greatest of Athenian festivals--we must go back to the heroic days of Athens when King Erechtheus dedicated on the Acropolis the archaic wooden statue of Athena, reputed to have fallen from heaven, and established the custom of offering to the image once a year a new mantle, embroidered by n.o.ble maidens of the city.

Later, Theseus united the various tribes under one rule, with the Acropolis as its centre, A festival to celebrate this event was united with the festival to Athena, and the enlarged festival was known as the Panathenaea, symbolizing the union and political power of Athens and the sovereignty of the G.o.ddess. Pisistratus increased the splendor of this festival, and, in the golden days of Athens after the Persian War, Pericles added to its pomp and magnificence. He erected on the Acropolis an imposing temple to the G.o.ddess, the Parthenon, and placed within it her image of gold and ivory. The worship of Athena and the political supremacy of Athens now became synonymous. Her festival was the highest expression of the ideals of Athens in its greatest epoch. The greater Panathenaae was Athens in its glory, possessed of an overflowing treasury, supreme among the States of Greece, the exponent of poetry and art and beauty.

There was great rejoicing when the sacred peplus was at length completed by the maidens, and there arrived the season of the festival, which was to culminate on Athena's birthday, the twenty-seventh of the month Boedromion, which corresponded nearly to our September. The earlier days were spent in gymnastic games, horse and chariot races, and contests in music and poetry. On the fifth and last day occurred the most brilliant feature of the entire festival, the solemn procession which attended the delivery of the sacred peplus to the priestess of Athena that she might place it around the wooden image of the G.o.ddess. So important was this procession that Phidias selected it as the theme to be portrayed on the frieze of the Parthenon. The procession formed in the Outer Ceramicus, just outside the princ.i.p.al gate of the city, and the peplus was placed on a miniature ship (for which it served as a sail), which was set on wheels and drawn by sailors. Through the market place, round the western slope of the Areopagus, along its southern side, the procession wended its way till it reached the western approach to the Acropolis. Then the peplus was removed from the ship, and, borne by those chosen for this service, it was carried at the head of the procession up the western slope, through the Propylaea, and delivered to the magistrate appointed to receive it before the temple of Athena. The frieze of the Parthenon presents the most important details of the procession. Its western end shows the stage of preparation--the flower of Athenian youth and n.o.bility preparing to mount or just mounting their steeds to join in the cavalcade. As we turn to the northern and southern sides, we observe that the procession has formed and is now in motion. The cavalcade is composed of youthful hors.e.m.e.n, who move forward in compact array, with all the dash and spirit of youth. Just ahead of the hors.e.m.e.n are the chariots, driven by their charioteers, with the warriors either standing by the driver or just stepping into the moving chariot. As the eastern end of the temple is approached, restlessness of movement gives place to solemnity, and impatient riders and charioteers are succeeded by more stately figures. Elderly men, bearers of olive branches; representatives of the foreign residents, carrying trays filled with offerings of cakes; attendants, bearing on their shoulders vessels filled with the sacred wine; musicians, playing on flutes or lyres-march in slow, measured steps. In advance of them are the cows and sheep led to sacrifice, conducted by a number of attendants.

The frieze on the eastern end of the temple represents the culmination of the festival. The crowning act is about to be performed, and the solemnity becomes absolute. Figures at one end are balanced by corresponding figures at the other, all advancing toward a common point.

First come slowly moving maidens, who are carrying the sacrificial utensils--their n.o.ble birth manifesting itself in their dignity of demeanor. The five maidens in the rear bear the ewers used in the libations; those forming the central group carry, in pairs, large objects resembling candlesticks, whose uses are not definitely known; while in the lead, on each side, are two maidens, bearing nothing in their hands--probably the Arrephorae, whose duties have been already performed. Both in costume and in coiffure these maidens represent what was characteristic of their age and s.e.x in Athens during the supremacy of Pericles. Next comes a group of men, probably the magistrates appointed to await the arrival of the procession on the Acropolis. They border the seated divinities who have a.s.sembled to do honor to Athens at its greatest festival--seven figures on each side of the central slab, directly over the door of the temple, whereon is represented the climax of the solemn occasion,--the delivery of the new peplus to the priest or magistrate, whose office it was to receive it; while at his side stands the priestess of Athena, receiving from two attendants certain objects of unknown significance.

Other pieces of sculpture on the Acropolis magnify the office of woman in the religious ceremonials in honor of the patron G.o.ddess. One of the porticoes of the Erectheum represents maidens of dignified mien and great beauty holding up the entablature with perfect ease and stately grace. These figures are usually called Caryatides, a name applied by the architect Vitruvius to designate figures of this kind; he ascribes its origin to the destruction of the town of Carya, in the Peloponnesus, by the Athenians, because it espoused the Persian side, the women of the town being sold into slavery; but surely the Athenians would not have so honored the disgraced women of a hostile city. Could they not portray, in marble, the Arrephoric maidens, and could not the basket-like burdens on their heads represent the burdens which they carried down from the Acropolis, and those which they received instead? The Athenians, indeed, called the figures merely _Korai_, or "the maidens."

Furthermore, excavations at Athens made in 1886 brought to light a number of statues of maidens, which now adorn one of the rooms of the Acropolis Museum. They are all of one type,--life-size figures of young women, all standing in the same att.i.tude, with one arm extended from the elbow, while the other hand holds the long and elegant drapery close about the figure; their hair is elaborately arranged, and ringlets fall over their necks and shoulders. These statues are relics of days before the Persian War. The Persians sacked Athens in B.C. 480, and wrought general havoc on the Acropolis, burning temples, throwing down columns, demolishing statues. When the Athenians, flushed with victory, returned to their ruined homes, they regarded as unhallowed all that had been touched by the hands of the barbarian, and therefore, in building up anew the Acropolis as the sacred precinct of Athena, they extended and levelled its surface and filled in the hollows thus made with the debris of the Acropolis--architectural blocks, statues, and vessels; and these relics of pre-Persian art lay thus securely buried for ages, to be revealed to modern eyes by the pickaxe of the archaeologist. Now, who are these maidens, standing in conventional pose, with regular and finely moulded features, and with richly adorned drapery and elaborate headdress? They cannot represent priestesses of Athena, for the priestess was always an elderly lady, who, after being chosen, held office for the rest of her life. Nor can they represent the G.o.ddess herself, for all her usual attributes--the aegis, the spear, the helmet, the snake--are absent. Hence we probably have in these statues portraits of votaries of Athena, young women of the aristocratic families of Athens, who placed statues of themselves in the sacred precinct of the G.o.ddess to serve as symbols of perpetual homage.

Finally, certain maidens of Athens of the Heroic Age were later deified and themselves given sacred precincts on the Acropolis. King Cecrops had three daughters--- Aglauros, Herse, and Pandrosus. When Erectheus, the son of Earth by Hephaestus, was born, half of his form being like that of a snake,--a sign of his origin,--the child was put into a chest by Athena, who then gave it to the daughters of Cecrops to take care of, at the same time forbidding them to open it. Aglauros and Herse disobeyed, and, in terror at the serpent-shaped child, went mad and threw themselves from the rock of the Acropolis. Pandrosus, the faithful maiden, was rewarded by being made the first priestess of Athena, and was later honored by having a sanctuary of her own, next to that of the G.o.ddess; while Aglauros had to rest content with a cavern on the northern slope of the Acropolis, near where she had thrown herself down.

The celebrations in honor of Dionysus, the G.o.d of luxuriant fertility and especially of the grape, were exceedingly simple at first, according to Plutarch, being merely "a rustic procession carrying a vine-wreathed jar and a basket of figs"; but later there was a festival at every stage in the growth of the grape and in the making of the wine, and especially at the approach of vintage time, and when the vintage was put into the press. There were processions and rustic dances, and all the usual features of the carnival, as the revellers became more and more under the influence of the G.o.d. In these revels, women consecrated to this divinity, and called Bacchantes or Maenads, formed a special group. The symbol of their worship was a thyrsus--a pole ending with a bunch of vine or ivy leaves, or with a pine cone and a fillet. At intervals the procession would stop, and one of the revellers would mount a wagon or a platform and recount to those below, disguised as Pans and Satyrs, the adventures of the G.o.d of wine and joy. From these rustic masquerades emerged in time both Tragedy and Comedy.

Of the festivals in the city, the Anthesteria, or Feast of Flowers, was of most interest to the fair s.e.x. This festival occurred in the spring--when the preceding year's wine was tasted for the first time--and lasted three days. Its princ.i.p.al feature was the Feast of Beakers, which began at sunset with a great procession. Those who took part in it appeared, wearing wreaths of ivy and bearing torches, in the Outer Ceramicus. This festival was in the especial charge of the king-archon, and the wife of that magistrate played the chief role in the ceremonies. Maidens and matrons appeared, disguised as Horae, Nymphs, or Bacchantes, and crowded round the triumphant car on which the ancient image of Dionysus, was conveyed to the town. At a certain stage in the procession, the king-archon's wife, known as the Basilissa, was given a seat in the car, beside the image of Dionysus, for on this day she was the symbolical bride of the G.o.d. Thus, on this joyous wedding day, the nuptial procession conducted the car to the temple of the G.o.d in Limnai.

In the inmost shrine of the temple a mystic sacrifice for the welfare of the State was offered by the Basilissa and the fourteen ladies of honor expressly appointed by the archon for this purpose. After the sacrifice, with which numerous secret ceremonies were connected, the mystic union of Dionysus, and the Basilissa was celebrated, symbolizing the sacred marriage of the G.o.d with his much-loved city. On the following day, among other ceremonies, the ladies of honor offered sacrifices to Dionysus, on various specially erected altars.

These were joyous occasions; there were, however, sombre Dionysia, which were celebrated by night, in the winter season, when the G.o.d was thought to be absent or dead; because the vine was then withered and lifeless.

Such celebrations commemorated only grief and regret. At this season, women of Athens left their homes and sought the slopes of Mount Parna.s.sus, to join the women of Delphi in savage rites celebrating the sufferings of Dionysus. In these Bacchantes, religious fervor was transformed into the wildest delirium. "With dishevelled hair and torn garments they ran through the woods, bearing torches and beating cymbals, with savage screams and violent gestures. A nervous excitement brought distraction to the senses and to the mind, and showed itself in wild language and gestures, and the coa.r.s.est excesses were acts of devotion. When the Maenads danced madly through the woods, with serpents wreathed about their arms, or a dagger in their hands, with which they struck at those whom they met; when intoxication and the sight of blood drove the excited throng to frenzy--it was the G.o.d acting in them, and consecrating them as his priestesses. Woe to the man who should come upon these mysteries! he was torn to pieces; even animals were thus killed, and the Maenads devoured their quivering flesh and drank their warm blood." In the ardor inspired by their mad orgies, these votaries did not distinguish between man and beast, and a mother once tore to pieces her son, whom she mistook for a young lion, and proudly placed on the end of her thyrsus the bleeding head of her offspring. Euripides, in his _Baccha.n.a.ls_, has drawn a sombre picture of the excesses into which the wine G.o.d led his inspired followers. Similar orgies, which took their rise in Lydia, were held on the summits of Tagetus and in the plains of Macedon and Thrace.

Though certain Attic women, under the frenzy of religious enthusiasm, would join the Delphian women in their wild rites of Dionysus, this orgiastic worship was never popular at Athens. The Athenian ladies much preferred the worship of Demeter, the G.o.ddess of agriculture and of domestic life.

The Thesmophoria, the festival in honor of Demeter and her daughter, Persephone, contrasted greatly with the Panathenaea. The latter was public and was partic.i.p.ated in by all; the former was secret, and only married women could take part in it. The Panathenaea celebrated the political and intellectual supremacy of the State, as symbolized in its patron G.o.ddess; the Thesmophoria was the festival of domestic life, held in honor of the G.o.ddess of virtuous marriage and the author of the earth's fertility.

This festival was celebrated in October, at the period of the autumnal sowing. Every citizen of Athens who possessed property to the amount of three talents was compelled to furnish his wife with sufficient money to enable her to celebrate the Thesmophoria; this was the extent of male partic.i.p.ation. For many days, the women had to prepare themselves for the solemn rites by fasting, abstinence, and purifications; two of their number were chosen from each tribe by their companions to prepare and preside over the various features of the celebration. On the first day of the Thesmophoria, the women went to the primitive seat of the celebration at Halimus, near the promontory of Colias, not in a formal procession, but in small groups, and at the hour of nightfall. The comic side of the Demeter festivals exhibited itself on the way, as the partic.i.p.ants recognized each other with jests and raillery, recalling by this the pleasantries with which the maiden lambe caused Demeter to smile, when the latter was afflicted with melancholy over the loss of her daughter; and woe to the man who met these women! for he became the victim of the most scornful mockery and sarcasm. At Halimus, in the sanctuary of Demeter, the mysteries were celebrated by night; the following day was spent in taking purifying baths in the sea and in playing and dancing on the sh.o.r.e. After enjoying their freedom here for a day or more, the women set out in a long procession for Athens, while priestesses bore in caskets on their heads the _Thesmai_, or the laws of Demeter, whence the festival took its name.

The remainder of the celebration took place in the city, either in the sanctuary of Demeter or on the Pnyx, which was on this occasion exclusively turned over to the women for the celebration. The first day after their return was called the "day of fasting," for during the whole day the women sat in deep mourning on the ground and took no food whatsoever, while they sang dirges and observed other customs common in case of death; they also sacrificed swine to the infernal deities. The rites of the next day were of a more general character. The name given the day was "Calligenia," signifying "bearer of a fair offspring," and on this day they offered a sacrifice to Demeter and prayed her to give to women the blessing of fair children. We know but little of the sacrifices, dances, and merry games which occupied this final day of the festival. This worship of Demeter was one of the most elevating influences in the social life of Athens; and the Thesmophoria was but a prelude to the celebration of the Eleusinian mysteries, into which women as well as men were initiated.

The ceremonies at Eleusis seem to have consisted primarily in a dramatic representation of the beautiful legend of Demeter and Persephone, from which many moral lessons could be drawn. Homer has preserved to us this legend in the Homeric hymn beginning:

"I begin to sing fair-haired Demeter, a hallowed G.o.ddess,--herself and her slim-ankled daughter whom Hades s.n.a.t.c.hed away from golden-sworded Demeter, renowned for fruits, as the maiden sported with the deep-bosomed daughters of Ocea.n.u.s, culling flowers through the soft meadow--roses and crocuses and beautiful violets, hyacinths, the iris and the narcissus, which Earth, at the command of Zeus, favoring the All-Receiver [Hades], brought forth as a snare to the maiden. From its root an hundred heads sprung forth, and the whole wide heaven above was scented with its fragrance, and the whole earth laughed, and the briny wave of the sea. And the girl stretched out both her hands to seize the pretty plaything, when the wide-winged earth yawned in the Mysian plain where the all-receiving king, the many-named son of Cronus, leaped forth with his immortal steeds and s.n.a.t.c.hed her away, unwilling, in his golden chariot, weeping and shrieking aloud, calling upon her father, the son of Cronus."

The hymn then recounts how the G.o.ddess-mother roamed for nine days over the earth, seeking her lost daughter, till on the tenth she learned the truth from the all-seeing Sun. Angered at Zeus for permitting the violence, she wandered about among men in the form of an old woman, till at length, at Eleusis, in Attica, she was kindly received at the house of King Celeus, and acted as nurse for his newborn son, Demophon. She would have made the lad immortal by giving him a bath of fire; but being surprised and prevented by the mother, she revealed her deity, and caused to be erected in her honor a temple, in which she gave herself up to her sorrow. In anger, she made the earth barren, and would not allow the crops to spring up again until her daughter was allowed to spend two-thirds of the year with her mother among the Immortals, devoting the remaining third to her gloomy spouse in the realms of Hades. Upon her return to Olympus, Demeter left the gift of corn, of agriculture, and of her holy mysteries, with her host, and sent Triptolemus the Eleusinian about the earth to make known to men the knowledge of agriculture, of civil order, and of holy wedlock. Thus the worship of Demeter, as the founder of law and order and marriage, became prevalent, and exerted a most helpful influence throughout h.e.l.las.

The mysteries of Eleusis inculcated the moral lessons which would promote right living among the people. They were in charge of a priesthood consisting of both men and women. The chief priest, the hierophant, was a man of irreproachable character, and held the office for life on condition of celibacy. The priestesses had in charge especially the initiation of the women, but their duties were not restricted to this.

The candidates for initiation, the Mystai, had to spend a year in preparation. Homicides, courtesans, barbarians, all who had any stain upon their lives, were excluded from these rites; only h.e.l.lenes "of pure soul and pure hands" were eligible for initiation. On the days preceding the festival, expiatory ceremonies were performed, of which the most notable was one in which a girl or boy, styled "the child of the hearth," performed certain rites of purification for those who were desirous of being admitted into the mysteries. Finally, on the twentieth day of the month Boedromion, corresponding nearly to our September, the great procession set forth from Athens for Eleusis, along the Sacred Way. In this procession the women took part in great numbers, and it afforded excellent opportunities for the display of beautiful toilettes.

Aristocratic ladies were usually driven in chariots. As the crowd of pilgrims pa.s.sed over the Cephissus Bridge, there was, as in the Thesmophoria, much banter and raillery in memory of the manner in which the G.o.ddess was once diverted from her grief; and all along the road there were stations for sacrifices and oblations, where the maidens engaged in singing and graceful dances. Eleusis was finally reached at night by torchlight, and the following days were spent by the initiated in their religious duties and by the candidates in further preparation.

We have unfortunately but meagre glimpses into the Eleusinian mysteries, and cannot follow the order of ceremonies. Suffice it to say that, besides promoting good living and happiness in this life, they gave hope for the life to come. "The man purified by initiation," says Pindar, "has understood before his death the beginning and end of life, and after death dwells with the G.o.ds."

In Polygnotus's famous painting of the infernal regions, in the Lesche at Delphi, two women were represented trying to carry water in jars that have no bottoms; an inscription states that they were never initiated, and the moral was "that without initiation life is altogether wasted and lost." In the worship of Demeter and in the Eleusinian mysteries there was everything to appeal to woman--the sanct.i.ty of marriage, deified motherhood, exaltation of the home and of domestic duties--and the zeal manifested by Athenian women in these religious rites doubtless promoted a feminine piety and a natural devoutness which enn.o.bled the Athenian home and softened parental discipline.

The Thesmophoria was the festival of the married women; but young girls and even children had their festivals in the Brauronia and the Artemisia, celebrated in honor of Artemis, the special patron of virgins. The Brauronia was celebrated every fifth year, in the little town of Brauron. Chosen Athenian maidens between the ages of five and ten years, dressed in saffron-colored garments, went in solemn procession to the sanctuary of the G.o.ddess, where they performed a propitiatory rite, in which they imitated bears, an animal sacred to Artemis. Every maiden of Athens, before she could marry, must have once taken part in this festival and consecrated herself to the G.o.ddess.

There was also a precinct of Artemis Brauronia on the Acropolis, and doubtless this ceremony was also performed there. Almost everywhere this virgin G.o.ddess was revered by young girls as the guardian of their maiden years, and before marriage it was the custom that the bride should dedicate to Artemis a lock of her hair, her girdle, and her maiden tunic.

Maidens also took part in the worship of the twin brother of Artemis, Apollo, in the island of Delos, which was the birthplace of the G.o.d and G.o.ddess. The celebration was a festival of youth and beauty, of poetry and art. Aristocratic maidens of Athens joined with those of the seat of the Delphian confederacy over which Athens presided in making the occasion emphasize the power and splendor of Athens in the height of its greatness.

"Once every five years, in the spring, a solemn festival recalled the anniversary of the birth of the G.o.d. The maidens of Delos, wearing their richest attire, and crowned with flowers, united in joyous chorus around the altar, and represented in sacred dances the story of the birth of Apollo. Others, with garlands of flowers in their hands, went to hang them on the ancient statue of the G.o.ddess, which Theseus had, according to tradition, brought from Crete to Delos. From all parts of Greece, from the islands, and from Asia, solemn emba.s.sies, sacred _theoriae_, landed in the harbor. The most brilliant was that of the Athenians, who were long the suzerains of the island. Each year, a State vessel, the Paralian galley, conveyed the sacred emba.s.sy to Delos; the crew was composed of free men, the vessel decked with flowers. At the moment of its departure, the whole town was purified; the priests of Apollo bestowed on the galley a solemn benediction, and the law forbade that the purified town should be defiled by any sentence of death until the return of the vessel. The members of the emba.s.sy were chosen from the chief families of the city, and they were accompanied by a chorus of young men and maidens, who were to chant the sacred hymns in honor of Apollo and perform around the altar of the Horns, one of the marvels of Delos and of the world, an ancient and solemn dance--the _geranos_. The day of the arrival of these theoriae was a festival in Delos. Amid the acclamations of an enthusiastic crowd, the emba.s.sy disembarked in the harbor; and such was the joy and impatience of the people, that sometimes its members had not even time to don their robes of ceremony and to crown themselves with flowers. Over the bridge wound the sacred procession of the Athenians, with its splendidly dressed musicians, its chorus chanting the sacred hymns, its rich offerings destined for the G.o.d; received at the end of the bridge by the official charged with the reception of these pious emba.s.sies, it pursued its way to the temple, there to present its offerings and prayers, and to pour out on the altar the blood of its hecatombs. During the rest of the day, feasts were provided for the people, and games and contests filled the island with the sounds of rejoicing."

After the celebration, the Paralia returned to Athens, bearing homeward the beautiful maidens who had done honor to the G.o.d and had added to the glory of their native city.

Aphrodite, the G.o.ddess of beauty and of pleasure, also had her festivals in which women took part. Certain of these were of a lascivious character and were celebrated chiefly by the demi-monde; they were held especially at the temple of Aphrodite Pandemus on the promontory of Colias. But the ladies of Athens took part in the Adonia, in honor of Adonis, beloved of Aphrodite. The ceremonies of the first day were of a mournful character, as they commemorated the death of Adonis; but the second day was one of rejoicing and entertainment, as Adonis was conceived of as returning to life to spend six months with Aphrodite. In his death and resurrection the changes of the seasons were poetically symbolized. Women of the leading families were expected to partic.i.p.ate in the magnificent solemnities, which took place at the summer solstice.

A long procession of priests and of maidens acting as canephorse, bearing vases for libations, baskets, perfumes, and flowers, approached a colossal catafalque, over which were spread beautiful purple coverlets. On these lay a statue of Adonis, pale in death, but still beautifull Over this mournful figure a beautiful woman gave expression in every way to the most bitter grief and sang a hymn to Adonis, telling his sad story. The women round about were clad in mourning and celebrated the plaintive funeral dance; while on all sides was heard the mournful cry: "Alas! alas! Adonis is dead!"

The hymn or psalm to Adonis was a distinguished and most popular feature of the celebration of the Adonia; Theocritus, in Idyl XV., gives its rendering on the occasion when Arsinoe, queen of Ptolemy Philadelphus, decorated the image of Adonis. In a later chapter of the present volume,--that on The Alexandrian Woman,--an English version of this psalm is given, into which the spirit of the original is most aptly infused; and in connection therewith is a lively and forceful picture of the att.i.tude and manners of the ladies of the day.

XIII

GREEK WOMEN AND THE HIGHER EDUCATION

It is by no means a matter of surprise that among a people so highly cultured as the Greeks there should be women of the highest intellectual attainments. Sappho has already furnished us an example, and her ascendency over her pupils was such as to start a train of influences that stimulated her s.e.x in every part of h.e.l.las to engage in the study and composition of poetry.

Furthermore, among the famous men of h.e.l.las there were, from time to time, ardent advocates of the higher education of women. As early as the seventh century before the Christian era, Cleobulus, one of the seven sages of Greece, insisted that maidens should have the same intellectual training as youths, and ill.u.s.trated his doctrine in the careful education of his daughter, Cleobuline, who became a poetess of wide renown.

Pythagoras, who in the sixth century founded his celebrated philosophical sect in Southern Italy, fully recognized the equality of the s.e.xes and devised a system of education for women, which made his feminine followers not only most efficient in all domestic relations, but also preeminent in philosophical and literary culture. Plato spent considerable time in Magna Graecia, and became imbued with the spirit of Pythagorean philosophy. He must have been impressed with its elevating influence on the status of woman, for in his _Dialogues_ he urged that women should receive the same education as men, and he himself admitted members of the gentler s.e.x to the lectures of the Academy.

After Plato's time, accordingly, we find many women engaged in the study of philosophy, not only among the Academicians, but also in the other philosophical schools, especially the Cyrenaic, the Megarian, and the Epicurean. The Peripatetic and the Stoic doctrines seem not to have appealed to the fair s.e.x.

Alexander's empire, in overthrowing the exclusive State laws of the various cities, accomplished much for the emanc.i.p.ation of women, and from that time forward we find women engaged in almost all the branches of the higher learning. In Alexandria, especially, the daughters of scholars pursued studies in philosophy, in philology, and in archaeology, and some of them became celebrated. In the Graeco-Roman period, Plutarch was a constant advocate of female education, and the circle of learned women that he has made known to us indicates how general was the spread of education among the women of his day.

Aspasia had set the fashion for hetaarae in Athens to devote attention to rhetoric and philosophy; consequently, many of the blue-stockings of Greece belonged to the hetaera cla.s.s. Some acquaintance with the higher learning, however, became fashionable also in the retirement of the gynaeceum, and many maidens and matrons of honorable station employed their leisure moments in reading the works of philosophers and poets, and received, if not public, at least private instruction from professional lecturers.

The variety of intellectual pursuits among the women was marked. Poetry was their natural field, and philosophy appealed to them as being the most learned vocation of the times. Even in the Heroic Age, women were skilled in the uses of plants for purposes of witchcraft and of healing; and in historic times, when medicine became a science, women engaged in various medical pursuits. Similar tastes led many also to follow the different branches of natural science, and in Alexandrian times, when philology was the prevailing study, history and grammar and literary criticism became favorite studies with the daughters of the learned.

In a previous chapter, we have described the Lesbian Sappho's seminary of the Muses, to which maidens flocked from all h.e.l.lenic lands for the study of poetry and art. The natural beauties of the isle of Lesbos, the luxurious life of the aristocratic cla.s.ses, the brilliancy and zeal of Sappho herself, and her ardent affection for her girl friends, were influences favorable to the pursuits of the Muses and the Graces.

It is not surprising that, amid such surroundings and with such a teacher, women should acquire a love of poetry and of all that appeals to the aesthetic nature. There is a vague tradition that there were seventy-six women poets among the Ancient Greeks. Unfortunately, the names of but few of these are preserved to us. We have authentic information concerning only the nine most distinguished poetesses, to whom the Greeks gave the t.i.tle of the Terrestrial Muses.

The second of the nine Terrestrial Muses--for Sappho was, of course, the first--was the poetess's favorite and most promising pupil, Erinna of the isle of Telos. She aroused among Greek poets a most respectful and tender sentiment, and they frequently sounded her praises. Her most noted production was a poem called _The Distaff_, and the poets compared it to the honeycomb, which the gracious bee had gathered from the flowers of Helicon; they perceived in this production of a maiden the freshness and perfume of spring, and they likened her delicate notes to the sweet voice of a swan as he sings his death song--a comparison only too just, for she died at the tender age of nineteen years. A poet of the Anthology thus laments her untimely taking-off:

"These are Erinna's songs: how sweet, though slight!