A Problem in Greek Ethics. (continued 2)

What makes this speech the more singular is that Critobulus was a newly-married man.

But to return from this digression to the palæstra. The Greeks were conscious that gymnastic exercises tended to encourage and confirm the habit of paiderastia. "The cities which have most to do with gymnastics," is the phrase which Plato uses to describe the states where Greek love flourished.[117] Herodotus says the barbarians borrowed gymnastics together with paiderastia from the Hellenes; and we hear that Polycrates of Samos caused the gymnasia to be destroyed when he wished to discountenance the love which lent the warmth of personal enthusiasm to political associations.[118] It was common to erect statues of love in the wrestling-grounds; and there, says Plutarch,[119] the god's wings grew so wide that no man could restrain his flight. Readers of the idyllic poets will remember that it was a statue of Love which fell from its pedestal in the swimming-bath upon the cruel boy who had insulted the body of his self-slain friend.[120] Charmus, the lover of Hippias, erected an image of Erôs in the academy at Athens which bore this epigram:—

"Love, god of many evils and various devices, Charmus set up this altar to thee upon the shady boundaries of the gymnasium."[121]

Erôs, in fact, was as much at home in the gymnasia of Athens as Aphrodite in the temples of Corinth; he was the patron of paiderastia, as she of female love. Thus Meleager writes:—

"The Cyprian queen, a woman, hurls the fire that maddens men for females; but Erôs himself sways the love of males for males."[122]

Plutarch, again, in the Erotic dialogue, alludes to "Erôs, where Aphrodite is not; Erôs apart from Aphrodite." These facts relating to the gymnasia justified Cicero in saying, "Mihi quidem hæc in Græcorum gymnasiis nata consuetudo videtur; in quibus isti liberi et concesi sunt amores." He adds, with a true Roman's antipathy to Greek æsthetics and their flimsy screen for sensuality, "Bene ergo Ennius, flagitii principium est nudare inter cives corpora."[123] "To me, indeed, it seems that this custom was generated in the gymnasiums of the Greeks, for there those loves are freely indulged and sanctioned. Ennius therefore very properly observed that the beginning of vice is the habit of stripping the body among citizens."

The Attic gymnasia and schools were regulated by strict laws. We have already seen that adults were not supposed to enter the palæstra; and the penalty for the infringement of this rule by the gymnasiarch was death. In the same way, schools had to be shut at sunset and not opened again before daybreak; nor was a grown-up man allowed to frequent them. The public chorus teachers of boys were obliged to be above the age of forty.[124] Slaves who presumed to make advances to a free boy were subject to the severest penalties; in like manner they were prohibited from gymnastic exercises. Æschines, from whom we learn these facts, draws the correct conclusion that gymnastics and Greek love were intended to be the special privilege of freemen. Still, in spite of all restrictions, the palæstra was the centre of Athenian profligacy, the place in which not only honourable attachments were formed, but disgraceful bargains also were concluded;[125] and it is not improbable that men like Taureas and Miccus, who opened such places of amusement as a private speculation, may have played the part of go-betweens and panders. Their walls, and the plane-trees which grew along their open courts, were inscribed by lovers with the names of boys who had attracted them. To scrawl up, "Fair is Dinomeneus, fair is the boy," was a common custom, as we learn from Aristophanes and from this anonymous epigram in the Anthology:[126]—

"I said and once again I said, 'fair, fair'; but still will I go on repeating how fascinating with his eyes is Dositheus. Not upon an oak, nor on a pine-tree, nor yet upon a wall, will I inscribe this word; but love is smouldering in my heart of hearts."

Another attention of the same kind from a lover to a boy was to have a vase or drinking-cup of baked clay made, with a portrait of the youth depicted on its surface, attended by winged genii of health and love. The word "Fair" was inscribed beneath, and symbols of games were added—a hoop or a fighting-cock.[127] Nor must I here omit the custom which induced lovers of a literary turn to praise their friends in prose or verse. Hippothales, in the Lysis of Plato, is ridiculed by his friends for recording the great deeds of the boy's ancestors, and deafening his ears with odes and sonnets. A diatribe on love, written by Lysias with a view to winning Phædrus, forms the starting-point of the dialogue between that youth and Socrates.[128] We have, besides, a curious panegyrical oration (called Eroticos Logos), falsely ascribed to Demosthenes, in honour of a youth, Epicrates, from which some information may be gathered concerning the topics usually developed in these compositions.

Presents were of course a common way of trying to win favour. It was reckoned shameful for boys to take money from their lovers, but fashion permitted them to accept gifts of quails and fighting cocks, pheasants, horses, dogs and clothes.[129] There existed, therefore, at Athens frequent temptations for boys of wanton disposition, or for those who needed money to indulge expensive tastes. The speech of Æschines, from which I have already frequently quoted, affords a lively picture of the Greek rake's progress, in which Timarchus is described as having sold his person in order to gratify his gluttony and lust and love of gaming. The whole of this passage,[130] it may be observed in passing, reads like a description of Florentine manners in a sermon of Savonarola.

The shops of the barbers, surgeons, perfumers, and flower-sellers had an evil notoriety, and lads who frequented these resorts rendered themselves liable to suspicion. Thus Æschines accuses Timarchus of having exposed himself for hire in a surgeon's shop at the Peiræus; while one of Straton's most beautiful epigrams[131] describes an assignation which he made with a boy who had attracted his attention in a garland-weaver's stall. In a fragment from the Pyraunos of Alexis, a young man declares that he found thirty professors of the "voluptuous life of pleasure," in the Cerameicus during a search of three days; while Cratinus and Theopompus might be quoted to prove the ill fame of the monument to Cimon and the hill of Lycabettus.[132]

The last step in the downward descent was when a youth abandoned the roof of his parents or guardians and accepted the hospitality of a lover.[133] If he did this, he was lost.

In connection with this portion of the subject, it may be well to state that the Athenian law recognised contracts made between a man and boy, even if the latter were of free birth, whereby the one agreed to render up his person for a certain period and purpose, and the other to pay a fixed sum of money.[134] The phrase "a boy who has been a prostitute," occurs quite naturally in Aristophanes;[135] nor was it thought disreputable for men to engage in these liaisons. Disgrace only attached to the free youth who gained a living by prostitution; and he was liable, as we shall see, at law to loss of civil rights.

Public brothels for males were kept in Athens, from which the state derived a portion of its revenues. It was in one of these bad places that Socrates first saw Phædo.[136] This unfortunate youth was a native of Elis. Taken prisoner in war, he was sold in the public market to a slave-dealer, who then acquired the right by Attic law to prostitute his person and engross his earnings for his own pocket. A friend of Socrates, perhaps Cebes, bought him from his master, and he became one of the chief members of the Socratic circle. His name is given to the Platonic dialogue on immortality, and he lived to found what is called the Eleo-Socratic School. No reader of Plato forgets how the sage, on the eve of his death, stroked the beautiful long hair of Phædo,[137] and prophesied that he would soon have to cut it short in mourning for his teacher.

Agathocles, the tyrant of Syracuse, is said to have spent his youth in brothels of this sort—by inclination, however, if the reports of his biographers be not calumnious.

From what has been collected on this topic, it will be understood that boys in Athens not unfrequently caused quarrels and street-brawls, and that cases for recovery of damages or breach of contract were brought before the Attic law-courts. The Peiræus was especially noted for such scenes of violence. The oration of Lysias against Simon is a notable example of the pleadings in a cause of this description.[138] Simon, the defendant, and Lysias, the plaintiff (or some one for whom Lysias had composed the speech) were both of them attached to Theodotus, a boy from Platæa. Theodotus was living with the plaintiff; but the defendant asserted that the boy had signed an agreement to consort with him for the consideration of three hundred drachmæ, and, relying on this contract, he had attempted more than once to carry off the boy by force. Violent altercations, stone-throwings, house-breakings, and encounters of various kinds having ensued, the plaintiff brought an action for assault and battery against Simon. A modern reader is struck with the fact that he is not at all ashamed of his own relation towards Theodotus. It may be noted that the details of this action throw light upon the historic brawl at Corinth, in which a boy was killed, and which led to the foundation of Syracuse by Archias the Bacchiad.[139]

XIV.

We have seen in the foregoing section that paiderastia at Athens was closely associated with liberty, manly sports, severe studies, enthusiasm, self-sacrifice, self-control, and deeds of daring, by those who cared for those things. It has also been made abundantly manifest that no serious moral shame attached to persons who used boys like women, but that effeminate youths of free birth were stigmatised for their indecent profligacy. It remains still to ascertain the more delicate distinctions which were drawn by Attic law and custom in this matter, though what has been already quoted from Pausanias, in the Symposium of Plato, may be taken fairly to express the code of honour among gentlemen.

In the Plutus,[140] Aristophanes is careful to divide "boys with lovers," into "the good," and "the strumpets." This distinction will serve as basis for the following remarks. A very definite line was drawn by the Athenians between boys who accepted the addresses of their lovers because they liked them or because they were ambitious of comradeship with men of spirit, and those who sold their bodies for money. Minute inquiry was never instituted into the conduct of the former class; else Alcibiades could not have made his famous declaration about Socrates,[141] nor would Plato in the Phædrus have regarded an occasional breach of chastity, under the compulsion of violent passion, as a venial error.[142] The latter, on the other hand, besides being visited with universal censure, were disqualified by law from exercising the privileges of the franchise, from undertaking embassies, from frequenting the Agora, and from taking part in public festivals, under the penalty of death. Æschines, from whom we learn the wording of this statute, adds:[143] "This law he passed with regard to youths who sin with facility and readiness against their own bodies." He then proceeds to define the true nature of prostitution, prohibited by law to the citizens of Athens. It is this: "Any one who acts in this way towards a single man, provided he do it with payment, seems to me to be liable to the reproach in question."[144] The whole discussion turns upon the word Misthos. The orator is cautious to meet the argument that a written contract was necessary in order to construct a case of Hetaireia at law.[145] In the statute, he observes, there is no mention of "contract" or "deed in writing." The offence has been sufficiently established "when in any way whatever payment has been made."

In order to illustrate the feeling of the Athenians with regard to making profit out of paiderastic relations, I may perhaps be permitted to interrupt the analysis of Æschines by referring to Xenophon's character (Anab. si, 6, 21) of the Strategus Menon. The whole tenor of his judgment is extremely unfavourable toward this man, who invariable pursued selfish and mean aims, debasing virtuous qualities like ambition and industry in the mere pursuit of wealth and power. He was, in fact, devoid of chivalrous feeling, good taste, and honour. About his behaviour as a youth, Xenophon writes: "With Ariæus, the barbarian, because this man was partial to handsome youths, he became extremely intimate while he was still in the prime of adolescence; moreover, he had Tharypas for his beloved, he being beardless and Tharypas a man with a beard." His crime seems to have been that he prostituted himself to the barbarian Ariæus in order to advance his interest, and, probably with the same view, flattered the effeminate vanity of an elder man by pretending to love him out of the right time or season. Plutarch (Pyrrhus) mentions this Tharypas as the first to introduce Hellenic manners among the Molossi.

When more than one lover was admitted, the guilt was aggravated. "It will then be manifest that he has not only acted the strumpet, but that he has been a common prostitute. For he who does this indifferently, and with money, and for money, seems to have incurred that designation." Thus the question finally put to the Areopagus, in which court the case against Timarchus was tried, ran as follows, in the words of Æschines:[146] "To which of these two classes will you reckon Timarchus—to those who have had a lover, or to those who have been prostitutes?" In his rhetorical exposition, Æschines defines the true character of the virtuous Eromenos. Frankly admitting his own partiality for beautiful young men, he argues after this fashion:[147] "I do not attach any blame to love. I do not take away the character of handsome lads. I do not deny that I have often loved, and had many quarrels and jealousies in this matter. But I establish this as an irrefutable fact, that, while the love of beautiful and temperate youths does honour to humanity and indicates a generous temper, the buying of the person of a free boy for debauchery is a mark of insolence and ill-breeding. To be loved is an honour: to sell yourself is a disgrace." He then appeals to the law which forbade slaves to love, thereby implying that this was the privilege and pride of free men. He alludes to the heroic deed of Aristogeiton and to the great example of Achilles. Finally, he draws up a list of well-known and respected citizens whose loves were notorious, and compares them with a parallel list of persons infamous for their debauchery. What remains in the peroration to this invective traverses the same ground. Some phrases may be quoted which illustrate the popular feeling of the Athenians. Timarchus is stigmatised[148] as, "the man and male who, in spite of this, has debauched his body by womanly acts of lust," and again as, "one who against the law of nature has given himself to lewdness." It is obvious here that Æschines, the self-avowed boy-lover, while seeking to crush his opponent by flinging effeminacy and unnatural behaviour in his teeth, assumes at the same time that honourable paiderastia implies no such disgrace. Again, he observes that it is as easy to recognise a pathic by his impudent behaviour as a gymnast by his muscles. Lastly, he bids the judges force intemperate lovers to abstain from free youths, and satisfy their lusts upon the persons of foreigners and aliens.[149] The whole matter at this distance of time is obscure, nor can we hope to apprehend the full force of distinctions drawn by a Greek orator appealing to a Greek audience. We may, indeed, fairly presume that, as is always the case with popular ethics, considerable confusion existed in the minds of the Athenians themselves, and that, even for them, to formulate the whole of their social feelings on this topic consistently, would have been impossible. The main point, however, seems to be that at Athens it was held honourable to love free boys with decency; that the conduct of lovers between themselves, within the limits of recognised friendship, was not challenged; and that no particular shame attached to profligate persons so long as they refrained from tampering with the sons of citizens.[150]

XV.

The sources from which our information has hitherto been drawn—speeches, poems, biographies, and the dramatic parts of dialogues—yield more real knowledge about the facts of Athenian paiderastia than can be found in the speculations of philosophers. In Aristotle, for instance, paiderastia is almost conspicuous by its absence. It is true that he speculates upon the Cretan customs in the Politics, mentions the prevalence of boy-love among the Kelts, and incidentally notices the legends of Diocles and Cleomachus;[151] but he never discusses the matter as fully as might have been expected from a philosopher whose speculations covered the whole field of Greek experience. The chapters on Philia, in the Ethics, might indeed have been written by a modern moralist for modern readers, though it is possible that in his treatment of "friendship with pleasure for its object," and "friendship with advantage for its object," Aristotle is aiming at the vicious sort of paiderastia. As regards his silence in the Politics, it is worth noticing that this treatise breaks off at the very point where we should naturally look for a scientific handling of the education of the passions; and, therefore, it is possible that we may have lost the weightiest utterance of Greek philosophy upon the matter of our enquiry.

Though Aristotle contains but little to the purpose, the case is different with Plato; nor would it be possible to omit a detailed examination of the Platonic doctrine on the topic, or to neglect the attempt he made to analyse and purify a passion, capable, according to his earlier philosophical speculations, of supplying the starting-point for spiritual progress.

The first point to notice in the Platonic treatment of paiderastia is the difference between the ethical opinions expressed in the Phædrus, Symposium, Republic, Charmides, and Lysis, on the one hand, and those expounded in the Laws upon the other. The Laws, which are probably a genuine work of Plato's old age, condemn that passion which, in the Phædrus and Symposium, he exalted as the greatest boon of human life and as the groundwork of the philosophical temperament; the ordinary social manifestations of which he described with sympathy in the Lysis and the Charmides; and which he viewed with more than toleration in the Republic. It is not my business to offer a solution of this contradiction; but I may observe that Socrates, who plays the part of protagonist in nearly all the other dialogues of Plato, and who, as we shall see, professed a special cult of love, is conspicuous by his absence in the Laws. It is, therefore, not improbable that the philosophical idealisation of paiderastia, to which the name of Platonic love is usually given, should rather be described as Socratic. However that may be, I think it will be well to deal first with the doctrine put into the mouth of the Athenian stranger in the Laws, and then to pass on to the consideration of what Socrates is made to say upon the subject of Greek love in the earlier dialogues.

The position assumed by Plato in the Laws (p. 636) is this: Syssitia and gymnasia are excellent institutions in their way, but they have a tendency to degrade natural love in man below the level of the beasts. Pleasure is only natural when it arises out of the intercourse between men and women, but the intercourse between men and men, or women and women, is contrary to nature.[152] The bold attempt at overleaping Nature's laws was due originally to unbridled lust.

This position is developed in the eighth book (p. 836), where Plato directs his criticism, not only against what would now be termed the criminal intercourse between persons of the same sex, but also against incontinence in general. While framing a law of almost monastic rigour for the regulation of the sexual appetite, he remains an ancient Greek. He does not reach the point of view from which women are regarded as the proper objects of both passion and friendship, as the fit companions of men in all relations of life; far less does he revert to his earlier speculations upon the enthusiasm generated by a noble passion. The modern ideal of marriage and the chivalrous conception of womanhood as worthy to be worshipped are like unknown to him. Abstinence from the delights of love, continence except for the sole end of procreation, is the rule which he proposes to the world.

There are three distinct things, Plato argues, which, owing to the inadequacy of language to represent states of thought, have been confounded.[153] These are friendship, desire, and a third mixed species. Friendship is further described as the virtuous affection of equals in taste, age and station. Desire is always founded on a sense of contrast. While friendship is "gentle and mutual through life," desire is "fierce and wild."[154] The true friend seeks to live chastely with the chaste object of his attachment, whose soul he loves. The lustful lover longs to enjoy the flower of his youth and cares only for the body. The third sort is mixed of these; and a lover of this composite kind is torn asunder by two impulses, "the one commanding him to enjoy the youth's person, the other forbidding him to do so."[155] The description of the lover of the third species so exactly suits the paiderast of nobler quality in Greece, as I conceive him to have actually existed, that I shall give a full quotation of this passage:[156]—

"As to the mixed sort, which is made up of them both, there is, first of all, a difficulty in determining what he who is possessed by this third love desires; moreover, he is drawn different ways, and is in doubt between the two principles, the one exhorting him to enjoy the beauty of the youth, and the other forbidding him; for the one is a lover of the body and hungers after beauty like ripe fruit, and would fain satisfy himself without any regard to the character of the beloved; the other holds the desire of the body to be a secondary matter, and, looking rather than loving with his soul, and desiring the soul of the other in a becoming manner, regards the satisfaction of the bodily love as wantonness; he reverences and respects temperance and courage and magnanimity and wisdom, and wishes to live chastely with the chaste object of his affection."

It is remarkable that Plato, in this analysis of the three sorts of love, keeps strictly within the bounds of paiderastia. He rejects desire and the mixed sort of love, reserving friendship (Philia) and ordaining marriage for the satisfaction of the aphrodisiac instinct at a fitting age, but more particularly for the procreation of children. Wantonness of every description is to be made as much a sin as incest, both by law and also by the world's opinion. If Olympian victors, with an earthly crown in view, learn to live chastely for the preservation of their strength while training, shall not men, whose contest is for heavenly prizes, keep their bodies undefiled, their spirits holy?

Socrates, the mystagogue of amorous philosophy, is absent, as I have observed, from this discussion of the laws. I turn now to those earlier dialogues in which he expounds the doctrine of Platonic, or, as I should prefer to call it, Socratic, love. We know from Xenophon, as well as Plato, that Socrates named his philosophy the Science of Love. The one thing on which I pride myself, he says, is knowledge of all matters that pertain to love. It furthermore appears that Socrates thought himself in a peculiar sense predestined to reform and to ennoble paiderastia. "Finding this passion at its height throughout the whole of Hellas, but most especially in Athens, and all places full of evil lovers and of youths seduced, he felt a pity for both parties. Not being a lawgiver like Solon, he could not stop the custom by statute, nor correct it by force, nor again dissuade men from it by his eloquence. He did not, however, on that account abandon the lovers or the boys to their fate, but tried to suggest a remedy." This passage, which I have paraphrased from Maximus Tyrius,[157] sufficiently expresses the attitude assumed by Socrates in the Platonic dialogue. He sympathises with Greek lovers, and avows a fervent admiration for beauty in the persons of young men. At the same time, he declares himself upon the side of temperate and generous affection and strives to utilise the erotic enthusiasm as a motive power in the direction of philosophy. This was really nothing more or less than an attempt to educate the Athenians by appealing to their own higher instincts. We have seen that paiderastia in the prime of Hellenic culture, whatever sensual admixture it might have contained, was a masculine passion. It was closely connected with the love of political independence, with the contempt for Asiatic luxury, with the gymnastic sports, and with the intellectual interests which distinguished Hellenes from barbarians. Partly owing to the social habits of their cities, and partly to the peculiar notions which they entertained regarding the seclusion of free women in the home, all the higher elements of spiritual and mental activity, and the conditions under which a generous passion was conceivable, had become the exclusive privileges of men. It was not that women occupied a semi-servile station, as some students have imagined, or that within the sphere of the household they were not the respected and trusted helpmates of men. But circumstances rendered it impossible for them to excite romantic and enthusiastic passion. The exaltation of the emotions was reserved for the male sex.

Socrates, therefore, sought to direct and moralise a force already existing. In the Phædrus he describes the passion of love between man and boy as a madness, not different in quality from that which inspires poets; and, after painting that fervid picture of the lover, he declares that the true object of a noble life can only be attained by passionate friends, bound together in the chains of close yet temperate comradeship, seeking always to advance in knowledge, self-restraint, and intellectual illumination. The doctrine of the Symposium is not different, except that Socrates here takes a higher flight. The same love is treated as the method whereby the soul may begin her mystic journey to the region of essential beauty, truth, and goodness. It has frequently been remarked that Plato's dialogues have to be read as poems, even more than as philosophical treatises; and if this be true at all, it is particularly true of both the Phædrus and the Symposium. The lesson which both essays seem intended to inculcate is this: love, like poetry and prophecy, is a divine gift, which diverts men from the common current of their lives; but in the right use of this gift lies the secret of all human excellence. The passion which grovels in the filth of sensual grossness may be transformed into a glorious enthusiasm, a winged splendour, capable of soaring to the contemplation of eternal verities. How strange will it be, when once those heights of intellectual intuition have been scaled, to look down again to earth and view the Meirakidia in whom the soul first recognised the form of beauty![158] There is a deeply-rooted mysticism, an impenetrable soofyism, in the Socratic doctrine of Erôs.

In the Phædrus, the Symposium, the Charmides, the Lysis, and the Republic, Plato dramatised the real Socrates, while he gave liberal scope to his own personal sympathy for paiderastia.[159] In the Laws, if we accept this treatise as the work of his old age, he discarded the Socratic mask, and wrote a kind of palinode, which indicates more moral growth than pure disapprobation of the paiderastic passion. I have already tried to show that the point of view in the Laws is still Greek: that their author has not passed beyond the sphere of Hellenic ethics. He has only become more ascetic in his rule of conduct as the years advanced, importing the rumores senum severiorum into his discourse, and recognising the imperfection of that halting-point between the two logical extremes of Pagan license and monastic asceticism which in the fervour of his greener age he advocated. As a young man, Plato felt sympathy for love so long as it was paiderastic and not spent on women; he even condoned a lapse through warmth of feeling into self-indulgence. As an old man, he denounced carnal pleasure of all kinds, and sought to limit the amative instincts to the one sole end of procreation.

It has so happened that Plato's name is still connected with the ideal of passion purged from sensuality. Much might be written about the parallel between the mania of the Phædrus and the joy of mediæval amorists. Nor would it be unprofitable to trace the points of contact between the love described by Dante in the Vita Nuova and the paiderastia exalted to the heavens by Plato.[160] The spiritual passion for Beatrice, which raised the Florentine poet above vile things, and led him by the philosophic paths of the Convito to the beatific vision of the Paradiso, bears no slight resemblance to the Erôs of the Symposium. Yet we know that Dante could not have studied Plato's works; and the specific love which Plato praised he sternly stigmatised. The harmony between Greek and mediæval mysticism in this matter of the emotions rests on something permanent in human nature, common alike to paiderastia and to chivalrous enthusiasm for woman.

It would be well worth raising here the question whether there was not something special both in the Greek consciousness itself, and also in the conditions under which it reached maturity, which justified the Socratic attempt to idealise paiderastia. Placed upon the borderland of barbarism, divided from the Asiatic races by an acute but narrow line of demarcation, the Greeks had arrived at the first free notion of the spirit in its disentanglement from matter and from symbolism. But this notion of the spirit was still æsthetic, rather than strictly ethical or rigorously scientific. In the Greek gods, intelligence is perfected and character is well defined; but these gods are always concrete persons, with corporeal forms adapted to their spiritual essence. The interpenetration of spiritual and corporeal elements in a complete personality, the transfusion of intellectual and emotional faculties throughout a physical organism exactly suited to their adequate expression, marks Greek religion and Greek art. What the Greeks worshipped in their ritual, what they represented in their sculpture, was always personality—the spirit and the flesh in amity and mutual correspondence; the spirit burning through the flesh and moulding it to individual forms; the flesh providing a fit dwelling for the spirit which controlled and fashioned it. Only philosophers, among the Greeks, attempted to abstract the spirit as a self-sufficient, independent, conscious entity; and these philosophers were few, and what they wrote or spoke had little direct influence upon the people. This being the mental attitude of the Greek race, it followed as a necessity that their highest emotional aspirations, their purest personal service, should be devoted to clear and radiant incarnations of the spirit in a living person. They had never been taught to regard the body with a sense of shame, but rather to admire it as the temple of the spirit, and to accept its needs and instincts with natural acquiescence. Male beauty disengaged for them the passion it inspired from service of domestic, social, civic duties. The female form aroused desire, but it also suggested maternity and obligations of the household. The male form was the most perfect image of the deity, self-contained, subject to no necessities of impregnation, determined in its action only by the laws of its own reason and its own volition.

Quite a different order of ideas governed the ideal adopted by mediæval chivalry. The spirit in its self-sufficingness, detached from the body, antagonistic to the body, had been divinised by Christianity. Woman, regarded as a virgin and at the same time a mother, the maiden-mother of God made man, had been exalted to the throne of heaven. The worship of woman became, by a natural and logical process, the correlative in actual human life for that worship of the incarnate Deity which was the essence of religion. A remarkable point in mediæval love is that the sensual appetites were, theoretically at least, excluded from the homage paid to woman. It was not the wife or the mistress, but the lady, who inspired the knight. Dante had children by Gemma, Petrarch had children by an unknown concubine, but it was the sainted Beatrice, it was the unattainable Laura, who received the homage of Dante and of Petrarch.

In like manner, the sensual appetites were, theoretically at least, excluded from Platonic paiderastia. It was the divine in human flesh—"the radiant sight of the beloved," to quote from Plato; "the fairest and most intellectual of earthly bodies," to borrow a phrase from Maximus Tyrius—it was this which stimulated the Greek lover, just as a similar incarnation of divinity inspired the chivalrous lover. Thus we might argue that the Platonic conception of paiderastia furnishes a close analogue to the chivalrous devotion to women, due regard being paid to the differences which existed between the plastic ideal of Greek religion and the romantic ideal of mediæval Christianity. The one veiled sodomy, the other adultery. That in both cases the conception was rarely realised in actual life only completes the parallel.

To pursue this inquiry further is, however, alien to my task. It is enough to have indicated the psychological agreement in respect of purified affection which underlay two such apparently antagonistic ideals of passion. Few modern writers, when they speak with admiration or contempt of Platonic love, reflect that in its origin this phrase denoted an absorbing passion for young men. The Platonist, as appears from numerous passages in the Platonic writings, would have despised the Petrarchist as a vulgar woman-lover. The Petrarchist would have loathed the Platonist as a moral Pariah. Yet Platonic love, in both its Attic and its mediæval manifestations, was one and the same thing.

The philosophical ideal of paiderastia in Greece, which bore the names of Socrates and Plato, met with little but contempt. Cicero, in a passage which has been echoed by Gibbon, remarked upon, "the thin device of virtue and friendship which amused the philosophers of Athens."[161] Epicurus criticised the Stoic doctrine of paiderastia by sententiously observing that philosophers only differed from the common race of men in so far as they could better cloak their vice with sophistries. This severe remark seems justified by the opinions ascribed to Zeno by Plutarch, Sextus Empiricus, and Stobæus.[162] But it may be doubted whether the real drift of the Stoic theory of love, founded on Adiaphopha, was understood. Lucian, in the Amores,[163] makes Charicles, the advocate of love for women, deride the Socratic ideal as vain nonsense, while Theomnestus, the man of pleasure, to whom the dispute is finally referred, decides that the philosophers are either fools or humbugs.[164] Daphnæus, in the erotic dialogue of Plutarch, arrives at a similar conclusion; and, in an essay on education, the same author contends that no prudent father would allow the sages to enter into intimacy with his sons.[165] The discredit incurred by philosophers in the later age of Greek culture is confirmed by more than one passage in Petronius and Juvenal, while Athenæus especially inveighs against philosophic lovers as acting against nature.[166] The attempt of the Platonic Socrates to elevate, without altering, the morals of his race may therefore be said fairly to have failed. Like his Republic, his love existed only in heaven.

XVI.

Philip of Macedon, when he pronounced the panegyric of the Sacred Band at Chæronea, uttered the funeral oration of Greek love in its nobler forms. With the decay of military spirit and the loss of freedom, there was no sphere left for that type of comradeship which I attempted to describe in Section IV. The philosophical ideal, to which some cultivated Attic thinkers had aspired, remained unrealised, except, we may perhaps suppose, in isolated instances. Meanwhile, paiderastia as a vice did not diminish. It only grew more wanton and voluptuous. Little, therefore, can be gained by tracing its historical development further, although it is not without interest to note the mode of feeling and the opinion of some later poets and rhetoricians.

The Idyllists are the only poets, if we except a few epigrammatists of the Anthology, who preserve a portion of the old heroic sentiment. No true student of Greek literature will have felt that he could strictly censure the paiderastic passages of the Thalysia, Aïtes, Hylas, Paidika. They have the ring of genuine and respectable emotion. This may also be said about the two fragments of Bion which begin, Hespere tas eratas and Olbioi oi phileontes. The Duserôs, ascribed without due warrant to Theocritus, is in many respects a beautiful composition, but it lacks the fresh and manly touches of the master's style, and bears the stamp of an unwholesome rhetoric. Why, indeed, should we pity this suicide, and why should the statue of Love have fallen on the object of his admiration? Maximus Tyrius showed more sense when he contemptuously wrote about those men who killed themselves for love of a beautiful lad in Locri:[167] "And in good sooth they deserved to die."

The dialogue, entitled Erotes, attributed to Lucian, deserves a paragraph. More than any other composition of the rhetorical age of Greek literature, it attempts a comprehensive treatment of erotic passion, and sums up the teaching of the doctors and the predilections of the vulgar in one treatise.[168] Like many of Lucian's compositions, it has what may be termed a retrospective and resumptive value. That is to say, it represents less the actual feeling of the author and his age than the result of his reading and reflection brought into harmony with his experience. The scene is laid at Cnidus, in the groves of Aphrodite. The temple and the garden and the statue of Praxiteles are described with a luxury of language which strikes the keynote of the dialogue. We have exchanged the company of Plato, Xenophon, or Æschines for that of a Juvenalian Græculus, a delicate æsthetic voluptuary. Every epithet smells of musk, and every phrase is a provocative. The interlocutors are Callicratides, the Athenian, and Charicles, the Rhodian. Callicratides kept an establishment of exoleti; when the down upon their chins had grown beyond the proper point—"when the beard is just sprouting, when youth is in the prime of charm," they were drafted off to farms and country villages. Charicles maintained a harem of dancing-girls and flute-players. The one was "madly passionate for lads;" the other no less "mad for women." Charicles undertook the cause of women, Callicratides that of boys. Charicles began. The love of women is sanctioned by antiquity; it is natural; it endures through life; it alone provides pleasure for both sexes. Boys grow bearded, rough, and past their prime. Women always excite passion. Then Callicratides takes up his parable. Masculine love combines virtue with pleasure. While the love of women is a physical necessity, the love of boys is a product of high culture and an adjunct of philosophy. Paiderastia may be either vulgar or celestial; the second will be sought by men of liberal education and good manners. Then follow contrasted pictures of the lazy woman and the manly youth. The one provokes to sensuality, the other excites noble emulation in the ways of virile living. Lucian, summing up the arguments of the two pleaders, decides that Corinth must give way to Athens, adding: "Marriage is open to all men, but the love of boys to philosophers only." This verdict is referred to Theomnestus, a Don Juan of both sexes. He replies that both boys and women are good for pleasure; the philosophical arguments of Callicratides are cant.

This brief abstract of Lucian's dialogue on love indicates the cynicism with which its author viewed the subject, using the whole literature and all the experience of the Greeks to support a thesis of pure hedonism. The sybarites of Cairo or Constantinople at the present moment might employ the same arguments, except that they would omit the philosophic cant of Callicratides.

There is nothing in extant Greek literature, of a date anterior to the Christian era, which is foul in the same sense as that in which the works of Roman poets (Catullus and Martial), Italian poets (Beccatelli and Baffo), and French poets (Scarron and Voltaire) are foul. Only purblind students will be unable to perceive the difference between the obscenity of the Latin races and that of Aristophanes. The difference, indeed, is wide and radical, and strongly marked. It is the difference between a race naturally gifted with a delicate, æsthetic sense of beauty, and one in whom that sense was always subject to the perturbation, of gross instincts. But with the first century of the new age a change came over even the imagination of the Greeks. Though they never lost their distinction of style, that precious gift of lightness and good taste conferred upon them with their language, they borrowed something of their conquerors' vein. This makes itself felt in the Anthology. Straton and Rufinus suffered the contamination of the Roman genius, stronger in political organisation than that of Hellas, but coarser and less spiritually tempered in morals and in art. Straton was a native of Sardis, who flourished in the second century. He compiled a book of paiderastic poems, consisting in a great measure of his own and Meleager's compositions, which now forms the twelfth section of the Palatine Anthology. This book he dedicated, not to the Muse, but to Zeus; for Zeus was the boy-lover among deities;[169] he bade it carry forth his message of fair youths throughout the world;[170] and he claimed a special inspiration from heaven for singing of one sole subject, paiderastia.[171] It may be said with truth that Straton understood the bent of his own genius. We trace a blunt earnestness of intention in his epigrams, a certainty of feeling and directness of artistic treatment, which show that he had only one object in view. Meleager has far higher qualities as a poet, and his feeling, as well as his style, is more exquisite. But he wavered between the love of boys and women, seeking in both the satisfaction of emotional yearnings which in the modern world would have marked him as a sentimentalist. The so-called Mousa Paidiké, "Muse of Boyhood," is a collection of two hundred and fifty-eight short poems, some of them of great artistic merit, in praise of boys and boy-love. The common-places of these epigrams are Ganymede and Erôs;[172] we hear but little of Aphrodite—her domain is the other section of the Anthology, called Erotika. A very small percentage of these compositions can be described as obscene;[173] none are nasty, in the style of Martial or Ausonius; some are exceedingly picturesque;[174] a few are written in a strain of lofty or of lovely music;[175] one or two are delicate and subtle in their humour.[176] The whole collection supplies good means of judging how the Greeks of the decadence felt about this form of love. Malakia is the real condemnation of this poetry, rather than brutality or coarseness. A favourite topic is the superiority of boys over girls. This sometimes takes a gross form;[177] but once or twice the treatment of the subject touches a real psychological distinction, as in the following epigram:[178]—

"The love of women is not after my heart's desire; but the fires of male desire have placed me under inextinguishable coals of burning. The heat there is mightier; for the more powerful is male than female, the keener is that desire."

These four lines give the key to much of the Greek preference for paiderastia. The love of the male, when it has been apprehended and entertained, is more exciting, they thought, more absorbent of the whole nature, than the love of the female. It is, to use another kind of phraseology, more of a mania and more of a disease.

With the Anthology we might compare the curious Epistolai Erotikai of Philostratus.[179] They were in all probability rhetorical compositions, not intended for particular persons; yet they indicate the kind of wooing to which youths were subjected in later Hellas.[180] The discrepancy between the triviality of their subject-matter and the exquisiteness of their diction is striking. The second of these qualities has made them a mine for poets. Ben Jonson, for example, borrowed the loveliest of his lyrics from the following concetto:—"I sent thee a crown of roses, not so much honouring thee, though this, too, was my meaning, but wishing to do some kindness to the roses that they might not wither." Take, again, the phrase: "Well, and love himself is naked, and the graces and the stars;" or this, "O rose, that has a voice to speak with!"—or this metaphor for the footsteps of the beloved, "O rhythms of most beloved feet, O kisses pressed upon the ground!"

While the paiderastia of the Greeks was sinking into grossness, effeminacy, and æsthetic prettiness, the moral instincts of humanity began to assert themselves in earnest. It became part of the higher doctrine of the Roman Stoics to suppress this form of passion.[181] The Christians, from St. Paul onwards, instituted an uncompromising crusade against it. Theirs was no mere speculative warfare, like that of the philosophers at Athens. They fought with all the forces of their manhood, with the sword of the Lord and with the excommunications of the Church, to suppress what seemed to them an unutterable scandal. Dio Chrysostom, Clemens Alexandrinus, and Athanasius, are our best authorities for the vices which prevailed in Hellas during the Empire;[182] the Roman law, moreover, proves that the civil governors aided the Church in its attempt to moralise the people on this point.

XVII.

The transmutation of Hellas proper into part of the Roman Empire, and the intrusion of Stoicism and Christianity into the sphere of Hellenic thought and feeling, mark the end of the Greek age. It still remains, however, to consider the relation of this passion to the character of the race, and to determine its influence.

In the fifth section of this essay, I asserted that it is now impossible to ascertain whether the Greeks derived paiderastia from any of the surrounding nations, and if so, from which. Homer's silence makes it probable that the contact of Hellenic with Phœnician traders in the post-heroic period led to the adoption by the Greek race of a custom which they speedily assimilated and stamped with an Hellenic character. At the same time, I suggested in the tenth section that paiderastia, in its more enthusiastic and martial form, may have been developed within the very sanctuary of Greek national existence by the Dorians, matured in the course of their migrations, and systematised after their settlement in Crete and Sparta. That the Greeks themselves regarded Crete as the classic ground of paiderastia favours either theory, and suggests a fusion of them both; for the geographical position of this island made it the meeting-place of Hellenes with the Asiatic races, while it was also one of the earliest Dorian acquisitions.

When we come to ask why this passion struck roots so deep into the very heart and brain of the Greek nation, we must reject the favourite hypothesis of climate. Climate is, no doubt, powerful to a great extent in determining the complexion of sexual morality; yet, as regards paiderastia, we have abundant proof that nations both of North and South have, according to circumstances quite independent of climatic conditions, been both equally addicted and equally averse to this habit. The Etruscan,[183] the Chinese, the ancient Keltic tribes, the Tartar hordes of Timour Khan, the Persians under Moslem rule—races sunk in the sloth of populous cities, as well as the nomadic children of the Asian steppes, have all acquired a notoriety at least equal to that of the Greeks. The only difference between these people and the Greeks in respect to paiderastia is that everything which the Greek genius touched acquired a portion of its distinction, so that what in semi-barbarous society may be ignored as vice, in Greece demands attention as a phase of the spiritual life of a world-historic nation.

Like climate, ethnology must also be eliminated. It is only a superficial philosophy of history which is satisfied with the nomenclature of Semitic, Aryan, and so forth; which imagines that something is gained for the explanation of a complex psychological problem when hereditary affinities have been demonstrated. The deeps of national personality are far more abysmal than this. Granting that climate and descent are elements of great importance, the religious and moral principles, the æsthetic apprehensions, and the customs which determine the character of a race, leave always something still to be analysed. In dealing with Greek paiderastia, we are far more likely to reach a probable solution if we confine our attention to the specific social conditions which fostered the growth of this passion in Greece, and to the general habit of mind which permitted its evolution out of the common stuff of humanity, than if we dilate at ease upon the climate of the Ægean, or discuss the ethnical complexion of the Hellenic stock. In other words, it was the Pagan view of human life and duty which gave scope to paiderastia, while certain special Greek customs aided its development.

The Greeks themselves, quoted more than once above, have put us on the right track in this inquiry. However paiderastia began in Hellas, it was encouraged by gymnastics and syssitia. Youths and boys engaged together in athletic exercises, training their bodies to the highest point of physical attainment, growing critical about the points and proportions of the human form, lived of necessity in an atmosphere of mutual attention. Young men could not be insensible to the grace of boys in whom the bloom of beauty was unfolding. Boys could not fail to admire the strength and goodliness of men displayed in the comeliness of perfected development. Having exercised together in the wrestling-ground, the same young men and boys consorted at the common tables. Their talk fell naturally upon feats of strength and training; nor was it unnatural, in the absence of a powerful religious prohibition, that love should spring from such discourse and intercourse.

The nakedness, which Greek custom permitted in gymnastic games and some religious rites, no doubt contributed to the erotic force of masculine passion; and the history of their feeling upon this point deserves notice. Plato, in the Republic (452), observes that "not long ago the Greeks were of the opinion, which is still generally received among the barbarians, that the sight of a naked man was ridiculous and unseemly." He goes on to mention the Cretans and the Lacedæmonians as the institutors of naked games. To these conditions may be added dances in public, the ritual of gods like Erôs, ceremonial processions, and contests for the prize of beauty.

The famous passage in the first book of Thucydides (cap. vi.) illustrates the same point. While describing the primitive culture of the Hellenes, he thinks it worth while to mention that the Spartans, who first stripped themselves for running and wrestling, abandoned the girdle which it was usual to wear around the loins. He sees in this habit one of the strongest points of distinction between the Greeks and barbarians. Herodotus insists upon the same point (book i. 10), which is further confirmed by the verse of Ennius: "Flagitii," &c.

The nakedness which Homer (Iliad, xxii. 66) and Tyrtæus (i. 21) describes as shameful and unseemly is that of an old man. Both poets seem to imply that a young man's naked body is beautiful even in death.

We have already seen that paiderastia, as it existed in early Hellas, was a martial institution, and that it never wholly lost its virile character. This suggests the consideration of another class of circumstances which were in the highest degree conducive to its free development. The Dorians, to begin with, lived like regiments of soldiers in barracks. The duty of training the younger men was thrown upon the elder; so that the close relations thus established in a race which did not positively discountenance the love of male for male rather tended actively to encourage it. Nor is it difficult to understand why the romantic emotions in such a society were more naturally aroused by male companions than by women. Matrimony was not a matter of elective affinity between two persons seeking to spend their lives agreeably and profitably in common, so much as an institution used by the State for raising vigorous recruits for the national army. All that is known about the Spartan marriage customs, taken together with Plato's speculations about a community of wives, proves this conclusively. It followed that the relation of the sexes to each other was both more formal and more simple than it is with us; the natural and the political purposes of cohabitation were less veiled by those personal and emotional considerations which play so large a part in modern life. There was less scope for the emergence of passionate enthusiasm between men and women, while the full conditions of a spiritual attachment, solely determined by reciprocal inclination, were only to be found in comradeship. In the wrestling-ground, at the common tables, in the ceremonies of religion, at the Pan-hellenic games, in the camp, in the hunting-field, on the benches of the council chamber, and beneath the porches of the Agora, men were all in all unto each other. Women meanwhile kept the house at home, gave birth to babies, and reared children till such time as the State thought fit to undertake their training. It is, moreover, well known that the age at which boys were separated from their mothers was tender. Thenceforth they lived with persons of their own sex; their expanding feelings were confined within the sphere of masculine experience until the age arrived when marriage had to be considered in the light of a duty to the commonwealth. How far this tended to influence the growth of sentiment, and to determine its quality, may be imagined.

In the foregoing paragraph I have restricted my attention almost wholly to the Dorians: but what has just been said about the circumstance of their social life suggests a further consideration regarding paiderastia at large among the Greeks, which takes rank with the weightiest of all. The peculiar status of Greek women is a subject surrounded with difficulty; yet no man can help feeling that the idealisation of masculine love, which formed so prominent a feature of Greek life in the historic period, was intimately connected with the failure of the race to give their proper sphere in society to women. The Greeks themselves were not directly conscious of this fact; nor can I remember any passage in which a Greek has suggested that boy-love flourished precisely upon the special ground which had been wrestled from the right domain of file other sex. Far in advance of the barbarian tribes around them, they could not well discern the defects of their own civilisation; nor was it to be expected that they should have anticipated that exaltation of the love of women into a semi-religious cult which was the later product of chivalrous Christianity. We, from the standpoint of a more fully organised society, detect their errors, and pronounce that paiderastia was a necessary consequence of their unequal social culture; nor do we fail to notice that, just as paiderastia was a post-Homeric intrusion into Greek life, so women, after the age of the Homeric poems, suffered a corresponding depression in the social scale. In the Iliad and the Odyssey, and in the tragedies which deal with the heroic age, they play a part of importance for which the actual conditions of historic Hellas offered no opportunities.

It was at Athens that the social disadvantages of women told with greatest force; and this perhaps may help to explain the philosophic idealisation of boy-love among the Athenians. To talk familiarly with free women on the deepest subjects, to treat them as intellectual companions, or to choose them as associates in undertakings of political moment, seems never to have entered the mind of an Athenian. Women were conspicuous by their absence from all places of resort—from the palæstra, the theatre, the Agora, Pnyx, the law-court, the symposium; and it was here, and here alone, that the spiritual energies of the men expanded. Therefore, as the military ardour of the Dorians naturally associated itself with paiderastia, so the characteristic passion of the Athenians for culture took the same direction. The result in each case was a highly wrought psychical condition, which, however alien to our instincts, must be regarded as an exaltation of the race above its common human needs—as a manifestation of fervid, highly-pitched emotional enthusiasm.

It does not follow from the facts which I have just discussed that, either at Athens or at Sparta, women were excluded from an important position in the home, or that the family in Greece was not the sphere of female influence more active than the extant fragments of Greek literature reveal to us. The women of Sophocles and Euripides, and the noble ladies described by Plutarch, warn us to be cautious in our conclusions on this topic. The fact, however, remains that in Greece, as in mediæval Europe, the home was not regarded as the proper sphere for enthusiastic passion: both paiderastia and chivalry ignored the family, while the latter even set the matrimonial tie at nought. It is therefore precisely at this point of the family, regarded as a comparatively undeveloped factor in the higher spiritual life of Greeks, that the two problems of paiderastia and the position of women in Greece intersect.

In reviewing the external circumstances which favoured paiderastia, it may be added, as a minor cause, that the leisure in which the Greeks lived, supported by a crowd of slaves, and attending chiefly to their physical and mental culture, rendered them peculiarly liable to pre-occupations of passion and pleasure-seeking. In the early periods, when war was incessant, this abundance of spare time bore less corrupt fruit than during the stagnation into which the Greeks, enslaved by Macedonia and Rome, declined.

So far, I have been occupied in the present section with the specific conditions of Greek society which may be regarded as determining the growth of paiderastia. With respect to the general habit of mind which caused the Greeks, in contradistinction to the Jews and Christians, to tolerate this form of feeling, it will be enough here to remark that Paganism could have nothing logically to say against it. The further consideration of this matter I shall reserve for the next division of my essay, contenting myself for the moment with the observation that Greek religion and the instincts of the Greek race offered no direct obstacle to the expansion of a habit which was strongly encouraged by the circumstances I have just enumerated.

XVIII.

Upon a topic of great difficulty, which is, however, inseparable from the subject-matter of this inquiry, I shall not attempt to do more than to offer a few suggestions. This is the relation of paiderastia to Greek art. Whoever may have made a study of antique sculpture will not have failed to recognise its healthy human tone, its ethical rightness. There is no partiality for the beauty of the male sex, no endeavour to reserve for the masculine deities the nobler attributes of man's intellectual and moral nature, no extravagant attempt to refine upon masculine qualities by the blending of feminine voluptuousness. Aphrodite and Artemis hold their place beside Erôs and Hermes. Ares is less distinguished by the genius lavished on him than Athene. Hera takes rank with Zeus, the Nymphs with the Fauns, the Muses with Apollo. Nor are even the minor statues, which belong to decorative rather than high art, noticeable for the attribution of sensual beauties to the form of boys. This, which is certainly true of the best age, is, with rare exceptions, true of all the ages of Greek plastic art. No prurient effeminacy degraded, deformed, or unduly confounded, the types of sex idealised in sculpture.

The first reflection which must occur to even prejudiced observers, is that paiderastia did not corrupt the Greek imagination to any serious extent. The license of Paganism found appropriate expression in female forms, but hardly touched the male; nor would it, I think, be possible to demonstrate that obscene works of painting or of sculpture were provided for paiderastic sensualists similar to those pornographic objects which fill the reserved cabinet of the Neapolitan Museum. Thus, the testimony of Greek art might be used to confirm the asseveration of Greek literature, that among free men, at least, and gentle, this passion tended even to purify feelings which, in their lust for women, verged on profligacy. For one androgynous statue of Hermaphroditus or Dionysus there are at least a score of luxurious Aphrodites and voluptuous Bacchantes. Erôs himself, unless he is portrayed according to the Roman type of Cupid, as a mischievous urchin, is a youth whose modesty is no less noticeable than his beauty. His features are not unfrequently shadowed with melancholy, as appears in the so-called Genius of the Vatican, and in many statues which might pass for genii of silence or of sleep as well as love. It would be difficult to adduce a single wanton Erôs, a single image of this god provocative of sensual desires. There is not one before which we could say—The sculptor of that statue had sold his soul to paiderastic lust. Yet Erôs, it may be remembered, was the special patron of paiderastia.

Greek art, like Greek mythology, embodied a finely graduated half-unconscious analysis of human nature. The mystery of procreation was indicated by phalli on the Hermæ. Unbridled appetite found incarnation in Priapus, who, moreover, was never a Greek god, but a Lampsacene adopted from the Asian coast by the Romans. The natural desires were symbolised in Aphrodite Praxis, Kallipugos, or Pandemos. The higher sexual enthusiasm assumed celestial form in Aphrodite Ouranios. Love itself appeared personified in the graceful Erôs of Praxiteles; and how sublimely Pheidias presented this god to the eyes of his worshippers can now only be guessed at from a mutilated fragment among the Elgin marbles. The wild and native instincts, wandering, untutored and untamed, which still connect man with the life of woods and beasts and April hours, received half-human shape in Pan and Silenus, the Satyrs and the Fauns. In this department of semi-bestial instincts we find one solitary instance bearing upon paiderastia. The group of a Satyr tempting a youth at Naples stands alone among numerous similar compositions which have female or hermaphroditic figures, and which symbolise the violent and comprehensive lust of brutal appetite. Further distinctions between the several degrees of love were drawn by the Greek artists. Himeros, the desire that strikes the spirit through the eyes, and Pothos, the longing of souls in separation from the object of their passion, were carved together with Erôs by Scopas for Aphrodite's temple at Megara. Throughout the whole of this series there is no form set aside for paiderastia, as might have been expected if the fancy of the Greeks had idealised a sensual Asiatic passion. Statues of Ganymede carried to heaven by the eagle are, indeed, common enough in Græco-Roman plastic art; yet, even here, there is nothing which indicates the preference for a specifically voluptuous type of male beauty.

It should be noticed that the mythology of the Greeks was determined before paiderastia laid hold upon the race. Homer and Hesiod, says Herodotus, made the Hellenic theogony, and Homer and Hesiod knew only of the passions and emotions which are common to all healthy semi-civilised humanity. The artists, therefore, found in myths and poems subject-matter which imperatively demanded a no less careful study of the female than of the male form; nor were beautiful women wanting. Great cities placed their maidens at the disposition of sculptors and painters for the modelling of Aphrodite. The girls of Sparta in their dances suggested groups of Artemis and Oreads. The Hetairai of Corinth presented every detail of feminine perfection freely to the gaze. Eyes accustomed to the "dazzling vision" of a naked athlete were no less sensitive to the virginal veiled grace of the Athenian Canephoroi. The temples of the female deities had their staffs of priestesses, and the oracles their inspired prophetesses. Remembering these facts, remembering also what we read about Æolian ladies who gained fame by poetry, there is every reason to understand how sculptors found it easy to idealise the female form. Nor need we imagine, because Greek literature abounds in references to paiderastia, and because this passion played an important part in Greek history, that therefore the majority of the race were not susceptible in a far higher degree to female charms. On the contrary, our best authorities speak of boy-love as a characteristic which distinguished warriors, gymnasts, poets, and philosophers from the common multitude. As far as regards artists, the anecdotes which are preserved about them turn chiefly upon their preference for women. For one tale concerning the Pantarkes of Pheidias, we have a score relating to the Campaspe of Apelles and the Phryne of Praxiteles.

It may be judged superfluous to have proved that the female form was idealised in sculpture by the Hellenes at least as nobly as the male; nor need we seek elaborate reasons why paiderastia left no perceptible stain upon the art of a race distinguished before all things by the reserve of good taste. At the same time, there can be no reasonable doubt that the artistic temperament of the Greeks had something to do with its wide diffusion and many sided development. Sensitive to every form of loveliness, and unrestrained by moral or religious prohibition, they could not fail to be enthusiastic for that corporeal beauty, unlike all other beauties of the human form, which marks male adolescence no less triumphantly than does the male soprano voice upon the point of breaking. The power of this corporeal loveliness to sway their imagination by its unique æthetic charm is abundantly illustrated in the passages which I have quoted above from the Charmides of Plato and Xenophon's Symposium. An expressive Greek phrase, "Youths in their prime of adolescence, but not distinguished by a special beauty," recognises the persuasive influence, separate from that of true beauty, which belongs to a certain period of masculine growth. The very evanescence of this "bloom of youth" made it in Greek eyes desirable, since nothing more clearly characterises the poetic myths which adumbrate their special sensibility than the pathos of a blossom that must fade. When distinction of feature and symmetry of form were added to this charm of youthfulness, the Greeks admitted, as true artists are obliged to do, that the male body displays harmonies of proportion and melodies of outline more comprehensive, more indicative of strength expressed in terms of grace, than that of women.[184] I guard myself against saying—more seductive to the senses, more soft, more delicate, more undulating. The superiority of male beauty does not consist in these attractions, but in the symmetrical development of all the qualities of the human frame, the complete organisation of the body as the supreme instrument of vital energy. In the bloom of adolescence the elements of feminine grace, suggested rather than expressed, are combined with virility to produce a perfection which is lacking to the mature and adult excellence of either sex. The Greek lover, if I am right in the idea which I have formed of him, sought less to stimulate desire by the contemplation of sensual charms than to attune his spirit with the spectacle of strength at rest in suavity. He admired the chastened lines, the figure slight but sinewy, the limbs well-knit and flexible, the small head set upon broad shoulders, the keen eyes, the austere reins, and the elastic movement of a youth made vigorous by exercise. Physical perfection of this kind suggested to his fancy all that he loved best in moral qualities. Hardihood, self-discipline, alertness of intelligence, health, temperance, indomitable spirit, energy, the joy of active life, plain living and high thinking—these qualities the Greeks idealised, and of these, "the lightning vision of the darling," was the living incarnation. There is plenty in their literature to show that paiderastia obtained sanction from the belief that a soul of this sort would be found within the body of a young man rather than a woman. I need scarcely add that none but a race of artists could be lovers of this sort, just as none but a race of poets were adequate to apprehend the chivalrous enthusiasm for woman as an object of worship.

The morality of the Greeks, as I have tried elsewhere to prove, was æsthetic. They regarded humanity as a part of a good and beautiful universe, nor did they shrink from any of their normal instincts. To find the law of human energy, the measure of man's natural desires, the right moment for indulgence and for self-restraint, the balance which results in health, the proper limit for each several function which secures the harmony of all, seem to them the aim of ethics. Their personal code of conduct ended in "modest self-restraint:" not abstention, but selection and subordination ruled their practice. They were satisfied with controlling much that more ascetic natures unconditionally suppress. Consequently, to the Greeks, there was nothing at first sight criminal in paiderastia. To forbid it as a hateful and unclean thing did not occur to them. Finding it within their hearts, they chose to regulate it, rather than to root it out. It was only after the inconveniences and scandals to which paiderastia gave rise had been forced upon their notice, that they felt the visitings of conscience and wavered in their fearless attitude.

In like manner, the religion of the Greeks was æsthetic. They analysed the world of objects and the soul of man, unconsciously perhaps, but effectively, and called their generalisations by the names of gods and goddesses. That these were beautiful and filled with human energy was enough to arouse in them the sentiments of worship. The notion of a single Deity who ruled the human race by punishment and favour, hating certain acts while he tolerated others—in other words, a God who idealised one part of man's nature to the exclusion of the rest—had never passed into the sphere of Greek conceptions. When, therefore, paiderastia became a fact of their consciousness, they reasoned thus: If man loves boys, God loves boys also. Homer and Hesiod forgot to tell us about Ganymede and Hyacinth and Hylas. Let these lads be added to the list of Danaë and Semele and Io. Homer told us that, because Ganymede was beautiful, Zeus made him the serving-boy of the immortals. We understand the meaning of that tale. Zeus loved him. The reason why he did not leave him here on earth like Danaë was that he could not beget sons upon his body and people the earth with heroes. Do not our wives stay at home and breed our children? "Our favourite youths" are always at our side.

XIX.

Sexual inversion among Greek women offers more difficulties than we met with in the study of paiderastia. This is due, not to the absence of the phenomenon, but to the fact that feminine homosexual passions were never worked into the social system, never became educational and military agents. The Greeks accepted the fact that certain females are congenitally indifferent to the male sex, and appetitive of their own sex. This appears from the myth of Aristophanes in Plato's Symposium, which expresses in comic form their theory of sexual differentiation. There were originally human beings of three sexes: men, the offspring of the sun; women, the offspring of the earth; hermaphrodites, the offspring of the moon. They were round with two faces, four hands, four feet, and two sets of reproductive organs apiece. In the case of the third (hermaphroditic or lunar) sex, one set of reproductive organs was male, the other female. Zeus, on account of the insolence and vigour of these primitive human creatures, sliced them into halves. Since that time, the halves of each sort have always striven to unite with their corresponding halves, and have found some satisfaction in carnal congress—males with males, females with females, and (in the case of the lunar or hermaphroditic creatures) males and females with one another. Philosophically, then, the homosexual passion of female for female, and of male for male, was placed upon exactly the same footing as the heterosexual passion of each sex for its opposite. Greek logic admitted the homosexual female to equal rights with the homosexual male, and both to the same natural freedom as heterosexual individuals of either species.

Although this was the position assumed by philosophers, Lesbian passion, as the Greeks called it, never obtained the same social sanction as boy-love. It is significant that Greek mythology offers no legends of the goddesses parallel to those which consecrated paiderastia among the male deities. Again, we have no recorded example, so far as I can remember, of noble friendships between women rising into political and historical prominence. There are no female analogies to Harmodius and Aristogeiton, Cratinus and Aristodemus. It is true that Sappho and the Lesbian poetesses gave this female passion an eminent place in Greek literature. But the Æolian women did not found a glorious tradition corresponding to that of the Dorian men. If homosexual love between females assumed the form of an institution at one moment in Æolia, this failed to strike roots deep into the subsoil of the nation. Later Greeks, while tolerating, regarded it rather as an eccentricity of nature, or a vice, than as an honourable and socially useful emotion. The condition of women in ancient Hellas sufficiently accounts for the result. There was no opportunity in the harem or the zenana of raising homosexual passion to the same moral and spiritual efficiency as it obtained in the camp, the palæstra, and the schools of the philosophers. Consequently, while the Greeks utilised and ennobled boy-love, they left Lesbian love to follow the same course of degeneracy as it pursues in modern times.

In order to see how similar the type of Lesbian love in ancient Greece was to the form which it assumed in modern Europe, we have only to compare Lucian's Dialogues with Parisian tales by Catulle Mendès or Guy de Maupassant. The woman who seduces the girl she loves, is, in the girl's phrase, "over-masculine," "androgynous." The Megilla of Lucian insists upon being called Megillos. The girl is a weaker vessel, pliant, submissive to the virago's sexual energy, selected from the class of meretricious ingénues.

There is an important passage in the Amores of Lucian which proves that the Greeks felt an abhorrence of sexual inversion among women similar to that which moderns feel for its manifestation among men. Charicles, who supports, the cause of normal heterosexual passion, argues after this wise:

"If you concede homosexual love to males, you must in justice grant the same to females; you will have to sanction carnal intercourse between them; monstrous instruments of lust will have to be permitted, in order that their sexual congress may be carried out; that obscene vocable, tribad, which so rarely offends our ears—I blush to utter it—will become rampant, and Philænis will spread androgynous orgies throughout our harems."

What these monstrous instruments of lust were may be gathered from the sixth mime of Herodas, where one of them is described in detail. Philænis may, perhaps, be the poetess of an obscene book on sensual refinements, to which Athanæus alludes (Deipnosophistæ, viii, 335). It is also possible that Philænis had become the common designation of a Lesbian lover, a tribad. In the latter periods of Greek literature, as I have elsewhere shown, certain fixed masks of Attic comedy (corresponding to the masks of the Italian Commedia dell' Arte) created types of character under conventional names—so that, for example, Cerdo became a cobbler, Myrtalë a common whore, and possibly Philænis a Lesbian invert.

The upshot of this parenthetical investigation is to demonstrate that, while the love of males for males in Greece obtained moralisation, and reached the high position of a recognised social function, the love of female for female remained undeveloped and unhonoured, on the same level as both forms of homosexual passion in the modern European world are.

XX.

Greece merged into Rome; but, though the Romans aped the arts and manners of the Greeks, they never truly caught the Hellenic spirit. Even Virgil only trod the court of the Gentiles of Greek culture. It was not, therefore, possible that any social custom so peculiar as paiderastia should flourish on Latin soil. Instead of Cleomenes and Epameinondas, we find at Rome, Nero, the bride of Sporus, and Commodus the public prostitute. Alcibiades is replaced by the Mark Antony of Cicero's Philippic. Corydon, with artificial notes, takes up the song of Ageanax. The melodies of Meleager are drowned in the harsh discords of Martial. Instead of love, lust was the deity of the boy-lover on the shores of Tiber.

In the first century of the Roman Empire, Christianity began its work of reformation. When we estimate the effect of Christianity, we must bear in mind that the early Christians found Paganism disorganised and humanity rushing to a precipice of ruin. Their first efforts were directed toward checking the sensuality of Corinth, Athens, Rome, the capitals of Syria and Egypt. Christian asceticism, in the corruption of the Pagan systems, led logically to the cloister and the hermitage. The component elements of society had been disintegrated by the Greeks in their decadence, and by the Romans in their insolence of material prosperity. To the impassioned followers of Christ, nothing was left but separation from nature, which had become incurable in its monstrosity of vices. But the convent was a virtual abandonment of social problems.

From this policy of despair, this helplessness to cope with evil, and this hopelessness of good on earth, emerged a new and nobler synthesis, the merit of which belongs in no small measure to the Teutonic converts to the Christian faith. The Middle Ages proclaimed, through chivalry, the truth, then for the first time fully apprehended, that woman is the mediating and ennobling element in human life. Not in escape into the cloister, not in the self-abandonment to vice, but in the fellow-service of free men and women must be found the solution of social problems. The mythology of Mary gave religious sanction to the chivalrous enthusiasm; and a cult of woman sprang into being, to which, although it was romantic and visionary, we owe the spiritual basis of our domestic and civil life. The modus vivendi of the modern world was found.

FINIS.

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