Images of Ancient Greek Pederasty: Boys Were Their Gods (Classical Studies)

Images of Ancient Greek Pederasty: Boys Were Their Gods (Classical Studies)

Andrew Lear

Language: English

Pages: 288

ISBN: 0415564042

Format: PDF / Kindle (mobi) / ePub

This lavishly illustrated book brings together, for the first time, all of the different ways in which vase-painting portrays or refers to pederasty, from scenes of courtship, foreplay, and sex, to scenes of Zeus with his boy-love Ganymede, to painted inscriptions praising the beauty of boys. The book shows how painters used the language of vase-painting to cast pederasty in an idealizing light, portraying it as part of a world in which beautiful elite males display praiseworthy attitudes, such as moderation, and engage in approved activities, such as hunting, athletics, and the symposium. The book also incorporates a comprehensive catalogue of relevant vase-paintings, compiled by noted archaeologist Keith DeVries. It is the most comprehensive treatment available of an institution that has few modern parallels.



















(Aratos), and 12.130 (anon.), on which Dover 1989.111–112; also pseudo-Lucian Erotes 16 and Aristaenetus 1.10.58–64. For archaeological evidence from Athens, see IG 13 1402, 1403, 1404 bis, 1404 ter, 1405, 1405 bis and 1406; for Nemea, see Miller 1990.37 and 186–189; for Thasos, see Garlan and Masson 1982.3–21. 2 See Lissarrague 1999.362, Steiner 2002.359 and Shapiro 1987, in particular 117 n. 37. 3 Lissarrague 1999.362 (tabulating figures from ABV 664–678, ARV2 1559–1616, Para 317–318 and Add2

things … The poet teaches the boy virtues such as moderation. The most important of these, however, is loyalty: loyalty to the poet/erastes and to the political faction into which he is inducting his eromenos. This is most often carried out by complaining about the boy's (or a boy's) disloyalty. Indeed, betrayal is possibly the most important theme of the collection, and it is hard (or often impossible) to distinguish erotic betrayal from political betrayal. In lines 1311–1318, for instance, the

right-hand youth has an erection. These things are characteristic of erastai. The central youth has made a typical eromenos' gesture: he has opened his cloak and displays both his genitals and his buttocks. He is also reaching toward the bag of astragaloi which hangs between him and the right-hand erastes.11 What kind of movement he is making is not clear. It looks like flight, and there are some vases on which an eromenos flees an erastes (see chapter 4), but in this case, he is reaching for a

most plausibly be identified with an historical person, the Leagros who was a general at the battle of Drabeskos in 465. The scholars who first established the traditional dating of Greek art believed that they could be even more specific: among the letters attributed to the great Athenian statesman Themistocles, one (Epistolographi Graeci 747–750, letter 8) referred to Leagros as "my age-mate and co-ephebe." If Leagros was the same age as Themistocles, then he would have been born around 525,

ARV2478.320, Add2247. Type b', y/y (h). Fig. 1.2. 4.172 Boston 10.193. Fr. r-f cup somewhat akin to the early work of Douris. ARV2 1567.12. Both sides: 2 type b' pairs. A: y/y (pomegranate); m/b. Gymnasium: gym-kit. B: m?/y (h), y/y (h). Hunt: ferret (gift?) and Maltese dog. 4.173 Boston 13.94. Fr. r-f cup, style related to Douris. ARV21570.30, Add2389. I: Eros having diameirion intercourse (type c') w/ y or b in flight, despite the fact that the eromenos is clothed. Fig. 4.18. 4.174

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