THE AULETRIDES, OR FLUTE-PLAYERS.
Female flute-players were a common accompaniment to an Athenian banquet. The flute, which in modern times is played by men, was rarely seen in male hands in Greece. Though the fable ascribed its invention to the god Pan, and its development to the mythical king Midas, it was monopolized at a very early period by women, who consoled themselves for the ravages it wrought in their beauty by the power of fascination it imparted among a people intensely musical. Flute-playing soon became an essential rite in the service of certain deities. Ceres was invariably worshiped to the sound of the flute. And when the Athenians had once tried the experiment of listening to flute-players after dinner, they never would dine in company without them.
Thebes appears to have been the native city of the earliest famous flute-players,[43] but before long the superior beauty of the Asiatic girls—Ionians and Phrygians—drove their Theban rivals out of the field. Dancing was combined with flute-playing, and in this art the Asiatics bore the palm from the world. During the golden days of Greece, numbers of beautiful girls were every year imported into Athens from Miletus and the other Ionic ports in Asia Minor, just as in more modern times a similar trade was carried on between Trebizond and Constantinople.
An Athenian hired his flute-players as a modern European noble hires his band. They charged so much for their musical performances, reserving the right of accepting presents in the course of the evening. Some were singers as well as performers. At each course a new air was played, increasing in tenderness and expression as the wine circulated. It is stated that the sounds of a good flute-concert excited people to such a state of phrensy that they would take off their rings and jeweled ornaments to throw them to the performers: those who have witnessed a triumphant operatic soirée can readily believe the statement. But the fair artists did not wholly rely on their music for their success. The performer danced while she played, accompanying every note with a harmonious movement of the body. There is no doubt these dances were in the highest degree immoral and lascivious. Athenæus tells a story of an embassy from Arcadia waiting upon King Antigonus, and being invited to dinner. After the hunger of the venerable guests was appeased, Phrygian flute-players were introduced. They were draped in semi-transparent veils, arranged with much coquetry. At the given signal they began to play and dance, balancing themselves alternately on each foot, and gradually increasing the rapidity of their movements. As the performance went on, the dancers uncovered their heads, then their busts; lastly, they threw the veils aside altogether, and stood before the wondering embassadors with only a short tunic around the loins. In this state they danced so indecently that the aged Arcadians, excited beyond control, forgot where they were, and rushed upon them. The king laughed; the courtiers were shocked at such ill-breeding, but the dancers discharged the sacred duty of hospitality.[44]
A flute-player who had achieved a success of this kind was enabled to conclude a lucrative bargain for other performances. We find allusions to fees as high as two talents (say $2500) and fifty pieces of gold,[45] though these were evidently unusual charges. Many of the most fashionable flute-players were slaves who had been brought to Greece by speculators. They were commonly sold by auction at the dinner-table, when their owner judged that the enthusiasm of the guests had attained the highest point. An anecdote is told of one of the most esteemed names in Greek philosophy in reference to this strange custom. He was dining with a party of young men, when a youthful flute-player was introduced. She crept to the philosopher’s feet, and seemed to shelter herself from insult under the shadow of his venerable beard; but he, a disciple of Zeno, spurned her, and burst forth into a strain of moralizing. Piqued by the affront, the girl rose, and played and danced with inimitable grace and pruriency. At the close of the performance her owner put her up to auction, and one of the first bidders was the philosopher. She was adjudged to another, however, and the white-haired sage so far forgot his principles as to engage in a fierce conflict with the victor for the possession of the prize.[46] Hand to hand battles on these occasions were common in the best society at Athens, and a flute-player in fashion made a boast of the riots she had caused.[47] Of the fortunes realized by successful artists in this line, an idea may be formed from the gorgeous presents made to the Delphian oracle by flute-players, and from the fact that the finest houses at Alexandria were inscribed with the names of famous Greek auletrides.[48]
As might be inferred from the character of their dances, the auletrides were capable of every infamy. Constantly breathing an atmosphere of debauchery, and accustomed to the daily spectacle of nudities, they naturally attained a pitch of amorous exaltation of which we, at the present day, can hardly form an idea. They kept a cherished festival in honor of Venus Peribasia, which was originally established by Cypselus of Corinth. At that ceremony all the great flute-players of Greece assembled to celebrate their calling. Men were not usually allowed to be present, a regulation prompted perhaps by modesty, as the judgment of Paris was renewed at the festival, and prizes were awarded for every description of beauty. The ceremony was often mentioned as the Callipygian games; and a sketch of a scene which took place at one of these reunions, contained in a letter from a famous flute-player, justifies the appellation. The banquet lasted from dark till dawn, with wines, perfumes, delicate viands, songs, and music. An after-scene was a dispute between two of the guests as to their respective beauty. A trial was demanded by the company, and a long and graphic account is given of the exhibition, but modern tastes will not allow us to transcribe the details.[49]
A knowledge of these scandalous scenes, it may be briefly observed, would be worse than useless, were it not that they illustrate the life of Greek courtesans; and, being performed under the sanction of religion and the law, they throw no inconsiderable light on the real character of Greek society. Their value may be best apprehended by trying to realize what the effect would be if similar scenes occurred annually in some public edifice in our large cities, under the auspices of the police, with the approval of the clergy, and with the full knowledge of the best female society.
It has been suggested that these festivals were originated by, or gave rise to, those enormous aberrations of the Greek female mind known to the ancients as Lesbian love. There is, no doubt, grave reason to believe something of the kind. Indeed, Lucian affirms that, while avarice prompted common pleasures, taste and feeling inclined the flute-payers toward their own sex. On so repulsive a theme it is unnecessary to enlarge.
Many flute-players seem to have been susceptible of lasting affections. In the remains we have of the erotic works of the Greeks, several names are mentioned as those of successful flute-players whose gains were consumed by exacting lovers. It does not appear that they often, or ever, married. The most famous of all the flute-players was Lamia, who, after being the delight of Alexandria and of King Ptolemy for some fifteen or twenty years, was taken with the city by Demetrius of Macedon, and raised to the rank of his mistress. She was forty years of age at this time, yet her skill was such that she ruled despotically her dissolute lover, and left a memorable name in Greek history. The ancients asserted that she owed her name, Lamia, which means a sort of vampire or bloodsucker, to the most loathsome depravities. Her power was so great that, when Demetrius levied a tax of some $250,000 on the city of Athens, he gave the whole to her, to buy her soap, as he said. The Athenians revenged themselves by saying that Lamia’s person must be very dirty, since she needed so much soap to wash it. But they soon found it to their interest to build a temple in her honor, and deify her under the name of Venus Lamia.[50]