XII.

"Love me not with words alone, while your mind and thoughts are otherwise, if you really care for me and the heart within you is loyal. But love me with a pure and honest soul, or openly disown and hate me; let the breach between us be avowed. He who hath a single tongue and a double mind is a bad comrade, Kurnus, better as a foe than a friend."[57]

The bitter-sweet of love is well described in the following couplets:—

"Harsh and sweet, alluring and repellent, until it be crowned with completion, is love for young men. If one brings it to perfection, then it is sweet; but if a man pursues and does not love, then it is of all things the most painful."[58]

The same strain is repeated in the lines which begin, "a boy's love is fair to keep, fair to lay aside."[59]As one time Theognis tells his friend that he has the changeable temper of a hawk, the skittishness of a pampered colt.[60]At another he remarks that boys are more constant than women in their affection.[61]His passion rises to its noblest height in a poem which deserves to rank with some of Shakespeare's sonnets, and which, like them, has fulfilled its own promise of immortality.[62]In order to appreciate the value of the fame conferred on Kurnus by Theognis, and celebrated in such lofty strains, we must remember that these elegies were sung at banquets. "The fair young men," of whom the poet speaks, boy-lovers themselves, chaunted the praise of Kurnus to the sound of flutes, while the cups went round or the lyre was passed from hand to hand of merry-making guests. A subject to which Theognis more than once refers is calumny:—

"Often will the folk speak vain things against thee in my ears, and against me in thine. Pay thou no heed to them."[63]

Again, he frequently reminds the boy he loves, whether it be Kurnus or some other, that the bloom of youth is passing, and that this is a reason for showing kindness.[64]This argument is urged with what appears like coarseness in the following couplet:—

"O boy, so long as thy chin remains smooth, never will I cease from fawning, no, not if it is doomed for me to die."[65]

A couplet, which is also attributed to Solon, shows that paiderastia at this time in Greece was associated with manly sports and pleasures:—

"Blest is the man who loves brave steeds of war,Fair boys, and hounds, and stranger guests from far."[66]

Nor must the following be omitted:—

"Blest is the man who loves, and after play,Whereby his limbs are supple made and strong,Retiring to his home, 'twixt sleep and song,Sports with a fair boy on his breast all day."[67]

The following couplet is attributed to him by Plutarch,[68]nor does there seem any reason to doubt its genuineness. The text seems to be corrupt, but the meaning is pretty clear:—

"In the charming season of the flower-time of youth thou shalt love boys, yearning for their thighs and honeyed mouth."

Solon, it may be remembered, thought it wise to regulate the conditions under which the love of free youths might be tolerated.

The general impression produced by a careful reading of Theognis is that he entertained a genuine passion for Kurnus, and that he was anxious to train the young man's mind in what he judged the noblest principles. Love, at the same time, except in its more sensual moments, he describes as bitter-sweet and subject to anxiety. That perturbation of the emotions, which is inseparable from any of the deeper forms of personal attachment, and which the necessary conditions of boy-love exasperated, was irksome to the Greek. It is not a little curious to observe how all the poets of the despotic age resent and fret against the force of their own feeling, differing herein from the singers of chivalry, who idealised the very pains of passion.

Of Ibycus, who was celebrated among the ancients as the lyrist of paiderastia,[69]very little has been preserved to us, but that little is sufficient to indicate the fervid and voluptuous style of his art. His imagery resembles that of Anacreon. The onset of love, for instance, in one fragment is compared to the down-swooping of a Thracian whirlwind; in another the poet trembles at the approach of Erôs like an old racehorse who is dragged forth to prove his speed once more.

Of the genuine Anacreon we possess more numerous and longer fragments, and the names of his favourites, Cleobulus, Smerdies, Leucaspis, are famous. The general tone of his love-poems is relaxed and Oriental, and his language abounds in phrases indicative of sensuality. The following may be selected:—

"Cleobulus I love, for Cleobulus I am mad, Cleobulus I watch and worship with my gaze."[70]

Again:—

"O boy, with the maiden's eyes, I seek and follow thee, but thou heedest not, nor knowest that thou art my soul's charioteer."

In another place he speaks of[71]—

"Love, the virginal, gleaming and radiant with desire."

Syneban(to pass the time of youth with friends) is a word which Anacreon may be said to have made current in Greek. It occurs twice in his fragments,[72]and exactly expresses the luxurious enjoyment of youthful grace and beauty which appear to have been his ideal of love. We are very far here from the Achilleian friendship of theIliad. Yet, occasionally, Anacreon uses images of great force to describe the attack of passion, as when he says that love has smitten him with a huge axe, and plunged him in a wintry torrent.[73]

It must be remembered that both Anacreon and Ibycus were court poets, singing in the palaces of Polycrates and Hippias. The youths they celebrated were probably little better than theexoletiof a Roman Emperor.[74]This cannot be said exactly of Alcæus, whose love for black-eyed Lycus was remembered by Cicero and Horace. So little, however, is left of his erotic poems that no definite opinion can be formed about them. The authority of later Greek authors justifies our placing him upon the list of those who helped to soften and emasculate the character of Greek love by their poems.[75]

Two Athenian drinking-songs preserved by Athenæus,[76]which seem to bear the stamp of the lyric age, may here be quoted. They serve to illustrate the kind of feeling to which expression was given in public by friends and boy-lovers:—

"Would I were a lovely heap of ivory, and that lovely boys carried me into the Dionysian chorus."[77]

This is marked by a very delicate, though naïf, fancy. The next is no less eminent for its sustained, impassioned, simple, rhythmic feeling:—

"Drink with me, be young with me, love with me, wear crowns with me, with me when I am mad be mad, with me when I am temperate be sober."

The greatest poet of the lyric age, the lyristpar excellencePindar, adds much to our conception of Greek love at this period. Not only is the poem to Theoxenos, whom he loved, and in whose arms he is said to have died in the theatre at Argos, one of the most splendid achievements of his art;[78]but its choice of phrase, and the curious parallel which it draws between the free love of boys and the servile love of women, help us to comprehend the serious intensity of this passion. "The flashing rays of his forehead," and "is storm-tossed with desire," and "the young-limbed bloom of boys," are phrases which it is impossible adequately to translate. So, too, are the images by which the heart of him who does not feel the beauty of Theoxenos is said to have been forged with cold fire out of adamant, while the poet himself is compared to wax wasting under the sun's rays. In Pindar, passing from Ibycus and Anacreon, we ascend at once into a purer and more healthful atmosphere, fraught, indeed, with passion and pregnant with storm, but no longer simply sensual. Taken as a whole, the Odes of Pindar, composed for the most part in the honour of young men and boys, both beautiful and strong, are the work of a great moralist as well as a great artist. He never fails to teach by precept and example; he does not, as Ibycus is reported to have done, adorn his verse with legends of Ganymede and Tithonus, for the sake of insinuating compliments. Yet no one shared in fuller measure the Greek admiration for health and grace and vigour of limb. This is obvious in the many radiant pictures of masculine perfection he has drawn, as well as in the images by which he loves to bring the beauty-bloom of youth to mind. The true Hellenic spirit may be better studied in Pindar than in any other poet of his age; and after we have weighed his high morality, sound counsel, and reverence for all things good, together with the passion he avows, we shall have done something toward comprehending the inner nature of Greek love.

The treatment of paiderastia upon the Attic stage requires separate considerations. Nothing proves the popular acceptance and national approval of Greek love more forcibly to modern minds than the fact that the tragedians like Æschylus and Sophocles made it the subject of their dramas. From a notice in Athenæus it appears that Stesichorus, who first gave dramatic form to lyric poetry, composed interludes upon paiderastic subjects.[79]But of these it is impossible to speak, since their very titles have been lost. What immediately follows, in the narrative of Athenæus, will serve as text for what I have to say upon this topic. "And Æshylus, that mighty poet, and Sophocles, brought masculine loves into the theatre through their tragedies. Wherefore some are wont to call tragedy a paiderast; and the spectators welcome such." Nothing, unfortunately, remains of the plays which justified this language but a few fragments cited by Aristophanes, Plutarch, Lucian, and Athenæus. To examine these will be the business of this section.

The tragedy of theMyrmidones, which formed part of a trilogy by Æschylus upon the legend of Achilles, must have been popular at Athens, for Aristophanes quotes it no less than four times—twice in theFrogs, once in theBirds, and once in theEcclesiazusæ. We can reconstruct its general plan from the lines which have come down to us on the authority of the writers above mentioned.[80]The play opened with an anapæstic speech of the chorus, composed of the clansmen of Achilles, who upbraided him for staying idle in his tent while the Achaians suffered at the hands of Hector. Achilles replied with the metaphor of the eagle stricken by an arrow winged from one of his own feathers. Then the embassy of Phœnix arrived, and Patroclus was sent forth to battle. Achilles, meanwhile, engaged in a game of dice; and while he was thus employed Antilochus entered with the news of the death of Patroclus. The next fragment brings the whole scene vividly before our eyes.

"Wail for me, Antilochus, rather than for the dead man—for me, Achilles, who still live." After this, the corpse of Patroclus was brought upon the stage, and the son of Peleus poured forth a lamentation over his friend. TheThrenosof Achilles on this occasion was very celebrated among the ancients. One passage of unmeasured passion, which described the love which subsisted between the two heroes, has been quoted, with varieties of reading, by Lucian, Plutarch, and Athenæus.[81]Lucian says: "Achilles, bewailing the death of Patroclus with unhusbanded passion, broke forth into the truth in self-abandonment to woe." Athenæus gives the text as follows:—

"Hadst thou no reverence for the unsullied holiness of thighs, O thou ungrateful for the showers of kisses given."

What we have here chiefly to notice is the change which the tale of Achilles had undergone since Homer.[82]Homer represented Patroclus as older in years than the son of Peleus, but inferior to him in station; nor did he hint which of the friends was theErastesof the other. That view of their comradeship had not occurred to him. Æschylus makes Achilles the lover; and for this distortion of the Homeric legend he was severely criticised by Plato.[83]At the same time, as the two lines quoted from theThrenosprove, he treated their affection from the point of view of post-Homeric paiderastia.

Sophocles also wrote a play upon the legend of Achilles, which bears for its titleAchilles' Loves. Very little is left of this drama; but Hesychius has preserved one phrase which illustrates the Greek notion that love was an effluence from the beloved person through the eyes into the lover's soul,[84]while Stobæus quotes the beautiful simile by which love is compared to a piece of ice held in the hand by children.[85]Another play of Sophocles, theNiobe, is alluded to by Plutarch and by Athenæus for the paiderastia which it contained. Plutarch's words are these:[86]"When the children of Niobe, in Sophocles, are being pierced and dying, one of them cries out, appealing to no other rescuer or ally than his lover: Ho! comrade, up and aid me!" Finally, Athenæus quotes a single line from theColchian Womenof Sophocles, which alludes to Ganymede, and runs as follows:[87]"Inflaming with his thighs the royalty of Zeus."

Whether Euripides treated paiderastia directly in any of his plays is not quite certain, though the titleChrysippus, and one fragment preserved from that tragedy—

"Nature constrains me though I have sound judgment"—

justify us in believing that he made the crime of Laius his subject. It may be added that a passage in Cicero confirms this belief.[88]The title of another tragedy,Peirithous, seems in like manner to point at friendship; while a beautiful quotation from theDictyssufficiently indicates the high moral tone assumed by Euripides in treating of Greek love. It runs as follows:—"He was my friend; and never may love lead me to folly, nor to Kupris. There is, in truth, another kind of love—love for the soul, righteous, temperate, and good. Surely men ought to have made this law, that only the temperate and chaste should love and send Kupris, daughter of Zeus, a-begging." The philosophic ideal of comradeship is here vitalised by the dramatic vigour of the poet; nor has the Hellenic conception of pure affection for "a soul, just, upright, temperate and good," been elsewhere more pithily expressed. The Euripidean conception of friendship, it may further be observed, is nobly personified in Pylades, who plays a generous and self-devoted part in the three tragedies ofElectra,Orestes, andIphigenia in Tauris.

Having collected these notices of tragedies which dealt with boy-love, it may be well to add a word upon comedies in the same relation. We hear of aPaidikaby Sophron, aMalthakoiby the older Cratinus, aBaptœeby Empolis, in which Alcibiades and his society were satirised.Paiderastesis the title of plays by Diphilis and Antiphanes;Ganymedesof plays of Alkaeus, Antiphanes and Eubulus.

What has been quoted from Æschylus and Sophocles sufficiently establishes the fact that paiderastia was publicly received with approbation on the tragic stage. This should make us cautious in rejecting the stories which are told about the love adventures of Sophocles.[89]Athenæus calls him a lover of lads, nor is it strange if, in the age of Pericles, and while he was producing theAchilles' Loves, he should have shared the tastes of which his race approved.

At this point it may be as well to mention a few illustrious names which, to the student of Greek art and literature, are indissolubly connected with paiderastia. Parmenides, whose life, like that of Pythagoras, was accounted peculiarly holy, loved his pupil Zeno.[90]Pheidias loved Pantarkes, a youth of Elis, and carved his portrait in the figure of a victorious athlete at the foot of the Olympian Zeus.[91]Euripides is said to have loved the adult Agathon Lysias, Demosthenes, and Æschines, orators whose conduct was open to the most searching censure of malicious criticism, did not scruple to avow their love. Socrates described his philosophy as the science of erotics. Plato defined the highest form of human existence to be "philosophy together with paiderastia," and composed the celebrated epigrams on Aster and on Agathon. This list might be indefinitely lengthened.

Before proceeding to collect some notes upon the state of paiderastia at Athens, I will recapitulate the points which I have already attempted to establish. In the first place, paiderastia was unknown to Homer.[92]Secondly, soon after the heroic age, two forms of paiderastia appeared in Greece—the one chivalrous and martial, which received a formal organisation in the Dorian states; the other sensual and lustful which, though localised to some extent at Crete, pervaded the Greek cities like a vice. Of the distinction between these two loves the Greek conscience was well aware, though they came in course of time to be confounded. Thirdly, I traced the character of Greek love, using that term to indicate masculine affection of a permanent and enthusiastic temper, without further ethical qualification, in early Greek history and in the institutions of the Dorians. In the fourth place, I showed what kind of treatment it received at the hands of the elegiac, lyric, and tragic poets.

It now remains to draw some picture of the social life of the Athenians in so far as paiderastia is concerned, and to prove how Plato was justified in describing Attic customs on this point as qualified by important restriction and distinction.

I do not know a better way of opening this inquiry, which must by its nature be fragmentary and disconnected, than by transcribing what Plato puts into the mouth of Pausanias in theSymposium.[93]After observing that the paiderastic customs of Elis and Bœotia involved no perplexity, inasmuch as all concessions to the god of love were tolerated, and that such customs did not exist in any despotic states, he proceeds to Athens.

"There is yet a more excellent way of legislating about them, which is our own way; but this, as I was saying, is rather perplexing. For observe that open loves are held to be more honourable than secret ones, and that the love of the noblest and highest, even if their persons are less beautiful than others, is especially honourable. Consider, too, how great is the encouragement which all the world gives to the lover; neither is he supposed to be doing anything dishonourable; but if he succeeds he is praised, and if he fail he is blamed. And in the pursuit of his love, the custom of mankind allows him to do many strange things, which philosophy would bitterly censure if they were done from any motive of interest or wish for office or power. He may pray and entreat, and supplicate and swear, and be a servant of servants, and lie on a mat at the door; in any other case friends and enemies would be equally ready to prevent him, but now there is no friend who will be ashamed of him and admonish him, and no enemy will charge him with meanness or flattery; the actions of a lover have a grace which ennobles them, and custom has decided that they are highly commendable, and that there is no loss of character in them; and what is strangest of all, he only may swear or forswear himself (this is what the world says), and the gods will forgive his transgression, for there is no such thing as a lover's oath. Such is the entire liberty which gods and men have allowed the lover, according to the custom which prevails in our part of the world. From this point of view a man fairly argues that in Athens to love and to be loved is held to be a very honourable thing. But when there is another regime, and parents forbid their sons to talk with their lovers, and place them under a tutor's care, and their companions and equals cast in their teeth anything of this sort which they may observe, and their elders refuse to silence the reprovers, and do not rebuke them; any one who reflects on all this will, on the contrary, think that we hold these practices to be most disgraceful. But the truth, as I imagine, and as I said at first, is, that whether such practices are honourable or whether they are dishonourable is not a simple question; they are honourable to him who follows them honourably, dishonourable to him who follows them dishonourably. There is dishonour in yielding to the evil, or in an evil manner; but there is honour in yielding to the good, or in an honourable manner. Evil is the vulgar lover who loves the body rather than the soul, and who is inconstant because he is a lover of the inconstant, and, therefore, when the bloom of youth, which he was desiring, is over, takes wing and flies away, in spite of all his words and promises; whereas the love of the noble mind, which is one with the unchanging, is lifelong."

Pausanias then proceeds, at considerable length, to describe how the customs of Athens required deliberate choice and trial of character as a condition of honourable love; how it repudiated hasty and ephemeral attachments, and engagements formed with the object of money-making or political aggrandisement; how love on both sides was bound to be disinterested, and what accession both of dignity and beauty the passion of friends obtained from the pursuit of philosophy, and from the rendering of mutual services upon the path of virtuous conduct.

This sufficiently indicates, in general terms, the moral atmosphere in which Greek love flourished at Athens. In an earlier part of his speech Pausanias, after dwelling upon the distinction between the two kinds of Aphrodite, heavenly and vulgar, describes the latter in a way which proves that the love of boys was held to be ethically superior to that of women.[94]

"The Love who is the offspring of the common Aphrodite is essentially common, and has no discrimination, being such as the meaner sort of men feel, and is apt to be of women as well as of youths, and is of the body rather than the soul; the most foolish beings are the objects of this love, which desires only to gain an end, but never thinks of accomplishing the end nobly, and therefore does good and evil quite indiscriminately. The goddess who is his mother is far younger than the other, and she was born of the union of the male and female, and partakes of both."

Then he turns to the Uranian love.

"The offspring of the heavenly Aphrodite is derived from a mother in whose birth the female has no part. She is from the male only; this is that love which is of youths, and the goddess being older, has nothing of wantonness. Those who are inspired by this love turn to the male, and delight in him who is the most valiant and intelligent nature; any one may recognise the pure enthusiasts in the very character of their attachments; for they love not boys, but intelligent beings whose reason is beginning to be developed, much about the time at which their beards begin to grow. And in choosing them as their companions they mean to be faithful to them, and pass their whole life in company with them, not to take them in their inexperience, and deceive them, and play the fool with them, or run away from one to another of them. But the love of young boys should be forbidden by law, because their future is uncertain; they may turn out good or bad, either in body or soul, and much noble enthusiasm may be thrown away upon them; in this matter the good are a law to themselves, and the coarser sort of lovers ought to be restrained by force, as we restrain or attempt to restrain them from fixing their affections on women of free birth."

These long quotations from a work accessible to every reader may require apology. My excuse for giving them must be that they express in pure Athenian diction a true Athenian view of this matter. The most salient characteristics of the whole speech are, first, the definition of a code of honour, distinguishing the nobler from the baser forms of paiderastia; secondly, the decided preference of male over female love; thirdly, the belief in the possibility of permanent affection between paiderastic friends; and, fourthly, the passing allusion to rules of domestic surveillance under which Athenian boys were placed. To the first of these points I shall have to return on another occasion. With regard to the second, it is sufficient for the present purpose to remember that free Athenian women were comparatively uneducated and uninteresting, and that the hetairai had proverbially bad manners. While men transacted business and enjoyed life in public, their wives and daughters stayed in the seclusion of the household, conversing to a great extent with slaves, and ignorant of nearly all that happened in the world around them. They were treated throughout their lives as minors by the law, nor could they dispose by will of more than the worth of a bushel of barley. It followed that marriages at Athens were usually matches of arrangement between the fathers of the bride and the bridegroom, and that the motives which induced a man to marry were less the desire for companionship than the natural wish for children and a sense of duty to the country.[95]Demosthenes, in his speech against Neæra, declares:[96]"We have courtesans for our pleasures, concubines for the requirements of the body, and wives for the procreation of lawful issue." If he had been speaking at a drinking-party, instead of before a jury, he might have added, "and young men for intellectual companions."

The fourth point which I have noted above requires more illustration, since its bearing on the general condition of Athenian society is important. Owing to the prevalence of paiderastia, a boy was exposed in Athens to dangers which are comparatively unknown in our great cities, and which rendered special supervision necessary. It was the custom for fathers, when they did not themselves accompany their sons,[97]to commit them to the care of slaves chosen usually among the oldest and most trustworthy. The duty of the attendant guardian was not to instruct the boy, but to preserve him from the addresses of importunate lovers or from such assaults as Peisthetærus in theBirdsof Aristophanes describes.[98]He followed his charge to the school and the gymnasium, and was responsible for bringing him home at the right hour. Thus at the end of theLysiswe read:[99]—

"Suddenly we were interrupted by the tutors of Lysis and Menexenus; who came upon us like an evil apparition with their brothers, and bade them go home, as it was getting late. At first, we and the bystanders drove them off; but afterwards, as they would not mind, and only went on shouting in their barbarous dialect, and got angry, and kept calling the boys—they appeared to us to have been drinking rather too much at the Hermæa, which made them difficult to manage—we fairly gave way and broke up the company."

In this way the daily conduct of Athenian boys of birth and good condition was subjected to observation; and it is not improbable that the charm which invested such lads as Plato portrayed in hisCharmidesandLysiswas partly due to the self-respect and self-restraint generated by the peculiar conditions under which they passed their life.

Of the way in which a Greek boy spent his day, we gain some notion from two passages in Aristophanes and Lucian. The Dikaios Logos[100]tells that—

"in his days, when justice flourished and self-control was held in honour, a boy's voice was never heard. He walked in order with his comrades of the same quarter, lightly clad even in winter, down to the school of the harp-player. There he learned old-fashioned hymns to the gods, and patriotic songs. While he sat, he took care to cover his person decently; and when he rose, he never forgot to rub out the marks which he might have left upon the dust lest any man should view them after he was gone. At meals he ate what was put before him, and refrained from idle chattering. Walking through the streets, he never tried to catch a passer's eye or to attract a lover. He avoided the shops, the baths,[101]the Agora, the houses of Hetairai.[102]He reverenced old age and formed within his soul the image of modesty. In the gymnasium he indulged in fair and noble exercise, or ran races with his comrades among the olive-trees of the Academy."

The Adikos Logos replies by pleading that this temperate sort of life is quite old-fashioned; boys had better learn to use their tongues and bully. In the last resort he uses a clinchingargumentum ad juvenem.[103]

Were it not for the beautiful and highly-finished portraits in Plato, to which I have already alluded, the description of Aristophanes might be thought a mere ideal; and, indeed, it is probable that the actual life of the average Athenian boy lay mid-way between the courses prescribed by the Dikaios and the Adikos Logos.

Meanwhile, since Euripides, together with the whole school of studious and philosophic speculators, are aimed at in the speeches of the Adikos Logos, it will be fair to adduce a companion picture of the young Greek educated on the athletic system, as these men had learned to know him. I quote from theAutolycus, a satyric drama of Euripides:—

"There are a myriad bad things in Hellas, but nothing is worse than the athletes. To begin with, they do not know how to live like gentlemen, nor could they if they did; for how can a man, the slave of his jaws and his belly, increase the fortune left him by his father? Poverty and ill-luck find them equally incompetent. Having acquired no habits of good living, they are badly off when they come to roughing it. In youth they shine like statues stuck about the town, and take their walks abroad; but when old age draws nigh, you find them as threadbare as an old coat. Suppose a man has wrestled well, or runs fast, or has hurled a quoit, or given a black eye in fine style, has he done the State a service by the crowns he won? Do soldiers fight with quoits in hand, or without the press of shields can kicks expel the foeman from the gate? Nobody is fool enough to do these things with steel before his face. Keep, then, your laurels for the wise and good, for him who rules a city well, the just and temperate, who by his speeches wards off ill, allaying wars and civil strife. These are the things for cities, yea, and for all Greece to boast of."

Lucian represents, of course, a late period of Attic life. But his picture of the perfect boy completes, and in some points supplements, that of Aristophanes. Callicratidas, in theDialogue on Love, has just drawn an unpleasing picture of a woman, surrounded in a fusty boudoir with her rouge-pots and cosmetics, perfumes, paints, combs, looking-glasses, hair-dyes, and curling irons. Then he turns to praise boys:[104]

"How different is the boy! In the morning, he rises from his chaste couch, washes the sleep from his eyes with cold water, puts on his chlamys,[105]and takes his way to the school of the musician or the gymnast. His tutors and guardians attend him, and his eyes are bent upon the ground. He spends the morning in studying the poets and philosophers, in riding, or in military drill. Then he betakes himself to the wrestling-ground, and hardens his body with noontide heat and sweat and dust. The bath follows and a modest meal. After this he returns for awhile to study the lives of heroes and great men. After a frugal supper sleep at last is shed upon his eyelids."

Such is Lucian's sketch of the day spent by a young Greek at the famous University of Athens. Much is, undoubtedly, omitted; but enough is said to indicate the simple occupations to which an Athenian youth, capable of inspiring an enthusiastic affection, was addicted. Then follows a burst of rhetoric, which reveals, when we compare it with the dislike expressed for women, the deeply-seated virile nature of Greek love.

"Truly he is worthy to be loved. Who would not love Hermes in the palæstra, or Phœbus at the lyre, or Castor on the racing-ground? Who would not wish to sit face to face with such a youth, to hear him talk, to share his toils, to walk with him, to nurse him in sickness, to attend him on the sea, to suffer chains and darkness with him if need be? He who hated him should be my foe, and who so loved him should be loved by me. At his death I would die; one grave should cover us both; one cruel hand cut short our lives!"

In the sequel of the dialogue Lucian makes it clear that he intends these raptures of Callicratidas to be taken in great measure for romantic boasting. Yet the fact remains that, till the last, Greek paiderastia among the better sort of men implied no effeminacy. Community of interest in sport, in exercise, and in open-air life rendered it attractive.[106]

"Son of Eudiades, Euphorion,After the boxing-match, in which he beat,With wreaths I crowned, and set fine silk upon,His forehead and soft blossoms honey-sweet;Then thrice I kissed him all beblooded there;His mouth I kissed, his eyes, his every bruise;More fragrant far than frankincense, I swear.Was the fierce chrism that from his brows did ooze.""I do not care for curls or tressesDisplayed in wily wildernesses;I do not prize the arts that dyeA painted cheek with hues that fly:Give me a boy whose face and handAre rough with dust or circus-sand,Whose ruddy flesh exhales the scentOr health without embellishment:Sweet to my sense is such a youth,Whose charms have all the charm of truth:Leave paints and perfumes, rouge, and curls,To lazy, lewd Corinthian girls."

The palæstra was the place at Athens where lovers enjoyed the greatest freedom. In thePhædrusPlato observes that the attachment of the lover for a boy grew by meetings and personal contact[107]in the gymnasiums and other social resorts, and in theSymposiumhe mentions gymnastic exercises, with philosophy, and paiderastia, as the three pursuits of freemen most obnoxious to despots. Æschines, again describing the manners of boy-lovers in language familiar to his audience, uses these phrases: "having grown up in gymnasium and games," and "the man having been a noisy haunter of gymnasiums, and having been the lover of multitudes." Aristophanes, also, in theWasps,[108]employs similar language: "and not seeking to go revelling around in exercising grounds." I may compare Lucian,Amores, cap. 2, "you care for gymnasiums and their sleek oiled combatants," which is said to a notorious boy-lover. Boys and men met together with considerable liberty in the porches, peristyles and other adjuncts to an Attic wrestling-ground; and it was here, too, that sophists and philosophers established themselves, with the certainty of attracting a large and eager audience for their discussions. It is true that an ancient law forbade the presence of adults in the wrestling-grounds of boys; but this law appears to have become almost wholly obsolete in the days of Plato. Socrates, for example, in theCharmides, goes down immediately after his arrival from the camp at Potidæa into the palæstra of Taureas to hear the news of the day, and the very first question which he asks his friends is whether a new beauty has appeared among the youths.[109]So again in theLysis, Hippothales invites Socrates to enter the private palæstra of Miccus, where boys and men were exercising together on the feast-day of Hermes.[110]"The building," he remarks, "is a newly-erected palæstra, and the entertainment is generally conversation, to which you are welcome." The scene which immediately follows is well known to Greek students as one of the most beautiful and vivid pictures of Athenian life. One group of youths are sacrificing to Hermes; another are casting dice in a corner of the dressing-room. Lysis himself is "standing among the other boys and youths, having a crown upon his head, like a fair vision, and not less worthy of praise for his goodness than for his beauty." The modesty of Lysis is shown by the shyness which prevents him joining Socrates' party until he has obtained the company of some of his young friends. Then a circle of boys and men is formed in a corner of the court, and a conversation upon friendship begins. Hippothales, the lover of Lysis, keeps at a decorous distance in the background. Not less graceful as a picture is the opening of theCharmides. In answer to a question of Socrates, the frequenters of the palæstra tell him to expect the coming of young Charmides. He will then see the most beautiful boy in Athens at the time: "for those who are just entering are the advanced guard of the great beauty of the day, and he is likely to be not far off." There is a noise and a bustle at the door, and while the Socratic party continues talking Charmides enters. The effect produced is overpowering:[111]—

"You know, my friend, that I cannot measure anything, and of the beautiful I am simply such a measure as a white line is of chalk; for almost all young persons appear to be beautiful in my eyes. But at that moment when I saw him coming in, I confess that I was quite astonished at his beauty and his stature; all the world seemed to be enamoured of him; amazement and confusion reigned when he entered; and a troop of lovers followed him. That grown-up men like ourselves should have been affected in this way was not surprising, but I observed that there was the same feeling among the boys; all of them, down to the very least child, turned and looked at him, as if he had been a statue."

Charmides, like Lysis, is persuaded to sit down by Socrates, who opens a discussion upon the appropriate question ofSophrosyne, or modest temperance and self-restraint.[112]

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