Homosexu: Homosexuality in Western Antiquity (from Ancient Greece to the Ch, “Per HM eRoman Empire) “The earliest Grecks were a loose band of rural tribes who eventually settled into small enclaves known as citpstates. “The practice of overt homosexuality was already widespread in the Greek city-states by the early part of the sixth cen tury BC and became an integral part of the Greek archaic and clasical traditions. Male homosexuality, or rather ped. cerasty, was linked with military initiation of young boys into citizenship. Most of our information about Greck homosexuality is based on the art, Hiterature, and mythology ffom the citystate of Athens. Exactly why the Athenisns of the fourth century BC accepted homosexuality and conformed so readily to a homoerotic ethos is 1 question difficult to answer, Although exch citystate imposed distinct laws and practiced different mores, Spats, ‘Thebes, Crete, Corinth and others, all bear visual and literary evidence of homosenual interests and practices. The cates evidence of homoerotic relations in ancient Greece comes ftom a fragment written by the historian Ephorus of Kyme (45-330 BC) telling the story of sn ancient ritual that took place on Dorian Crete im the seventh centse zy BC in which older men initiated younger men into manly pursuits like hunting, feasting, and presumably, ex al relationships as well. (Lambert in Haggerty, 80) ining ans The extent to which homosexuality in the ancient world war «significant aspect of Greek culture ean be found in their myths, rites and stuals, legends, art and literature, and in the customs of society at a whole, The major arts~ tic and literary sources on Greek homosexuality ae found in late archaic and eatlyclassial poetry the comedie plays of Aristophanes and others such as Euripedes, Aeschylus, and Sophocles; the dialogues of Plato, and paintings on Greek vases. (Dover, §) It was in the writings of Plato (c429-247 BC) above all where the topic of homosexual love was debated most vigorously. In his dialogues, Plato focused on male homosexuality, seeing it as a higher spiritual soul than heterosexual physical contact and procreation. The three famous dislogues of Plato-the Lyris, Phaedrs, and Shmposiem narrate imaginary and sometimes ironic conversations about male sexwal and erotic relations. lordan in aggerty, 695) Many of the pasrages in these dialogues describe male love at pidensteia (pederasty)—that ic, ative love of an adult man for a beautiful, passive adolescent [the word paiderasta is derived ftom pais (boy) and ‘ran (to love). In the Lys and Symposium, Socrates (a protagonist in the dialogue) is characterized as the active pr suer of adolescent male beauty. For Socrates, (homo}eros was the search for noble aims in thought and in action Fractly how the practice of pederasty developed in ancient Greece ie disputed, but the surviving mythology from, sntiquity suggests that Minos, the king of Crete, introduced it to avoid oveepapulation of his island the eror [Athenian society viewed paidensieia aa principal means of education and socialization of young frecborn boys jnto manhood and citizenship. As an institution, it served as 4 complement, not a sival, to heterosexual martiage 1. Painting of Euaion Eases anda Young Musian, 460 BC, Red figure dish Lowe, Pais[EE tomosexuatity in art “Although the term "pederast” is today pejorative and refers primarily to sexual predators, in ancient Greece the term cattied no sch negative connotation and was employed in the context of the enaeveromenos relationship. In thie rela tionship, an older man (the crates or lover [“inspiter” in Sparta)), usually beatded and of igh social rank, was expect- ed to actively seck out, then win over 2 youth (an eromenos, or the beloved [the “heares” in Spartal) and instill im him. an understanding and respect for the masculine virtues of courage and honor. Such attributes would, of course, not only become useful to Greek social stability, but would also help guarantee acts of bravery and loyalty when asked to defend the cipystate on the battlefield tis in Plato's Symposium where homosexual love is expressed and praised at length between st older, bearded lover (rates) and a younger, huisless beloved youth (yomenor aged fiom puberty to seventeen yeas old). The Simpoium is part of what iselled "banquet iteratur,” of aeollection of informal discusions on various topics, including the philosophical and moral merits of love snd the delights of young men and boys. Tete ate many vase paintings illustrating what went on at these banguets or symposa in which young boys often served as cupbearrs for invited gues. Plato's Symposiem describes the strict rules of courtship and love governing the eustes and eromenos relationship, ‘There were many taboos. For example, under no circumstances was 2 boy allowed to take the role as aggressor, pur suet, of penetrator. Also discouraged was the courtship or sexual activity between two boys of men of the same age fr social rank. Intergencrational and contect class courtship was the expectation ‘The majosty of our primary vial information on the customs and habit of homosexual courtship and sexual practices in ancient Greece comes tous ftom vase painting. Greck vases, used for carrying wate, storing wine and olive oi, and serving food and drink, were produced in large quantities by local craftsmen and exported allover the Mediterancan region, Many were sold to middle- and upper class diene and often carted handpainted scenes of gods, myths, heroic deed, or images of everyday life. Many wats, dating from the sixth and fifth centuries BC, show older males conversing with younger males, offering them gifts, touching their genitals, or embracing them. Also commonly depicted were vigntes of males engaged in athleticism, courtship and graphic sexual acs. Quite often, sn emits wold ave a vate made specifically for his eramemor to be presented to him along with other courting gifs such a6 a hare, a cockerel, or a stag. These offerings were standard and associated withthe hunt, further undertor- ing the function of pederastc courtship as arte of pasage, Sometime, short inscriptions were applied ot the word “alos"is beautiful) would appear preceded by the name of a favorite boy or adolescent youth ‘Ac around age eighteen, a eromenos became an erstes and was expected to mary, father children, and take an active sole in the pursuit of youngee men, However, the imposing of such suet socal rues often invited tansees sions. These were sometimes depicted on vase paintings and could be linked with Plato's frequent admonitions and vwarings against sexual overindulgence by Athenian males. Although of concern to the ancients, these transgresions ‘were minor compared with the gravest taboos of all-oral and anal sex, These activities were regarded as beneath the dignity of the Athenian male citizen and were served for women, mule and fnale prostitutes, forignes (called barbarians bythe Greek), and slaves. Along with female passivity, anal penetration and orl sex were associated with bestia activity commonly sepreented on vases showing sty of other mythologieal creatures. Sty (nythologicl beings who ate halfenan, halFgoat) ate symbols ofthe conflict between civilized man and his uncoatsollable animal passions and desites, Their virility was insatiable and they are typically shown inebriated, with enormous genitals, copulating, of masturbating Despite the social and moral prohibition sgainst oral and anal sex between same-sex partners these activities did indeed occur in private. So, although scenes of anal sex between men and boys are relatively rare in Greek art, they are not entirely nomexitent. On the other hand, scenes of men and women performing anal sex are quite common, Most Athenian vase paintings of homosexwal courtship show enutai [plural of erate] fondling the genitals of eromensiHomosexu: 2, Brygos Painter, Man and Youth nating tere Intercourse, 500-280 BC. Oxford, Ashmolean Museum 3, Man and Ephebe, end of 6th Centuy BC. Aticvase Boston, Museum of Fine Aris 4, Pan Pursuing a Young Shepherd, 470 BC. Ceramic Boston, Museum of Fine ts[Bi ttomosexuality in art [plural of ewmmenor] oF the accepted standing postion, facctoface intercrural intercourse (mautual masturbation in ‘which the erect penis is thrust between the partner's thighs). ‘Anal sex was lampooned by many playwrights who used it as a gauge by which to judge a person's morality. The ambivalent social and sexual soles played out between erase’ and eromeo! in courtship is implied in some of the comedies of Aristophanes, where the anally penetrated man becomes 2 target of ridicule and abuse. There are comre- sponding images on vases in which the anus becomes the site for launching insults or jokes. To be passive and per trated was a mark of shame and immoral behavior, Although young boys and men practiced homosexuality as a form of initiation into the privileged status of citizenship, the prevailing concept of an active and dominant mas culinity had to be maintained. Giving in too quickly to advances was viewed as a sign of weakness and made one le as an upstanding citizen and warrior. It is party for thie reason why many vase paintings show youths rebuking or resisting the advances of their older suitors, tury BC. Staalchen Antikensamiungen und Glpptothek, MusichHomosexu: Comrades in Arms and the Body Beautiful Ancient Greek culture was male-entered, Men and boys held privileged status over women and gils. The correct edu cation of boys was of primary concern, for the future of the city-state was at stake. The aim of the Greek educational system—called the paidelawas to attain male perfection by attending to the cultivation of the male body, mind, and soul, Pederssty and sts purpose of promoting the erotic love between men and youths was seen as an effective way af fostering this ideal. The education of youths took place in the gymnasium. The gymnasium was not a single building, but rather a complex of structures situated in the center of every Greek citpstate. Here, men, boys and epheher (ado Tescents aged 18 to 25) spent many hours per day engaged in physical and intellectual exercises. Also present were philosophers, poets, and artists of various ages all gathered in an allmule environment to discuss, debate, and com plate the moral ‘and philosophical virtues of the male form and chatacter The gymnasium lit nally became “an f erotic energy.” Bronze sta athletes, gods, heroes, and warriors (Hermes, Apollo, Heeakles, Eros) were set up in various locations throughout the gymnasium complex. Daily exposure these artistic dis plays of male bod ly perfection was intended to instill, in young viewers the desire to attain sch perfection subjects abounded nace (known today marble copies of ginals) within the rors and athletes (Spear Cartier) by Two types of in Greek male sat from later Roman Greek bronze ot: gymnasium—war The — Donphorous the Greek seulptor Polykleitos is a the Greck worship body. The Danpho- prime examp! fof the male nude beadless, is om the from cromenor into nasium, he traine for agility, bravery, and With this statue, ed to neatly divine Greeks saw the male ‘tanstional erates. At the yim superior strength, skill (Saslow: 31) male beauty is eleva status, Because the smude form as the outward sign of perfection, they es tomarily exercised and fought battles in the nude. Nudity itself carsied with it a metaphysical significance. Physical pefection on the exterior was matched with spiritual and moral perfection within, 6. Apollodores. tivo Hetzerae, 50D BC, Ac eefigure cup, Archaeological Museum, TarquinBi) Homosexuality in Art 530-430 BC. Athenian red-igur vase, Oxford, Ashmolean MuseuHomosexuality in ArtBi) Homosexuality in Art g 10a and 10b (Men and YouthsHomosexu: (One of the practical advantages of the Greek system of pederasty was its military ss. The Grecks of sev cal citystates ofien went into batle in entveromencs pars. The bravery of pederastic couples, such as that of the 150 pairs of lovere called the Sacred Band of Thebes, was renowned throughout ancient Greece and wae an impor tant factor in boosting morale for Greek victory over their enemies. Couples often fought in the nude, forthe abi ty to see metaphysical worth in nudity was what the Greeks believed separated them from uncivilized foreigners of barbarians. Some of these warrior couples became known as tyrannicides (killers of tyrants). The best known of such couples is Harmodiae and Aritogiton. Tes interpreting the ienages on vse paintings, some knowledge of Greck mythology is indispensable, Gresk mythol logy was, a8 was Greek society im gen ly anthropocentrie or man-centered. It was through myths that the ancient Greeks linked themselves with the cycles and seasons of nature and rationalized the world of emotion and sensation, Greek myths usualy focus on the powerful, hetoic, and grandiose aspects of the gods. But they also address ‘the sexual appetites of the gods and their union with heroes and mortals, Greck gods wete personifications of nature if often engaged in various sexual adventureshomocenual, heterosexual, intergenerational, and bestisl. Myths of ‘gods, heroes, and handsome youths abound on vase paintings, statuary myths that most commonly address the theme of Greek pederasty and homosexuality include Apollo and Hyacinth, Apollo and Zephyr, Achilles and Patroclus. and wall frescoes. The Zeus and Ganymede, ‘The story of Zews and Ganymede is perhaps the most frequenty-depicted scene of homosexual desire on vases, floor , and statuary. The myth exemplifies one of several divine coustsbips extolled by the Greeks as explanation the origins of the cosmos and the workings of nature. With this myth, the gap in age and status between the god. tnd his young minion reflects the inequalities in the hierarchical and rigidly structured relationship between etaster and eromenos in classical Athenian society In the eighth century BC epic verse of Homer called the Iliad, we find the most celebrated of all male-male unions in the comradeship of Achille: and Patrocur during the Trojan Wat. Ia the story, Homer glorifies the friendship between the two but does not mention that they were lovers. The classical Greeks themselves interpreted Homer as seferencing their own social practice of pederasty and claimed Achilles and Patroclus as a pederastic pair. Achilles, 2 young warrior described as the most handsome and noblest of the Greek, fll into profound grief when his com ppanion Pattoclus was slain by Hector, son of the Trojan king Priam. Achilles and Pactoclus fitst appear in art toward the end of the six ck-figure vase paintings. (Saslow: 16) Several red-figure vases from, iy BC to the fourth century BC show the loving bond between the two warriors. century BC on Athenian bi the late sath cent 11, Says masturbating, Antique Grek vase, Museum of Fine Ats, Boston