THE REPRESENTATION OF PROSTITUTES VERSUS RESPECTABLE WOMEN ON ANCIENT GREEK
VASES
In ancient Greek civilization, there was a distinct social stratification between the women living in this society. There were generally three status levels a woman could occupy in ancient Athens: a citizen, a freedwoman, and a slave. Citizen women acquired their citizenship at birth by being born form parents who were also citizens. These women were generally labeled as respectable, and had to follow specific codes regarding their public and private behavior. Freedwomen consisted of either former slaves who had acquired their freedom or foreigners from other countries who had settled in Greece to live. Lastly, slaves were mostly foreigners who had been captured from conquered areas or were children of slaves. Prostitutes in Athens consisted of both freedwomen and slaves, and most were foreigners. However, even in the profession of prostitution, there was a distinct categorization among these women; there were high and low class prostitutes. The distinct activities which were designated for these types of women are clearly depicted on vase paintings from Greek antiquity, which I will go into more depth later on in the paper. Let me first try to explain what the activities and expectations were of respectable women and prostitutes in ancient Greek civilization.
The expectations Greek society placed upon women were extremely different for respectable women versus the other two female status's. The primary duty, or role, of respectable women, the wives and female relatives of citizens, was to procreate in order to produce legitimate heirs. Having a son was an important factor in Greek culture, and therefore, women continued to procreate until a son was produced. In order to guarantee the success of their reproductive ability, women were socialized to remain inside, stay out of public life, and engage in activities and labor that did not entail strenuous physical work. Besides procreation, after marriage, women were assumed to be responsible for her husband's household and family. They lived in isolated women's quarters where they slept and made clothes for the family. However, these women did engage themselves intellectual activities, i.e. reading and playing music, but most of these activities only involved the company of other women, including slaves, and excluded men. (Fantham pp.101-106)
Prostitutes, on the other hand, were very active in the public world, and were not responsible for the production of heirs in Greek society. Prostitution in Athens was initiated as early as the Archaic period, and during the time of Solon in late sixth century B.C, Athens installed state-owned brothels, where most employees were slaves. (Pomeroy p.88-89) There were two basic types of prostitutes in Greece. On the top of the social ladder were hetairai, who were also labeled as female companions. These women were essentially sexual entertainers and often had artistic skills. Hetairai had physical beauty but also "had intellectual training and possessed artistic talents; attributes that made them more entertaining companions to Athenian men at parties than their legitimate wives." (ibid p.89) Aspasia was famous in Athenian history for being a hetairai and becoming Pericles' companion. She possessed a strong intellectual capacity and even Socrates brought people to hear her speak. (Fantham p.116) Mostly hetairai entertained upper-class men at symposiums, drinking parties, where respectable women were not included. The other type of prostitute apparent in Athenian society, was called a pornai.(ibid) These women were mostly slaves, and did not possess the intellectual and artistic skills of hetairai. However, it is important to note the fact that being an hetaira was one of the few professions in society where women could become financially successful and gain complete control over their possessions.
The portrayals of both respectable women and hetairai on vase paintings clearly demonstrates the distinct roles they played in Greek society. In the second quarter of fifth century B.C., the depiction of women, either alone or among other women, became more and more common, and in the second quarter of the same century, many women were painted on vases "dressed in transparent, clinging drapery," which showed the outline of the female figure. These women were painted as weaving and spinning and it is harder to deduce whether these women are of respect or prostitutes. (Pomeroy p.144) However, in earlier times, it was much more common for artists to paint scenes portraying hetairai rather than respectable women for many reasons. First, it was believed that hetairai possessed the qualities of true beauty. They often were painted as being thin, elegant, and having small breasts. Secondly, many vases were used for wine at symposiums, and therefore, portrayed scenes that actually occurred at these parties. Hundreds of red-figure vases from the late sixth century to late fifth century B.C document that hetairai were "hired for entertainment, companionship, and sex at a symposium, or men's drinking party."(Fantham p.116) It is obvious through looking at these vases and drinking cups, that there is definite difference in how women were represented, and therefore, viewed in ancient Greek society.
The activities hetairai engaged themselves in are clearly depicted on these vases. Whether these are true representations is open for questioning. These vase painters were men, and their work may represent what actually occurred in society, or it might be a representation of their fantasies. Therefore, we must look at these paintings with a scrutinizing eye. Most vases of prostitutes show the sexual encounters between hetairai and men, but there are some vases that display hetairai in non-sexual activities. "Prostitutes could only imitate respectability by engaging in respectable domestic practices like weaving and spinning, as we see them doing in many vase paintings." (ibid p.115) Therefore it is clear that prostitutes did occupy themselves with chores similar to those of the respectable women. Hetairai's faces are also painted with more color, representing their high engagement in public activities, and a possible use of makeup.
The Munich 2421 vase, from the Archaic period displays on its shoulder a symposium scene where two hetairai are lying down. It is extremely common for hetairai to be portrayed naked or bare breasted. The hetairai in this scene are bare breasted. A respectable woman would never have been depicted reclining; she would either be sitting in a chair or standing. Therefore, even though no men are present in this scene, it is obvious that these two women are hetairai. Their clothing seems not to be made from wool which means their dress is more elegant that the citizen woman's. (Drawing of shoulder) The Harvard 1960.346 vase, from the Early Classical period, portrays two other symposium scenes where the hetairai are completely nude. Side A depicts a scene where two hetairai are teasing two men, also nude. Side B also shows two hetairai with a bearded man and a youth. These hetairai are wearing jewelry, especially on their head piece, which was common among prostitutes, for they could afford to buy jewelry, but also, their appearance was critical to their professional success. They are wearing earrings, anklets, thigh bands, and necklaces. (Side A)
The next vase to be looked at displays the compromising positions hetairai are often depicted engaging in. The Berlin F 2414, from the Classical period, shows a young hetairai attempting to copulate with a boy. She is completely naked, in terms of clothing, and wears a hair band with some decoration on it. The young girl is straddling the boy, an extremely obvious sexual position. His clothes are pulled down and he is looking at her, but the hetairai does not look back. This may be to display the lack of emotion involved in the sexual intercourse between men and prostitutes. (Main panel)
The final vase depicting hetairai that I will present is the Louvre G 2, from the Archaic period. On both sides of the neck, hetairai are shown. On one side, the hetaira laces a sandal, but is completely nude. I find it very odd that she is nude but wearing shoes. The only possible explanation is two fold. First, it may be a clear "pinup" to excite men, and secondly, the lacing of the shoes puts the woman in a more sexual position with her legs spread apart, and breasts hanging down. (Side A) Side B displays another hetaira, also lacing her shoes. She is seated on a cushion and raises her leg in order to lace her sandal. The position the painter depicts this hetaira to be in, alludes sexuality and conveys her action as purely entertainment. She is also wearing jewelry and a wreath on her head piece, also demonstrating her elegance and attractiveness. (Side B)
It is clear that these vase paintings are not of the respectable women in Classical Athens. Ancient society would never have compromised, or portrayed, these women in the nude or in sexual activities with others. Therefore, the illustration of hetairai wearing elegant jewelry, not having very pale faces, and engaging in sexual activities indicates that there was a drastic difference in how women were regarded and respected in ancient Athens.
Most portrayals of respectable women in Classical Athens on vase paintings display their domestic duties such as spinning and weaving clothes for the family. On many of these vases, these domestic chores are shown as a social event, where more than one woman are seen working in harmony. The faces of these women are usually pale, which signified their position in society; being secluded indoors and away from the public sector. In most cases, it was a sign of status and wealth for women to have pale skin, for they did not participate in strenuous labor outside, like the men. The pale skin may also represent the purity of these respectable women; their limited sexual partners, or virginity, and their importance to procreate heirs for their families.
The Berlin F 2289 vase from the Late Archaic period, is an example of one of these vases depicting the activities of respectable women. The interior of the vase shows two women arrange wool. They seem to be alone in the women's quarters, where men were rarely allowed in. Their chitons, made of probably wool, are not very decorative, unlike those of the hetairai's. One of the women's leg is also raised in this painting, but it does not put her in the same compromising position as the hetaira lacing her sandals. In this painting, the woman is merely spinning wool, and must use her leg to twist the wool. (Interior)
A second vase depicting respectable women is the Berlin F 2394 from the Classical period. The main panel displays two women, one pushing the other on a swing. The basket in the foreground suggests that these women were previously occupied in domestic chores, but have stopped to enjoy themselves in a little leisure activity. However, their clothing is extremely bulky looking with an excess of cloth, suggesting that this was not a common daily practice. The faces of these two respectable women show very little emotions, which seems to be unusual for a recreational activity. The exclusion of men in this painting, the activity these women are engaging in, them being fully dressed, not wearing jewelry, and having pale complexions demonstrates that these two women are not hetairai. (Main panel)
A third vase depicting respectable women is the Boston 01.8083 from the Early Classical period. Both sides of this vase show women celebrating the festival of Dionysos. The use of ivy for wreaths and for holding are symbols of this festival. On side B, three women are standing together and carrying objects that represented "various aspects of an Athenian Dionysiac ceremony."(vase description) During this time period, more vase paintings were including scenes with a number of women alone, and were also portraying women in scenes other than from their domestic activities. This festival primarily included women, and was an important social event for respectable women. The complexions of these women are also pale, symbolizing their status and wealth. (Side B)
I did come upon a vase that displayed two respectable women in the presence of a naked youth. The Harvard 1972.46 vase from the Early Classical period shows, on the main panel, two women running away from this nude boy. Their hands are raised in response to his presence, which suggests that this boy is not part of either of their families. These respectable women are clearly shocked and distressed by his nudity, which exemplifies the separation between not only men and women in ancient Greece, but between the private and public world as well. (Main panel)
It is obvious from looking at these vase paintings, that citizen women in ancient Greece were not only respected within society. This respect was extended to artistic representations, and the status and isolated lifestyle of these women were not compromised. Hetairai, on the other hand, were not modest in their activities, and painters seem to have created a pretty accurate depiction of their role in ancient Greek society. The vases clearly show that respectable women spent most of their time around other women isolated inside; the private world. However, hetairai depended on the public sector to survive, and many seemed to use their skills, talents, and professional abilities to gain some kind of respect, and some sense of success among the urban, upper class men in ancient Greece.
BIBLIOGRAPHY
Fantham, Elaine, Foley, Helene,P., Kampen, Natalie, B., Pomeroy, Sarah B., and Shapiro, H., Alan. Women in the Classical World. Oxford, University Press: New York. 1994.
Pomeroy, Sarah, B. Goddesses, Whores, Wives, and Slaves. Schocken Books: New York. 1976.
Vase Descriptions:
To Women In Antiquity course information
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