Greek Women Part 6

Only one woman in ten has been found in some measure desirable, and the poet concludes with a lengthy and comprehensive dunciad of the female s.e.x, the gist of which is as follows: "Zeus made this supreme evil--woman: even though she seem to be a blessing, when a man has wedded one she becomes a plague."

How much truth is there in Semonides's views on the women of his time?

The poet agrees with Hesiod in regarding woman as a necessary evil. Nine women out of ten he finds altogether bad, and the tenth is prized only for her domestic virtues. Industrious, quiet, economical, the mother of children, she is merely the good housewife, which seems to have been the primitive ideal of the perfect woman. The poem treats of women of the middle cla.s.s, and is important in showing the freedom of movement, and appearance in public, of the married woman. She is not shut up in the harem; but in the use of her tongue, and in her capacity as a busybody, there seems to be no restraint upon her. Semonides's range of vision was narrow, and he probably knew not much beyond his own little island, but we may credit him with expressing the prevalent views of the honest burghers of Amorgus.

Phocylides of Miletus, a successor of Semonides by rather more than a century, composed in the same strain an epigrammatic satire on woman. It is manifestly an imitation of the tirade of Semonides.

"The tribe of women," says he, "is of these four kinds,--that of a dog, that of a bee, that of a burly sow, and that of a long-maned mare. This last is manageable, quick, fond of gadding about, fine of figure; the sow kind is neither good nor bad; that of the dog is difficult and snarling; but the bee-like woman is a good housekeeper, and knows how to work. This desirable marriage, pray to obtain, dear friend."

The bitterest of all the observations against woman by the iambic writers, however, is that of Hipponax, a brilliant satirist of the sixth century before Christ, He says:

"Two happy days a woman brings a man: the first, when he marries her; the second, when he bears her to the grave."

Theognis is another of the poets of Greece who took a gloomy view of life, and was not happy in his matrimonial ties. He laments that marriages in his native town of Megara are made for money, and avers that such marriages are the bane of the city. Says Theognis:

"Rams and a.s.ses, Cyrnus, and horses, we choose of good breed, and wish them to have good pedigrees; but a n.o.ble man does not hesitate to wed a baseborn girl if she bring him much money; nor does a n.o.ble woman refuse to be the wife of a base but wealthy man, but she chooses the rich instead of the n.o.ble. For they honor money; and the n.o.ble weds the baseborn, and the base the highborn; wealth has mixed the race. So, do not wonder, Polypaides, that the race of the citizens deteriorates, for the bad is mixed with the good."

To sum up this cursory survey of the iambic poets, we find that in their period woman is still regarded as the determining factor of man's weal or woe, but that there exists in the s.e.x every variety of woman which lack of education and, especially, lack of appreciation can produce.

Woman is prized by man only for her domestic virtues; and any endeavor she may make to step beyond the narrow circle of the home is resented by the lords of creation. Man looks down on her as his inferior, and gives her no share in his larger life. Among the aristocratic the bane of wealth has entered, and marriages of convenience are the prevailing custom.

When we pa.s.s from the iambic to the elegiac poets, we begin to note the causes why wedded life, especially among the Ionian Greeks, does not present the beautiful pictures of domestic bliss and conjugal comrades.h.i.+p so attractive in heroic times. The martial elegists show how woman could still inspire man to deeds of valor, but the erotic poets give us glimpses of the root of the evil that was undermining the very foundations of domestic life. The Greek woman did not develop under enlarged conditions with the same rapidity as the Greek man; the wife was expected to be merely the mother of her husband's children and the keeper of his house; for companions.h.i.+p and pleasure he looked elsewhere.

The free woman, or the hetaera, has entered upon the stage. Poets were inspired by love, but romantic love between husband and wife is being replaced by the love of the beautiful and highly educated "companion,"

or the natural place of the highborn woman is being invaded by the baser pa.s.sion for "those fair and stately youths, with their virgin looks and maiden modesty "--two cla.s.ses that were to play so large a role in society in the greatest days of Greece, and who were to bring about its downfall.

In the fragments of Alcman are many allusions to his pa.s.sion for his sweetheart Megalostrata; and many of the elegies of Mimnermus are said to have been addressed to a flute player, Nanno, who, according to one account, did not return his pa.s.sion. The following, translated by Symonds, shows the intensity of his love:

"What's life or pleasure wanting Aphrodite?

When to the gold-haired G.o.ddess cold am I, When love and love's soft gifts no more delight me, Nor stolen dalliance, then I fain would die!

Ah! fair and lovely bloom the flowers of youth; On man and maids they beautifully smile: But soon comes doleful eld, who, void of ruth, Indifferently afflicts the fair and vile.

Then cares wear out the heart; old eyes forlorn Scarce serve the very suns.h.i.+ne to behold-- Unloved of youths, of every maid the scorn-- So hard a lot G.o.ds lay upon the old."

Even from Solon the Sage, maker of const.i.tutions, we possess some amorous verses, of so questionable a character that it would hardly be fitting to present them in this volume. They are ascribed to his early youth. They afforded much comfort to the libertines of antiquity, who were glad to be able to cite so respectable an exemplar; but the good people were scandalized by these couplets.

Ibycus resembles Sappho in the intensity of his pa.s.sion and in his conception of Eros as a concrete existence. "Love once again looking upon me from his cloud-black brows, with languis.h.i.+ng glances drives me by enchantments of all kinds to the endless nets of Cypris. Verily, I tremble at his onset as a chariot horse, which hath won prizes, in old age goes grudgingly to try his speed in the swift race of cars."

Anacreon, to English readers the best known of the erotic poets of Greece, had as his mistress the golden-haired Eurypyle. He was very susceptible to the influence of love, and, owing to the grace and sweetness and ease of expression in his verses, has won an enduring fame. Many of his verses and numerous imitations of his poems are extant, and in these love is the constant theme.

Stesichorus was the composer of love poems with a plot, which were highly popular among the ladies of ancient days. As forerunners of the Greek Romance they possess unique literary importance, and as love stories of an early day they throw much light on the status and ideals of woman. Aristoxenus had preserved an outline of the plot of the _Calyce:_ "The maiden Calyce having fallen madly in love with a youth, prays to Apollo that she may become his lawful wife; and when he continues to be indifferent to her, she commits suicide." Ancient critics favorably comment on the purity and modesty of the maiden, and the story indicates that marriages were not always a matter of arrangement, that love at times determined one's choice, and that to the ancient highborn maiden death was preferable to dishonor. Another of these romantic poems, called _Rhadina_, tells also a tale of unhappy love, how a Samian brother and sister were put to death by a cruel tyrant because the sister resisted his advances.

Yet we cannot hold that woman had in this period universally a.s.sumed a lower status than that accorded her in the Homeric poems. Among Ionian peoples, this was doubtless true; but among aeolians and Dorians, woman had not only attained a greater degree of freedom than was permitted her in the Heroic Age, but had also shown herself the equal of man in literary and aesthetic pursuits. In this transition age, the name of one woman--Sappho--presents itself as the bright morning star in the history of cultured womanhood.

VI

SAPPHO

Toward the close of the seventh century before Christ, a singular phenomenon presented itself in the history of Greek womanhood.

Heretofore Greek women have been beautiful; they have been fascinating; they have exerted great influence on the course of events; but it cannot be said that they have been intellectual. At the time mentioned, there occurred an unusual movement in the intellectual realm. This remarkable movement centres about the name of the first great historical woman of Greece--Lesbian Sappho, "the Tenth Muse." In the history of universal woman, Sappho holds a position altogether unique; for she is not only regarded as the greatest of lyric poets, but she was also the founder of the first woman's club of which we have any record. Sappho consecrated herself heart and soul to the elevation of her s.e.x. As poetry and art const.i.tute the natural channels for the aesthetic cultivation of woman, she trained her pupils to be poets like herself. The result of her lifelong devotion to the service of Aphrodite and the Muses was that she herself not only achieved an immortal reputation as a poet, but through her inspiring influence her pupils carried the love of poetry and of intellectual and artistic pursuits back to their distant homes. Hence, it is not surprising to learn that from this time there were to be found here and there in the Greek world women who in intellectual pursuits were the peers of their male compeers, and that there should be found among women the nine terrestrial Muses, so called as a counterpart to the celestial Nine.

Sappho's unique greatness is best appreciated when we consider how she has been regarded by the great men of antiquity and of modern times.

Among the Greeks, she possessed the unique renown of being called "The Poetess," just as Homer was "The Poet." Solon, hearing one of her poems, prayed that he might not see death until he had learned it. Plato numbered her among the wise. Aristotle quotes without reservation a judgment that placed her in the same rank as Homer and Archilochus.

Plutarch likens her "to the heart of a volcano," and says that the grace of her poems acted on her listeners like an enchantment, and that when he read them he set aside the drinking cup in very shame. Strabo called her "a wonderful something," and says that "at no period within memory has any woman been known who, in any way, even the least degree, could be compared to her for poetry." Demetrius of Phaleron adds his word of praise: "Wherefore Sappho is eloquent and sweet when she sings of beauty and of love and spring, and of the kingfisher; and every beautiful expression is woven into her poetry besides what she herself invented."

Writers in the Greek Anthology continually sing her praises, calling her "the Tenth Muse," "pride of h.e.l.las," "comrade of Apollo," "child of Aphrodite and Eros," "nursling of the Graces and Persuasion." Nor have modern critics been less restrained in their praises, notwithstanding the fact that they possess merely a handful of fragments by which to judge "The Poetess." Addison, for example, says: "Among the mutilated poets of antiquity there is none whose fragments are so beautiful as those of Sappho." John Addington Symonds is even more enthusiastic. "The world has suffered no greater literary loss," says he, "than the loss of Sappho's poems. So perfect are the smallest fragments preserved, that we muse in a sad rapture of astonishment to think what the complete poems must have been." And Swinburne, her best modern interpreter, calls Sappho "the unapproachable poetess," and says: "Her remaining verses are the supreme success, the final achievement, of the poetic art."

Sappho was at the zenith of her fame about the beginning of the sixth century before the Christian era. Her home was at Mytilene, on the island of Lesbos. The lapse of twenty-five centuries has left us few authentic records of her life. There is a tradition that she was born at Eresus, on the island of Lesbos, and later established herself in the capital city, Mytilene. She was of a wealthy and aristocratic family.

Herodotus says that she was the daughter of Scamandronymus, and Suidas states that her mother's name was Cleis, that she was the wife of a rich citizen of Andros, Cercylas or Cercolas by name, and that she had a daughter named after her grandmother, Cleis. Sappho refers to a daughter by this name in one of the extant fragments, but none of these other statements are corroborated. She had two brothers, Larichus, a public cupbearer at Mytilene,--an office reserved for n.o.ble youths,--and Charaxus, a wine merchant, of whom we shall speak more fully later. From one source we learn that she went into exile to Sicily along with other aristocrats of Lesbos, but the date is a matter of conjecture. Pittacus was tyrant of Mytilene at this time, and Sappho probably returned to Lesbos at the time when he granted amnesty to political exiles. How long she lived we cannot tell, while how and when she died are also unknown. Judging from the allusions of the writers in the Anthology, her tomb, erected in the city of her adoption, was for centuries afterward regularly visited by her votaries.

These are the few facts we can positively state regarding the life of Sappho; but myth and legend have supplied what was lacking, and those scandalmongers, the Greek comic poets, have woven all sorts of stories about her manner of life. These stories centre chiefly about the names of three men,--Alcaeus and Anacreon, the poets, and Phaon, the mythical boatman of Mytilene, endowed by Aphrodite with extraordinary and irresistible beauty.

Alcaeus, the poet of love and wine and war, was a native of Mytilene, and a contemporary of Sappho, and the two poets no doubt knew each other well. The comic poets made them lovers. There is still extant the opening of a poem which Alcaeus addressed to Sappho:

"Violet-crowned, chaste, sweet-smiling Sappho, I fain would speak; but bashfulness forbids."

To which she replied:

"Had thy wish been pure and manly, And no evil on thy tongue, Shame had not possessed thine eyelids; From thy lips the right had rung."

Anacreon, the lyric poet, was also represented as a lover of Sappho; and two poems are preserved, one of which he is said to have addressed to her, while the other is said to be her reply. But there is no doubt whatever that Anacreon flourished at least a generation after Sappho, so that the two could never have met. It seems to have been one of the stock motifs of the comic poets to represent Greek lyrists as being lovers of the Lesbian; thus Diphilus, in his _Sappho_, pictured Archilochus and Hipponax, her predecessors by a generation, as her lovers.

The story of Sappho's love for Phaon and her leap from the Leucadian rock in consequence of his disdaining her, though it has been so long implicitly believed, rests on no historical basis. The perpetuation of the story is due chiefly to Ovid, who, in his epistle, _Sappho to Phaon_, tells of her unquenchable love and of her determination to attempt the leap. The story is best told by Addison:

"Sappho, the Lesbian, in love with Phaon, arrived at the temple of Apollo, habited like a bride, in garments white as snow. She wore a garland of myrtle on her head, and carried in her hand the little musical instrument of her own invention. After having sung a hymn to Apollo, she hung up her garland on one side of his altar, and her harp on the other. She then tucked up her vestments, like a Spartan virgin, and amidst thousands of spectators, who were anxious for her safety and offered up vows for her deliverance, marched directly forward to the utmost summit of the promontory, where, after having repeated a stanza of her own verses, she threw herself off the rock with such an intrepidity as was never observed before in any who had attempted that leap. Many who were present related that they saw her fall into the sea, from whence she never rose again; though there were others who affirmed that she never came to the bottom of her leap, but that she was changed to a swan as she fell, and that they saw her hovering in the air under that shape. But whether or not the whiteness and fluttering of her garments might not deceive those who looked upon her, or whether she might not really be metamorphosed into that musical and melancholy bird, is still a doubt among the Lesbians."

Modern critics justly set aside the whole story as fabulous, explaining it as derived from the myth of Aphrodite and Adonis, who in the Greek version was called Phaethon or Phaon. The leap from the Leucadian rock--the promontory of Santa Maura, or Leucate, in Sicily, known to this day as "Sappho's Leap"--was used by other poets, notably Stesichorus and Anacreon, as a metaphorical expression to denote complete despair, and Sappho herself may have used it in this sense. The legend did not connect itself with Sappho until two centuries after her death, and then only in the comic poets; hence it can have no basis in fact. The tradition of Sappho's aeolian grave, preserved in the Anthology, indicates strongly that she died a peaceful death on her own island. "Sappho," says Edwin Arnold, "loved, and loved more than once, to the point of desperate sorrow; though it did not come to the mad and fatal leap from Leucate, as the unnecessary legend pretends. There are, nevertheless, worse steeps than Leucate down which the heart may fall; and colder seas of despair than the Adriatic in which to engulf it."

The whole story of her love for Phaon is an instance of how her name was maligned by the comic poets of the later Attic school. It was impossible for the Athenians, who kept their women in seclusion, to understand how a woman could enjoy the freedom of life and movement that Sappho enjoyed and yet remain chaste. Consequently, she became a sort of stock character of the licentious drama, and even modern writers have used her name as the synonym for the brilliant, beautiful, but licentious woman.

As says Daudet, who of all recent writers has done most to degrade the name: "The word Sappho itself, by the force of rolling descent through ages, is encrusted with unclean legends, and has degenerated from the name of a G.o.ddess to that of a malady." The Greek comic poets invented the misrepresentation; the early Christian writers accepted it, and exaggerated it in their tirades against heathenism; and thus the tradition that Sappho was a woman of low moral character became fixed.

Only in the present century have the ancient calumnies against Sappho been seriously investigated. A German scholar, Friedrich Gottlieb Welcker, was the first to show that they were based on altogether insufficient evidence. Colonel Mure, with great lack of gallantry, endeavored, without success, to expose fallacies in Welcker's arguments.

Professor Comparetti has more recently gone laboriously over the whole ground, and his work substantiates in the main the conclusions of Welcker. The whole tendency of modern scholars.h.i.+p is to vindicate the name of Sappho.

We cannot claim that Sappho was a woman of austere virtue; but she was one of the best of her race, and there is no trace of wantonness in any stanza of hers preserved to us. She repulsed Alcaeus when he made improper advances, while a recently discovered papyrus fragment shows how keenly she felt a brother's disgrace, and this aversion to the dishonorable would hardly have existed had her own life been open to censure.

Sappho's brother Charaxus, who was a Lesbian wine merchant, fell violently in love with the famous courtesan Rhodopis, then a slave in Naucratis, and subsequently the most noted beauty of her day. He ransomed her from slavery, devoted himself exclusively to her whims, and squandered all his substance upon her maintenance. Sappho was violently incensed at his conduct, and resorted to verse for the expression of her anger and humiliation. According to the story in Ovid, Charaxus was fiercely provoked by her ill treatment of him, and would listen to no attempts at reconciliation made by his poet-sister after her anger had cooled, though she reproached herself for the estrangement and did all she could to win him back.

A twenty-line fragment of a poem, found a few years ago among the Oxyrhynchus papyri, in a reference to the poet's brother, in its tone of reproach, in its expression of a desire for reconciliation, in dialect and in metre, indicates its origin as a part of an ode addressed by Sappho to her brother Charaxus. It is conceived by its editors and translators to be one of her vain appeals that he would forget the past:

"Sweet Nereids, grant to me That home unscathed my brother may return, And every end for which his soul shall yearn, Accomplished see!

"And thou, immortal Queen, Blot out the past, that thus his friends may know Joy, shame his foes--nay, rather, let no foe By us be seen!

"And may he have the will To me his sister some regard to show, To a.s.suage the pain he brought, whose cruel blow My soul did kill,

"Yea, mine, for that ill name Whose biting edge, to shun the festal throng Compelling, ceased a while; yet back ere long To goad us came!"