But our anonymous authority has not been left to encounter the attacks of the critics and historians alone. Other ancient authors, though their corroborative testimonies have, hitherto, been generally overlooked, furnish incidental hints and revelations which, duly weighed, will, I make no doubt, be admitted to amount to positive proof. Describing the temple of Demeter at Eleusis, Strabo observes, that so vast were its dimensions, that during the celebration of the mysteries, it would contain the whole multitude usually assembled at the theatre.[[1173]] Now, in the mysteries, we know that the Athenians of both sexes, and of all ages above childhood, were present, so that, if men only had been admitted to the theatre, it need not have been half the size of the Eleusinian temple, and, consequently, would have furnished the geographer with no proper subject of comparison. Again, in the passage quoted above, from Plato, the presence of women at both the tragic and comic theatres is indubitably presumed, since, to judge of both these kinds of exhibitions, it was necessary either to see them, or to read the plays. If they read the plays there could be no reason for restraining them from the theatre, since, whatever they contained of objectionable matter would thus be equally placed within their reach. It is to be presumed, therefore, even from this passage, that the theatre was free to women.
But the philosopher is elsewhere more explicit. Treating in his Dialogue on Laws expressly of tragic poetry, and speaking always in reference to his imaginary state, he respectfully and with many flattering compliments proscribes this branch of the mimetic arts, not, however, without assigning his reasons. Assuming for the moment the part of leader of the legislative chorus, he informs the tragedians, that “we, also, in our way, are poets, and aim at producing a perfect representation of human life. You must regard us, therefore, as your rivals, and believe that we labour at the composition of a drama, which it is within the competence of perfect law only to achieve. You must not, accordingly imagine, that, as jealous rivals, we shall readily admit you into our city to pitch your tents in our agora, and, through the voice of loud-mouthed, actors to imbue our wives and children and countrymen with manners the very opposite to ours.”[[1174]] Now, what point, or, indeed, what sense would there be in this, if in the commonwealths actually existing dramatic poets had always been prohibited from addressing themselves to the women? Would it not have been just such another novelty as an ingenious philosopher of our days would hit upon, were he in a state of his own invention, to propose, as a great improvement on existing customs, that women should go to church?
This, therefore, were there no other proof, would, to me, appear convincing; but a still stronger remains. It is well known that the theatre was, among the ancients, parcelled out into several divisions, some more, some less honourable; and of these one whole division, by the decree of Sphyromachos, was appropriated to the female citizens, who would appear previously to have sat indiscriminately among the men and female strangers. To the latter the upper ranges of seats would appear to have been appropriated.[[1175]] On this point, therefore, the opinion received among the generality of writers is erroneous. Women were not debarred the amusement or instruction of the theatre,[[1176]] which, for good or for evil, influenced their education, and rendered their minds subservient or otherwise to the designs of the legislator and the welfare of the state.
From all which it will be apparent that the sexes enjoyed at Athens abundant occasions of meeting; and in the other Ionian states similar customs and similar manners prevailed. For this we are reduced to rely on no obscure scholiast or grammarian. Thucydides himself, describing the second purification of Delos by the Athenians, and the institution of the Delian games, observes, that from very remote times the people of Ionia and the neighbouring islands had been accustomed to come with their wives and children to the sacred festivals there celebrated in honour of Apollo. On these occasions gymnastic exercises and musical contests took place; and of the chorusses who chaunted the praises of the god some were female. The whole of the ceremonies are described in the Homeric hymns to the tutelar divinity, where the poet very animatedly recapitulates the principal features of the games.
To thee, O Phœbos! most the Delian isle
Gives cordial joy, excites the pleasing smile,
When gay Ionians flock around thy fane,
Men, women, children,—a resplendent train:
Where flowing garments sweep the sacred pile,—
Where youthful concourse gladdens all the isle,—