By Thomas K. Hubbard
The fabric is prepared by way of interval and via style, permitting readers to think about chronological advancements in either Greece and Rome. person texts each one are provided with a brief creation contextualizing them via date and, the place important, discussing their position inside a bigger paintings. bankruptcy introductions speak about questions of style and the ideological value of the texts, whereas Hubbard's basic creation to the amount addresses concerns similar to sexual orientation in antiquity, ethical judgments, classification and beliefs, and lesbianism. With its vast, unexpurgated, and punctiliously expert presentation, this particular anthology supplies a vital point of view on homosexuality in classical antiquity.
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Additional info for Homosexuality in Greece and Rome: A Sourcebook of Basic Documents
Example text
The capital of Lydia (see n. 21). 5 01-C2441 1/9/03 8:47 AM Page 34 34 archaic greek lyric Reaches equally over the brine sea And thick-flowering fields, A beautiful dew has poured down, Roses bloom, tender parsley And blossoming honey clover. Pacing far away, she remembers Gentle Atthis with desire, Perhaps . . consumes her delicate soul; To go there . . this not Knowing . . much She sings . . in the middle. It is not easy for us to rival The beautiful form of goddesses, . . you might have .
It may be significant that the two pairs who are furthest advanced in their contact and reciprocation are the two who appear to be closest to each other in age and stature, as if to imply that boys are more likely to accept physical intimacy with youths who are closer in age to themselves. On two cups by Macron we see the use of clothing to designate varying degrees of engagement or interest: in figure 17, the man on the right offers a flower or crown to an unresponsive boy who remains tightly wrapped in his mantle, whereas the youth in the center offers a hare to a boy who reaches out to accept it and throws back his garment enough to reveal his shoulder and breast, and the boy on the left opens up his clothing to reveal a view of his entire body to the youth who offers him a cock and visibly looks down to examine his penis.
84. For Pindar’s use of erotic motifs to celebrate boy victors in his epinician odes, see von der Mühll (1964), Lasserre (1974) 17–20, Crotty (1982) 92–103, Instone (1990), Steiner (1998) 136 – 42, and Hubbard (2003). N. Nicholson (2000) shows how these motifs are extended to adult patrons as well. N. Nicholson (1998) shows how expressions of pederastic desire in Pindar and Theognis confirm authorial assertions of truth and sincerity. 86, see Hubbard (2002). 87, see Kakridis (1930), Köhnken (1974), and Howie (1983).
