Greek Women

by Mitchell Carroll

The most celebrated of all, however, was Lalla, a native of the city of Cyzicus, to which Apollo had accorded the gift of arts. Though she worked with extreme rapidity, this did not detract from the merits of her work, and she was considered the first painter of her time. Painting with pencil and on ivory were equally familiar to her. The portraits which she painted were principally of persons of her own sex. Pliny mentions a portrait, which was at Naples during his life, in which Lalla had represented an old woman. He adds that she had reproduced in this her own picture reflected in a mirror. There has been found at Pompeii a painting of an artist which is believed to be a portrait of Lalla, probably painted by herself. It represents a young woman seated on a stool on a little porch, with her eyes fixed on a statue of Bacchus, which she is reproducing on a tablet held by a child. In her right hand is a pencil, which she plunges into a small box evidently containing her colors; in her left hand she holds a palette. Her garments are elegantly draped around her; a band encircles her waving hair, which falls over her neck and shoulders, A deep, intellectual look illuminates her delicate features. If this be really a picture of Lalla, she was wonderfully beautiful.

Not only in poetry and the fine arts, but also in philosophy and intellectual pursuits did the Greek woman show herself capable of great achievements. In the schools of Pythagoras, established at Croton in Magna Græcia, women were freely admitted and took a prominent part in the exercises, together with their husbands and brothers.

There is a tradition that the ascendency of Pythagoras at Croton was so great that the ladies of the city brought their rich apparel, their jewels, necklaces and bracelets, to the temple of Hera, and dedicated them as an offering to domestic virtue, vowing that henceforth prudence and modesty, not luxurious apparel, were to be the true ornaments of their sex. Whether this story be true or not, there is no doubt that Pythagoras had a large number of women among his disciples, and that the "Pythagorean Women" attained throughout the Greek world a great and enviable reputation. Pythagoras's friendly attitude toward the sex was probably in part the result of his cordial relations with the Delphian priestess Aristoclea, renowned for her amiability and her wisdom, with whom he carried on a learned correspondence. The general results of his teachings upon woman were a high ideal of feminine morality, careful attention to household duties, and the elevation of the conception of motherhood, especially in the careful rearing of children.

Existing fragments of the works of "Pythagorean Women" indicate their lofty views of moral perfection and harmony, and their practical judgment in everyday affairs. Sophrosyne is constantly commended as the chief feminine virtue, a term connoting moderation, self-containedness, modesty, and wifely fidelity--in a word, all that is essentially womanly.

The Neo-pythagorean philosopher, Iamblichus, in his biography of Pythagoras mentions fifteen celebrated women of the School. Other writers name other female adepts in Pythagorean philosophy, who lived during and after the time of Pythagoras. The number was so large that the comic poets Alexis and Cratinus the Younger, who, like most Athenians, had a genuine contempt for blue-stockings, made them the object of much drollery and ridicule.

Of all the Pythagorean Women, none attained such exalted rank as Pythagoras's wife, the high-minded Theano. She combined virtue and wisdom in such perfect harmony that she was regarded in antiquity not only as the foremost representative of feminine scholarship, but also as the brilliant prototype of true womanhood. Of the life of Theano we know only a few characteristic incidents, and these give insight into her character mainly by relating "sayings" uttered by her on certain occasions. She was once asked for what she wished to be distinguished. She replied by quoting a verse of Homer (II. 1:31): "Minding the spindle and tending my marriage bed." Another time, she was asked what most became a wife; she answered: "to live entirely for her husband."--Again, she was asked what was love; "the sickness of a longing soul," was her answer. Once, while she was throwing off her mantle, it happened that her arm was exposed. A gentleman, struck by its beauty and shapeliness, exclaimed: "What a beautiful arm!" "But not for the public gaze," replied the wise Theano, while she hastily adjusted her robes. This remark has been quoted by Plutarch, by two Church Fathers, Clement of Alexandria and Theodoret, and by the Byzantine authoress Anna Comnena, as a noteworthy apothegm, tending to promote womanly modesty and reserve.

Theano was both prose writer and poetess. Of a long epic poem written by her in hexameters we have not even a fragment; of her philosophical works, there are still extant three letters of great charm and a fragment of a philosophic and didactic work On Piety. This fragment is too short for us to distinguish in it anything more than the highly developed reasoning power of the author; in her letters, however, discussing the rearing of children, the treatment of servants, and the suppression of jealousy, the sentiments are forceful, and the style has a familiar grace and tenderness. The relics that we have abound in axiomatic expressions, emphasizing womanly virtues and manifesting the lofty morality and high culture of the writer.

After the death of Pythagoras, Theano, in conjunction with her two sons, Telauges and Mnesarchus, kept up the secret order; and Theano, as teacher and as writer, promulgated her husband's doctrines. The time and circumstances of her death are unknown.

Theano's three daughters followed in their mothers footsteps. Myia, the most distinguished, had been so carefully reared and was of such preeminent virtue that she was chosen as a virgin to lead the chorus of maidens, and as a wife the chorus of matrons, at all the sacred festivals of Croton, and she knelt at the head of her companions before the altars of the gods. She was the wife of Malon, the celebrated athlete, also of the Pythagorean order; their union was in all respects a happy one. Myia was also a writer, but we have only one letter attributed to her. Her work in the spirit of her father was so brilliant that she spread the fame of his teachings throughout all Hellenic lands. There was probably an extensive literature about her in antiquity, for Lucian, several centuries later, says he had much to tell of her, but that her history was already generally known.

Not without distinction were also Myia's sisters, of whom Arignote attained a great reputation as a philosopher and writer of epigrams, while Damo distinguished herself by her fidelity to her father's dying request. The story goes that he consigned to her his most precious treasure,--his memoirs,--with the injunction that she should keep them secret from all who were not of the family. Though offered large sums for them, she never yielded, preferring poverty to disobedience. At her death she turned the works over to her daughter Bistalia, with the same mandate her father had given herself. The granddaughter remained equally faithful, and these invaluable works perished with the family. Some ancient writers mention as another daughter of Pythagoras, Theano the Younger, of Thurii, but, according to Suidas, she was a daughter of Lycophron. She was a clever philosopher and a prolific authoress.