Hugo Blümner

“ For when we speak to-day of Greek costume we may generally assume that the majority of people, if female dress is in question, think of the drapery of the magnificent female figures in the Parthenon marbles; while, as regards male costume, their minds will at once recur to the classic figure of Sophocles in the Lateran or of the Aeschines of Naples, and form their notion of Greek male costume accordingly. It is, however, absolutely wrong to regard these as typical of Greek dress. They represent neither the costume of all Hellas nor that of the whole Greek age. ”

“ Some of them were rich women, owning large numbers of slaves; their fame spread through the whole of Greece, and their rooms were crowded by men of the first rank in politics, literature, and art; great artists vied in representing them in bronze and marble, and their fame has descended even to our own times. Among all these, the most celebrated was the older Aspasia, the friend of Pericles, a woman of the highest intellectual endowments and most cultivated taste, who attracted men rather by the power of her intellect than of her charms. ”

“ The nature of our authorities not only sets a limit of time, but also one of space. When we speak of Greek life we ought to include in it not only life in actual Greece or Hellas, but also that in the numerous colonies on the Aegean and Black Seas, in Southern Italy, Northern Africa, etc. But we know very little of the conditions in those Greek settlements outside Greece, and even in Greece itself, where, in consequence of the political and racial differences, these circumstances are by no means everywhere identical, our knowledge is limited in many ways. ”

“ A writer like Herodotus, who introduces not only political history, but also geographical, ethnological, and social information, directs his attention for this very reason chiefly to foreign nations, and gives his countrymen a great deal of information about the life and customs of the Egyptians, Assyrians, and Persians; concerning the Greeks themselves he is absolutely silent. It is quite natural that historians should only mention by the way facts which we could use with advantage in a description of Greek life. ”

“ No Greek race despised handicrafts when pursued for the sake of money as much as the Dorians; no Spartan would pursue a craft or trade. Still the life of the Laconian must not be imagined as one of pure idleness; there were sufficient opportunities for other occupations. In the first place there were the gymnastic and military exercises, which occupied a great part of the day, then there was the study of music, which was continued even after their education had ended; hunting, too, was a very favourite occupation among the Dorians, and was valued on account of its tendency to harden the body. ”

“ These are the dress of common life—the chiton and the himation, but so put on that both arms are covered and only the head and feet seen. Youths were probably clad in the chlamys, and the Spartans preferred to clothe their dead in the scarlet military cloak, while at Athens coloured garments were sometimes used instead of white. On the dead man’s head they put a wreath of real flowers—whatever the season might supply—or else laurel, olive, or ivy. ”

“ Our modern custom of visiting foreign lands for the sake of their natural beauty was unknown in Greek antiquity, but we must not on that account suppose that the ancients had no feeling for natural beauty. The Odyssey gives a picture of travel in heroic times; the common man trudges along on foot, while the rich man goes in his carriage, drawn by horses or mules, and the fact that the latter was possible even in the mountainous Peloponnesus, proves that even at that period good roads must have existed there. The Greeks never attained as great perfection in road-making as the Romans ”

“ But the greater the number of these attacks on the health and life of mankind, the more eagerly do men seek to avoid them, though, at first, in a purely empirical manner, and, therefore, the beginnings of the healing art are as ancient as human civilisation itself. The oldest literary monument of Greek life, the Homeric Epic, makes little mention of disease, with the exception of the great plague, which devastated the camp of the Greeks before Troy. ”

“ Apart from sacrifices, prophecy and divination played a great part in the life and religion of the Greeks. A distinction made by the ancients themselves was between prophecy by art and without art. Prophecy without art was regarded as inspiration of a human being by the divine spirit, and was not dependent on external signs or on the interpretation of an experienced person. ”

“ Sometimes a citizen had one of his slaves taught the healing art by some physician, supposing he showed any ability for this profession, and by this means he had someone in the house who, in case of need, could supply help at once. The position of the Greek slaves, especially in Attica, was a comparatively free one, and therefore we must not be surprised that they were willing to entrust the welfare of their body to a slave, seeing that they even left much of the moral training of their children to him. ”

“ In the heroic period, agriculture was the chief occupation, not only of the lower classes, but even of the nobles and princes, who regarded it as no disgrace to perform with their own hands, or superintend, many duties connected with farming. It was natural that a change should be gradually introduced in these patriarchal conditions, and this was due not only to political revolutions, but also to the advance of civilisation, and the growth of industrial and commercial life in Greece ”

“ Legal marriages between slaves were not possible, since they possessed no personal rights; the owner could at any moment separate a slave family again, and sell separate members of it. On the other hand, if the slaves were in a position to earn money, they could acquire fortunes of their own; they then worked on their own account, and only paid a certain proportion to their owners, keeping the rest for themselves, and when they had saved the necessary amount they could purchase their freedom, supposing the owner was willing to agree, for he was not compelled. ”

“ Apart, however, from military details, we learn nothing from Homer about the life of these classes of society, and very little about that of the nobility, for his description of the life of the Phaeacians bears only a very partial analogy to Greek circumstances at that time, since the poet desires to represent this people as specially fortunate beyond others. We may, therefore, forsake the misty domain of legend and turn to those ages which are enlightened for us by writers, though even there we shall find many gaps unfilled. ”

“ The Great Plague—Homer’s References to Physicians—Asklepiadae—The Oath of Hippocrates—General Practitioners and Specialists—Plutus of Aristophanes—Customs connected with Death, Burial, and Burning—Tombs and their Ornaments.
Greek mythology tells us that in the golden age mankind lived without trouble or sorrows, equally unacquainted with vice and with cruel disease; but when fatal curiosity opened the disastrous box of Pandora, along with a thousand other troubles which pursue mankind, there came forth also the countless diseases which attack men by day and night. ”

“ There were also certain special means adopted for increasing the height of the actor beyond reality, but we must not suppose that this was required by the great distance at which the actors were seen; these attempts at magnifying were rather caused by the desire to make the actors appear super-human, heroic personages, excelling the men of the day in physical power and dignity, just as the wonderful deeds of the Homeric heroes exceeded the weak actions of their descendants. ”

“ In stage costume, as in that of real life, we must distinguish between upper and lower garments. The lower garment of the tragic actor, as well as of the chorus, both in male and female parts, was the long chiton, which was worn in Attica before the time of Pericles, and traced its origin to Ionia; this dress was maintained on the stage because it was especially a festive garment, and, like these festive garments, the theatrical dresses were many-coloured, richly adorned with embroidery or borders, and often very costly, if a rich choragus desired to equip his chorus splendidly. ”

“ This seemed so strange to the other Greek states that they were inclined to regard the Spartan husbands as henpecked, which was by no means the case; but there is no doubt that Spartan history can boast of far more remarkable women and admirable mothers than Athenian. The strong patriotism of the Spartan women which triumphed over gentler feelings is sometimes a little unattractive to our modern sentiments, but, in any case, these women command our fullest respect. ”

“ When we speak of a priestly class among the Greeks, we must not take it in the literal sense of the word; the Greek priests did not constitute a class in our modern sense of the word, since there were no preliminary studies required for the office. Greek religion possessed no dogmas; the priest’s duty was only to perform certain rites and ceremonies, and these were easily learnt. Consequently, the priesthood in Greece was limited to no age and no sex; boys and girls, youths and maidens, men and married women could perform priestly functions for a long or short period. ”

“ Another privilege enjoyed by the priests was the right of occupying places of honour in the theatre and at public meetings. They were usually distinguished by their dress from the rest of the citizens; they wore the long chiton, which had gone out of fashion for ordinary people; it was generally of white or purple colour, and they had wreaths and fillets in their long hair, and probably carried a staff as a token of dignity. ”

“ The mode in which slaves were used varied a good deal, according as an owner required his slaves for his own personal service or household, or used them for work in the field or at some trade, or sent them out to work for others. Among those in the personal service of their master were all who were occupied with the duties of the household and service and attendance on their master and his family. Their number was, of course, regulated by the size of the household; a poor family had often to content itself with a single slave, but very few were so poor as not to have any ”

“ The legality of the marriage depended on the engagement, and the religious consecration was not given by a priest (who took no part, as a rule, in the wedding ceremony) , but by the marriage gods, who were invoked by prayer and sacrifice, more especially Zeus and Hera, Apollo, Artemis, and Peitho, the goddess of persuasion. We must now endeavour to form an idea of an Athenian wedding ceremony, as described by Greek writers. ”

“ In spite of the great advance made by Greek drama from the rough popular beginnings till the time of its greatest glory, and in spite of the enormous difference between the tragedies of the three great masters and the comedies of Aristophanes, both in their whole character as well as in the details of their structure and performance, and the cyclic choruses and rustic sports of the old Dionysia, yet there are a few points in which the drama, even in its highest development, shows the traces of its origin. ”

“ The custom of placing various objects required in daily life in the grave by the side of the dead man was universal, chiefly the things with which he had been occupied in his lifetime, or which belonged to his profession; clothes, money, oil-flasks, and other vases were put in, and besides them, in the case of a child, his toys; in the case of a warrior his arms; a woman’s spindle or ornaments and mirror; a young man’s strigil and oil-flask; a musician’s flute or lyre. ”

“ The custom of entertainments for men alone was far more common in antiquity than at the present day; for these banquets took the place not only of our parties and other social gatherings, but they also gave the men an opportunity, especially in the drinking which followed, while sitting together over their wine, to discuss at their leisure both serious and frivolous matters. ”

“ A very ancient painted vase seems to afford a proof that it was customary in early times to convey the dead to the cemetery on a car drawn by horses, but in the historical age, at any rate, the corpse was taken to the grave on the same couch on which it had been exposed to view. This duty was generally performed by the slaves of the household, and where there were not sufficient of these, gravediggers were specially hired; while in the case of men who had deserved well of their country, the citizens regarded it as an honour to perform this duty themselves. ”

“ The aim of comedy, which is to provoke laughter, is more easily attained by the representation of characters whose morality is not unimpeachable; and it would be equally unfair in our own time to form a picture of modern morals based on the representations of the stage. Undoubtedly, the Athenian women were far inferior to the Spartan in morality, and in some towns—especially Corinth and Byzantium—female morality seems to have been at a very low ebb; but we must not on that account condemn all Greek women indiscriminately. ”

“ Since they played in broad daylight, in the sharp clear light of a southern sky, the spectators, even in the most distant places, could have followed the play of the actor’s features, especially since the ancients had better eyes than our present generation. Nor is it correct to suppose that the masks were required in order that the funnel-shaped contrivance applied to its mouth should strengthen the sound; for the acoustics in the Greek theatres were usually so good that the very slightest word even whispered on the stage could be heard in the auditorium. ”

“ All the arrangements already described show strong contrasts between ancient and modern theatres, and perhaps there is nothing which strikes us as so extraordinary as the Greek theatrical costume, and especially the appearance of actors in masks. It is impossible for us to understand this complete disregard of expression and change in representing feelings, and this perpetual stare of the unchanging mask. ”