Greek Women

by Mitchell Carroll

In the district of Elis, on the western side of the Peloponnesus, the river Alpheus, after dashing and splashing down the mountains of Arcadia, slackens its speed and meanders westwardly through the valley in fantastic curves and windings. Soon it meets the quiet waters of the Cladeus coming from the north. Between the two, and not far from their confluence, lie the wooded slopes of Mount Cronion. In the triangular space thus formed by the rivers and the mountain is situated the sacred grove known as the Altis, the hallowed precinct of Olympian Zeus. Here was his temple, and not far from it the shrine of his consort Hera; and just outside the sacred precinct lay the racecourse, where were celebrated the Olympic games which have made the name of Olympia famous throughout the world. This was the national centre of Greece, where citizens from all parts of the Greek world assembled to join in friendly contests of physical prowess and poetry and song. The situation was indeed a beautiful one. Northward and westward were the mountain peaks of Achæa and the high tablelands of Arcadia; southward, the rugged mountain chain of Messene; westward, the Ionian sea. The well-watered valley, bounded by undulating hills, was covered with luxuriant vegetation. The pine woods of Mount Cronion, the dense grove of plane trees within and about the sacred precinct, the vine, the olive and the myrtle of the valley, and the quiet waters of the sacred streams, were elements that constituted a landscape of indescribable beauty, renowned in ancient times and the delight of modern travellers.

The festival in honor of Olympian Zeus recurred every four years, at the time of the full moon following the summer solstice. Sacred heralds carried to all parts of the Greek world the official message announcing the festival, and a sacred truce was declared for a sufficient length of time to allow all desirous of doing so to attend the gathering and to return home. As the great day approached, men and youths, matrons and maidens, set out to take part in or to witness the various features of the festival. Cities sent sacred embassies, or theoriæ, resplendent in purple and gold, bearing offerings to the god. Artists and poets, merchants and manufacturers, found in this gathering of the Greeks a great mart in which they could make known their talents or their wares and receive lucrative orders, the former for a statue or an ode, the latter for the sale of their merchandise. Tents stood in rows upon the plain, and everywhere were scenes of busy traffic or of social entertainment.

We are not concerned here with the various exercises that constituted the festival, nor with the games which were celebrated in the stadium, nor with the horse and chariot races in the hippodrome, except in so far as women were participants; and their part was but slight. When the games were held, a priestess of Demeter was present, seated on an altar of white marble opposite the umpires' seats, but she was the only woman to whom this privilege was granted. While their loved ones were contending in the stadium, mothers and wives and sisters had to remain on the southern bank of the Alpheus. Only one instance is recounted where this rule was broken. "Pherenice, daughter of a celebrated Rhodian wrestler, whose family boasted that they were descended from Hercules, could not bear to leave her son while the contest was going on, and disguising herself as a man, and pretending to be a teacher of gymnastics, she mingled with the groups of gymnasts. When her son was proclaimed victor, however, her feelings carried her away, and forgetful of prudence she rushed to embrace her child. In her haste her robes became disordered, and her sex was revealed. The law was explicit: every woman found within the sacred precinct was condemned to death. Nevertheless, the judges acquitted her, in recognition of the fame her family had won; but to prevent any repetition of the occurrence, the masters, as well as their pupils, had thenceforth to present themselves naked."

Women could, however, run their horses in the hippodrome and thus win a prize, as was done by Cynisca, daughter of Archidamnus, King of Sparta, who was the first woman that bred horses and gained a chariot victory at Olympia. After her, other women, chiefly Spartans, won Olympic victories, but none of them attained such fame as did Cynisca. So honored was she by her people that a shrine was erected to her at her death; there was also erected at Sparta a statue of the maiden Euryleon, who won an Olympic victory with a two-horse chariot.

Though excluded from the games at the great festival of Zeus, there were yet some games at Olympia in which women took part. These were a feature of the festival of Hera, whose temple was also in the Altis. At this festival, sixteen women, duly appointed, wove a robe for the goddess and conducted games called the Heræa, participated in by the maidens of Elis and surrounding districts. Pausanias thus describes the spectacle: "The games consist of a race between virgins. The virgins are not all of the same age; but the youngest run first, the next in age run next, and the eldest virgins run last of all. They run thus: their hair hangs down, they wear a shirt that reaches to a little above the knee, the right shoulder is bare to the breast. The course assigned to them for the contest is the Olympic stadium; but the course is shortened by about one-sixth of the stadium. The winners receive crowns of olive and a share of the cow which is sacrificed to Hera; moreover, they are allowed to dedicate statues of themselves, with their names engraved on them."

From a consideration of woman's part in the religious ceremonials at the national centres of Greece,--Delphi and Olympia,--we must now turn to Athens, with whose festive calendar we are much better acquainted. The Athenians were rightly characterized by the Apostle Paul as being very religious. In all parts of the city were temples and statues; according to one writer, it was easier to find there a god than a man. More than eighty days out of each year were given up to religious festivities. Pallas Athena, daughter of Zeus, was the patron goddess of Athens, and the Acropolis was her sacred precinct; but other deities were worshipped, even on the Acropolis, and throughout the city there were shrines to numberless gods and goddesses.

From earliest times, women were intimately associated with the worship of Athena. Varro preserves a tradition which records that it was women's votes that determined the choice of Athena over Poseidon as patron deity of Athens. Originally, women took part in the public councils with men and had a voice therein, and when the weighty question of the rivalry of the two divinities came up they outvoted the men by a majority of one in favor of the goddess. Poseidon was angered, and submerged the land of Attica. To appease the god, the citizens deprived the women of the right to vote and forbade them in future to transmit their names to their children and to be called Athenians. But though their political rights were thus sadly infringed and they were relegated to ignorance and obscurity, they retained their part in the exercises of religion, especially in the worship of their patron goddess. Little is known of the various priestesses of Athena, who figured so prominently in the art of Athens and who presided at the goddess's temples on the Acropolis. It was an important office and was always held by a woman of great wisdom, high moral character, and mature years. Under her direction were the maidens of the city who were chosen from time to time from the noblest families to take part in the festivals of the goddess. Pausanias gives us a glimpse of the duties of certain of these maidens, and we could wish that he had cleared up the mystery that surrounded their office. "Two maidens," said he, "dwell not far from the temple of the Polias; the Athenians call them Arrephoræ. They are lodged for a time with the goddess; but when the festival comes around, they perform the following ceremony by night. They put on their heads the things which the priestess of Athena gives them to carry, but what it is she gives is known neither to her who gives nor to them who carry. Now, there is in the city an enclosure, not far from the sanctuary of Aphrodite, called Aphrodite in the Gardens, and there is a natural underground descent through it. Down this way the maidens go. Below, they leave their burdens; and getting something else which is wrapped up, they bring it back. These maidens are then discharged and others are brought to the Acropolis in their stead." Other maidens resided for a time on the Acropolis, engaged in weaving the saffron-colored peplus which was to be presented to the goddess at the Great Panathenæa--the most brilliant festival of the Athenians. This was the highest honor that could be conferred on Athenian maidens, and while engaged in this work they shared in the deference shown the goddess. They dwelt with the great priestess, and were under her immediate direction when they appeared in public; they were clad in tunics of white, with cloaks of gold, and were universally recognized as votaries of Athena. It has been conjectured that the mysterious bundles which the Arrephoræ carried down from the Acropolis contained the remnants of the wool which had served to make the peplus of the preceding year, and that they brought back the material destined for the future peplus; but of this there is no positive evidence. Certain it is, however, that the garment intended for the goddess was a masterpiece of the textile art, woven of the finest fabrics and embroidered in gold with scenes of Athena battling with the gods against the giants, and of such other incidents as the State had judged worthy to figure beside her exploits. Athena was, among her many functions, also the goddess of weaving and other feminine arts, and as such had a shrine on the Acropolis, where she was worshipped under the title of Athena Ergane. Within this precinct were statues to Lysippe, Timostrata, and Aristomache, maidens thus honored because of their skill in womanly occupations.

For the origin of the Panathenæa--the greatest of Athenian festivals--we must go back to the heroic days of Athens when King Erechtheus dedicated on the Acropolis the archaic wooden statue of Athena, reputed to have fallen from heaven, and established the custom of offering to the image once a year a new mantle, embroidered by noble maidens of the city. Later, Theseus united the various tribes under one rule, with the Acropolis as its centre, A festival to celebrate this event was united with the festival to Athena, and the enlarged festival was known as the Panathenæa, symbolizing the union and political power of Athens and the sovereignty of the goddess. Pisistratus increased the splendor of this festival, and, in the golden days of Athens after the Persian War, Pericles added to its pomp and magnificence. He erected on the Acropolis an imposing temple to the goddess, the Parthenon, and placed within it her image of gold and ivory. The worship of Athena and the political supremacy of Athens now became synonymous. Her festival was the highest expression of the ideals of Athens in its greatest epoch. The greater Panathenaæ was Athens in its glory, possessed of an overflowing treasury, supreme among the States of Greece, the exponent of poetry and art and beauty.

There was great rejoicing when the sacred peplus was at length completed by the maidens, and there arrived the season of the festival, which was to culminate on Athena's birthday, the twenty-seventh of the month Boëdromion, which corresponded nearly to our September. The earlier days were spent in gymnastic games, horse and chariot races, and contests in music and poetry. On the fifth and last day occurred the most brilliant feature of the entire festival, the solemn procession which attended the delivery of the sacred peplus to the priestess of Athena that she might place it around the wooden image of the goddess. So important was this procession that Phidias selected it as the theme to be portrayed on the frieze of the Parthenon. The procession formed in the Outer Ceramicus, just outside the principal gate of the city, and the peplus was placed on a miniature ship (for which it served as a sail), which was set on wheels and drawn by sailors. Through the market place, round the western slope of the Areopagus, along its southern side, the procession wended its way till it reached the western approach to the Acropolis. Then the peplus was removed from the ship, and, borne by those chosen for this service, it was carried at the head of the procession up the western slope, through the Propylæa, and delivered to the magistrate appointed to receive it before the temple of Athena. The frieze of the Parthenon presents the most important details of the procession. Its western end shows the stage of preparation--the flower of Athenian youth and nobility preparing to mount or just mounting their steeds to join in the cavalcade. As we turn to the northern and southern sides, we observe that the procession has formed and is now in motion. The cavalcade is composed of youthful horsemen, who move forward in compact array, with all the dash and spirit of youth. Just ahead of the horsemen are the chariots, driven by their charioteers, with the warriors either standing by the driver or just stepping into the moving chariot. As the eastern end of the temple is approached, restlessness of movement gives place to solemnity, and impatient riders and charioteers are succeeded by more stately figures. Elderly men, bearers of olive branches; representatives of the foreign residents, carrying trays filled with offerings of cakes; attendants, bearing on their shoulders vessels filled with the sacred wine; musicians, playing on flutes or lyres-march in slow, measured steps. In advance of them are the cows and sheep led to sacrifice, conducted by a number of attendants.

The frieze on the eastern end of the temple represents the culmination of the festival. The crowning act is about to be performed, and the solemnity becomes absolute. Figures at one end are balanced by corresponding figures at the other, all advancing toward a common point. First come slowly moving maidens, who are carrying the sacrificial utensils--their noble birth manifesting itself in their dignity of demeanor. The five maidens in the rear bear the ewers used in the libations; those forming the central group carry, in pairs, large objects resembling candlesticks, whose uses are not definitely known; while in the lead, on each side, are two maidens, bearing nothing in their hands--probably the Arrephoræ, whose duties have been already performed. Both in costume and in coiffure these maidens represent what was characteristic of their age and sex in Athens during the supremacy of Pericles. Next comes a group of men, probably the magistrates appointed to await the arrival of the procession on the Acropolis. They border the seated divinities who have assembled to do honor to Athens at its greatest festival--seven figures on each side of the central slab, directly over the door of the temple, whereon is represented the climax of the solemn occasion,--the delivery of the new peplus to the priest or magistrate, whose office it was to receive it; while at his side stands the priestess of Athena, receiving from two attendants certain objects of unknown significance.