into the New Comedy (388-284 are the dates—rather trying to the
credulity—given for his life), yet belongs very distinctly to the former,
and shows no signs of a newer spirit, unless it be in the revolt against
the artificiality of the Hetaerae, of which there is a specimen in his
_Isostasium_. He makes, however, a favourable allusion to “Platonic” love
(_Helene_), though he does not suggest the possibility of its application
to women. For the rest, he confines himself to the ordinary topics, and
his complaints against wives are, here and there, amusing, as when he
argues that marriage is worse than disfranchisement:—
τοὺς μὲν γοῦν ἀτίμους οὐκ ἐᾷ
ἀρχὴν λαχόντας ὁ νόμος ἄρχειν τῶν πέλας·
ἐπὰν δὲ γήμῃς, οὐδὲ σαυτοῦ κύριον
ἔξεστιν εἶναι· τὰς γὰρ εὐθύνας μόνον
ἐφημερινὰς τὰς τοῦ βίου κεκτήμεθα.
(_Incert._ 34.)
The examination of these fragments has been very barren of any but
negative results, but this very barrenness is not perhaps without a
certain significance. The Middle and the New Comedy kept the stage at
Athens (to the exclusion, in great part, of original tragedy) without a
check during the fourth century; but at the same time, the continuity
of the dramatic tradition that pervades them is by no means unbroken,
and the differences between the two styles of art are very marked.
Of all these differences, there is none more striking than that in
the treatment of the erotic element. This, which, though introduced
early enough into the Middle Comedy, yet never attained to any real
development there, appears suddenly in the New Comedy as a feature of
overwhelming importance. Nor is this all. The erotic element, which,
from henceforward, occupies so prominent a place in comedy, differs in
character _toto caelo_ from that which occurs in the earlier dramas.
Instead of the ἑταίρα, the New Comedy introduces us to the παρθένος;
instead of marriage being the stock subject of ridicule, it becomes the
hero’s ideal.[367]
This change of attitude is so marked, that it seems impossible to regard
the later feeling as a development of the earlier; the revolution is so
violent, that it seems inevitable to admit that it came in some manner
from without. And, as a matter of fact, if we consider the period from
which the New Comedy dates, it is by no means difficult to conjecture
what the source of this external influence may have been.
Menander brought out his first play, at a very early age, in 322; about
this time, Asclepiades and Philetas were already coming into prominence;
those influences which induced the Coan school to speak of women in
a manner so different from that of previous writers, may well have
impressed the Athenian also, and produced a body of poets who, though
differing in certain important points from the “Alexandrians,” were yet
distinctly romantic.
To this subject of the romantic element in the New Comedy, I hope at
some future time to be able to return,[368] so that I will not speak
of it further here, except so far as to point out that, firstly (an
obvious fact, but one that seems sometimes strangely ignored), the New
Comedy is distinctly later in date than the Coan school of poets, and
cannot therefore, under any circumstances, claim priority for the
introduction of the romantic element into literature; while secondly, if
the introduction of this element was really due, as is commonly asserted,
to the influence of Euripides, it seems strange that, while so many of
his views were common property at Athens from the very beginning of the
fourth century, not one of the Athenian playwrights, some of whom studied
him so thoroughly, should have felt this particular influence till nearly
a century after his death.
EXCURSUS G.
[P. 150.]
_WOMEN IN THE MIDDLE COMEDY FRAGMENTS._
(Plays in italics and marked with an asterisk are wholly lost. Of those
in italics no fragment of importance is preserved.)
ANTIPHANES.
Plays named after Hetaerae:—Antea?, _Archestrata?_, Chrysis, Malthace,
Melitta, Neottis, Philotis.
Plays dealing apparently with a similar class of society:—Acestria,
Aleiptria, _Anterosa_, _Auletris?_, Corinthia?, Curis?, Dyserotes,
Halieuomene?, Hydria, Mystis?, Neanisci.
Plays relating to erotic mythological subjects:—Aeolus, _Andromeda?_,
Antea?, Arcas?, _Caeneus?_, Glaucus, _Melanion_ (the misogynist, cp.
Aristoph. _Lys._ 784), _Meleager?_, Omphale?, _Phaon?_
Other plays, the titles of which suggest erotic incidents:
_Acontizomene?_, Aphrodisius?, Asoti?, _Delia?_, Epiclerus?, Gamus?,
_Harpazomene?_, Lemniae, Moechi, Sappho (in the fragments the poetess
merely appears as asking riddles).
Acontizomene. The drunkenness of women.
Aeolus 1. Parody of the prologue of the Canace of Euripides.
Agroecus 2. Meretrix magnum malum.
Aleiptria. The servant-girl threatens to pour hot water over
some rude visitors.
Arcas 2. Mention of the Hetaera Sinope, perhaps under her
nickname of Abydos.
Asclepios. An old woman induced to take medicine under the idea
that it is wine.
Asoti. Mulier ducit virum.
Bacchae. The drunkenness of wives.
Boeotia. A man urges a girl to try a citron at dessert. (Copied
by Eriphus, Meliboea 1. Cp. Eubulus, Campylion 5.)
Butalion. A girl (?) from the country is asked to order dinner.
Cp. Acestria (where read φιλτάτη in l. 3?), and Alexis, Homoea.
Cepurus. Mention of the Hetaera Sinope.
Chrysis. 1, 2. Description of a wealthy lover.
Coroplathus. An obscene allusion.
Drapetagogus. A woman’s way of eating.
Dyspratus 1. A woman’s stinginess to her slaves. (Cp.
Epicrates, Dyspratus.)
Glaucus. Reference to a vesticontubernium.
Halieuomene 1. A long fragment addressed by the fish-seller to
her slave (containing various puns on the names of Hetaerae and
their lovers.)
Hydria 1. The praises of a true Hetaera.
Malthace. The excuses of an Hetaera.
Melitta. A merchant who boasts of his wealth.
Metragyrtes. A girl washing a man’s feet.
Misoponerus. Complaints as to the trouble a baby is in the
house.
Mystis 3. A man inviting a woman to drink, apparently to
excess. (Cp. Athen. x. 441 C; Eubul. Campyl. 5; Anacreont. iv.
12, μύστις νάματος ἡ Κύπρις ὑμεναίοις κροτοῦσα.)
Neanisci 2. A girl arguing with her mother on the relative
values of her poor and her wealthy lover (?).
Neottis 3. Mention of Sinope.
Omphale 3. Heracles ordering his dinner of Omphale.
Philometor. Praises of a mother. (Cp. Alexis, Incert. 35.)
Philopator. Marriage compared to death.
Zacynthius. The pleasure of having one’s feet washed by a
woman. (Cp. Pherecrates, Thalatta, 7, and supra p. 128.)
Incert. 12. Love cannot be concealed.
13. Homoeopathic cure for a wife.
51. Praise of love. (Also in Theophilus, Philaulus.)
52. Marriage the last of ills.
53. The burden of a rich wife.
54. The one thing in which you can trust a woman is,
that when she is dead she will not come to life
again—nothing else.
55. The one advantage of ophthalmia is that you can’t
see your wife.
57. To tell a secret to a woman is like telling it to
the town-crier.
71. An old man must forego the pleasures of love.
95. κασωρὶς ἡ πόρνη.
ANAXANDRIDES.
The following titles of plays suggest erotic subjects:—Aeschra (name of
an Hetaera), Anchises, _Anteron_, _Citharistria_, Helene, _Locrides?_,
Melilotus?, Protesilaus.
Gerontomania 1. Two old men discuss Lais and the other ladies
they used to know in their youth.
Odysseus 1. Women are attracted by good dinners.
Tereus 2. An allusion suggestive of Theocr. i. 87.
3. A royal bride.
Theseus 2. A girl is easily pleased.
Incert. 1. The troubles of being married.
5. A father tells his daughter that a wife should not leave
her husband.
9. Women are slaves of pleasure.
10. Love the best schoolmaster. (Cp. Alex. Incert. 38, where,
however, the image is somewhat different.)
13. An unmarried daughter is a terrible thing. (Cp. 17.)
EUBULUS.
Plays named after Hetaerae:—Chrysilla, _Clepsydra_* (so called because
she used to regulate the duration of her favours by the clock), Nannion,
Neottis, _Plangon_.
Plays dealing with mythological erotic subjects:—_Anchises?_, Echo?,
Europe?, Ixion?, Nausicaa?, Pelops?, Procris?
Other plays which seem to have dealt with erotic subjects:—Astyti?,
Campylion, Mylothris?, Orthane, Pamphilus, Pannychis, Pornoboscus,
_Psaltria_, Stephanopolides.
Ancylion 3. Kisses mentioned among the prizes at a “pannychis.”
Campylion. _Vide supra_, p. 155.
Cercopes 1. The dangerous attractions of Corinth, narrated by a
traveller.
Chrysilla 1. The folly of marrying again.
2. An attempted defence of women breaks down.
Nannion. The folly of adultery. (_Vide supra_, p. 158.)
Orthane. A party of ladies and gentlemen come together to celebrate a
sacrifice to Orthane.
Pamphilus 1. A man takes up his station at the window of an inn to watch
the proceedings of a lady opposite. (Cp. Ter. _Phormio_ i. 2, 38 _seqq._)
3. The drinking capacities of the lady’s chaperone.
Pannychis. A description of Hetaerae, in part the same as in Nannion.
Pornoboscus 1. A woman describes her keeper.
Sphingocarion 2. Women anointing a man’s feet.
3. A lady excuses her absence on the previous evening (?).
Stephanopolides 1. A flower girl (?) ridicules the cosmetics of the
professional Hetaerae.
2. The pleasures of love from a woman’s point of view.
(A very graceful passage, with an allusion to the
legend of Cissus and Ololygon.)
3, 4. The flower-girls making up and selling their garlands.
(Another pretty passage, with perhaps an allusion to
the Hetaera Nannion under her name of Aegidion.)
Incert. 3. Why do girls prefer old wine, but young men?
9. A woman in a passion.
20. A man excuses himself and goes home.
25. Mention of the festival Stenia, at which the Athenian women
used to abuse one another. (Cp. Theopompus, Aphrodisia 1;
_supra_, p. 148.)
ALEXIS.
Plays named after Hetaerae:—Agonis, Atthis?, Choregis, Dorcis?,
Isostasium, Lampas, Meropis?, Opora, Pamphile, _Pezonice_, Polycleia,
Ponera?
Plays on mythological erotic subjects:—Atalanta, Galatea, Helenes
Harpage, Helenes Mnesteres, Hesione, _Iasis?_.
Other plays apparently dealing with erotic subjects:—Achaeis?,
Apocoptomenus, Bostrychus?, Brettia?, Cnidia?, Curis, Epiclerus?, Hypnus,
Lemnia?, Leucadia? (can this play have dealt with the proceedings of
the comic poet Nicostratus?), Mandragorizomene, Olynthia, Orchestris,
Pallace, Phaedrus, Philocalus, Philusa, _Poëtria?_, Traumatias.
Agonis. _Vide supra_, p. 156.
Apocoptomenus 1. Lovers have wings and Love has none.
Cleobuline. A mention of the Hetaera Sinope.
Curis 1, 2. A father of two sons, one highly respectable, the
other less so.
Dropides. An Hetaera brings in a decanter of sweet wine during
dinner.
Graphe. The story of the man who fell in love with the statue
at Samos. (It would be obvious to suggest that in this play
a man is introduced who falls in love with a picture. More
probably, however, this passage comes from the speech of some
painter who is extolling his art, possibly to some lady, in
the way Ovid used to do. Cp. _Ars Amat._ iii. 397 _seqq._, 533
_seqq._, etc.)
Gynaecocratia. Perhaps introduced women in the theatre, like
the Scenas Catalambanusae of Aristophanes.
Helene. A mock (?) Platonic view of love. (_Vide supra_, p.
161.)
Hesione 2. The heroine complains that, as soon as Heracles saw
that his dinner was ready, he ceased to take any notice of her.
Homoea. A girl is asked to order dinner.
Hypnus 1. Two women asking one another riddles.
Isostasium 1. An attack on the artificiality of Hetaerae.
Lampas. The protest of an angry father at his son’s
extravagance. (Cp. Mnesimach. Dyscolus.)
Lyciscus 1. A mention of the Hetaera Pythionice.
Mandragorizomene 5. A lover visits his sick lady. The whole
play seems to have turned on a subject of this kind (cp. Fr.
2), and calls to mind pictures like that in Ovid, _Ars Amat._
ii. 319 _seqq._, especially 333 _seqq._
Manteis. The slavery of marriage.
Meropis. A lady complains of the late arrival of someone,
perhaps her maid.
Olynthia 1, 2. The poor circumstances of the heroine’s family.
Orchestris. All that women want is plenty of wine.
Pallace. Perhaps the answer of the husband to his indignant
wife.
Pamphile. The proper food for a lover. (Cp. _Incert._ 18.)
Phaedrus 1. The nature of love.
Philocalos. A stingy man inviting ladies to dinner.
Philusa 1. The Aphrodisia.
Tarantini 5. An allusion to the Hetaera Nannion.
Thrason. A talkative woman.
Traumatias 2. Only lovers really live.
Incert. 14. A repetition of the remark of Eubulus (_Incert._ 3)
on the inconsistency of women in preferring old wine and young
men.
18. The proper food for a lover. (Cp. Pamphile.)
26. Inviting a woman to drink.
31. The three pleasures of life.
34. Marriage worse than disfranchisement.
35. One’s mother is deserving of the highest respect. (Cp.
Antiphanes, Philometor.)
38. Love the best tutor. (Cp. Anaxandr. _Incert._ 10, where,
however, the image is slightly different.)
39. Nothing is more shameless than a woman—as I know from
my own wife.
40. Nothing is so difficult to guard as a woman.
53. The word διαπεπαρθενευκότα.
AMPHIS.
Several plays satirising women, such as the _Acco_* (the silly woman),
the Gynaecocratia and the Gynaecomania.
The Scholiast of Germanicus’ _Aratea_ quotes the legends of Zeus and
Callisto (p. 38), and of the Dog Star and Opora (p. 76) from Amphis;
these legends seem to have occurred in plays now lost.[369]
Of the Sappho no important fragment is preserved.
Amphicrates. A confidential slave arguing with his young master
on the folly of the latter’s attachment to a certain lady.
Athamas. The inevitable superiority of the Hetaera over the
wife.
Curis 1, 2. An Hetaera who deserves to be rich, more than
Sinope and the others who are.
Dithyrambus 2. Ridicule of “Platonic” love.
Gynaecocratia. The liberated husband. (It is easy to imagine
how the outraged wife breaks in upon this happy party,
something after the manner of Cynthia in Prop. iv. 8.)
Gynaecomania. Seems to suggest a similar scene, if indeed, the
two plays be not one and the same.
Ialemus 1. An invective against lettuces.
ARAROS.
The Adonis and the Caeneus dealt with erotic legends, as is plain from
Fr. 1 of the former and Fr. 4 of the latter. The same is perhaps true
of the Panos Gonae (Fr. 2.) The Hymenaeus contained a description of a
wedding (Fr. 2), and the _Parthenidion_* may also have dealt with erotic
subjects.
NICOSTRATUS.
The Pandrosus introduces (Fr. 2, 3) an elderly gentleman supping with a
lady, among whose acquaintances is numbered Ocimum (Fr. 1).
_Incert._ 9 describes a prude.
Besides these, the titles _Anterosa_, Habra, and the corrupt _Otis_,*
seem to suggest erotic subjects.
PHILETAERUS.
In the Atalanta, the fragment which it is usual to assign to a parasite
might perhaps be assigned to the heroine of the piece, who would thus
appear in her legendary character of the “advanced woman,”, something
like the lady in Juvenal vi. 246 _seqq._, 425 _seqq._
Corinthiastes. The superiority of Hetaerae to Gametae. (He
repeats the remark in Cynagis 3.)
Cynagis 1. A list of veteran Hetaerae.
2. Old age is no excuse for giving up pleasure.
Meleager. A dance not suitable for unmarried ladies.
EPHIPPUS.
Empole 1. A pretty picture of a woman (an Hetaera, of course,)
coaxing away a man’s trouble. Empole 2. The same (?) urging on
a disorderly member of the party the advantages of harmony.
Ephebi 3. Proceedings commence with the ladies having a drink
all round.
Philyra (named after the Hetaera) 2. The heroine (?) coaxing an
elderly gentleman to commit what he considers an extravagance.
(Fr. 3 seems to suggest that a younger lover appeared on the
scene and expressed himself as jealous.)
Sappho. How to recognise a πόρνος.
ANAXILAS.
Neottis 1. A violent invective against the whole race of
Hetaerae, mentioning various names.
2. The difference between an Hetaera and a Porne.
Incert. 2. Rebuke of a jealous lover (?).
3. The sign of an abandoned woman.
4, 5. Remarks on a woman’s toilet.
6. A system of coiffure.
ARISTOPHON.
Callonides. The folly of marrying a second time.
Iatrus 2. An Hetaera’s door is shut to a man without money (l.
1, _leg._ διαπετεῖς pro διοπετεῖς).
Pythagoristes 2. The gods have driven Love out of heaven, and
clipped his wings, so that he stays on earth.
EPICRATES.
Antilais 2. A savage attack upon Lais.
3. A list of erotic writers whose poems one learns by
heart.
Chorus. A man cheated by a _lena_.
Dyspratus. Women’s stinginess towards slaves (cp. Antiphanes, Dyspratus).
_O demens, ita servus homo est?_
CRATINUS IUNIOR.
Omphale. The heroine (?) appears dilating on the pleasures of a
life of ease, with a view to seducing Heracles.
The Titanes also seems to have dealt with erotic subjects.
AXIONICUS.
Philinna. One thing, at least, you can trust a woman—that she
won’t drink water.
CALLICRATES.
Moschion. A mention of Sinope.
DIODORUS.
Incert. Better a well-educated wife without money than one who
does not know how to behave with.
ERIPHUS.
Meliboea 1. A man giving a girl some citrons at dessert. (Cp.
Antiphanes, Boeotia.) Fr. 2 seems to belong to the same scene.
HENIOCHUS.
Incert. The cities of Greece, allegorised as women are
entertained and made drunk by Abulia, Democratia, and
Aristocratia.
HERACLITUS.
Xenizon. Mention of a certain gluttonous Helen.
PHILISCUS.
Philargyri. A woman’s powers of persuasion.
SOPHILUS.
The Paracatathece and the Syntrechontes both seem to have had erotic
plots.
TIMOTHEUS.
Incert. An elaborate eulogy of Love, which does not read like
the work of a comic poet.
TIMOCLES.
Epistolae 1. A lover’s comic enthusiasm.
Icarii 1, 2. Pythionice and her lovers.
Marathonii. The pleasures of seduction. (Cp. p. 159, note.)
Neaera 1. An unfortunate lover of Phryne.
Orestautocleides 1. Autocleides the paederast appears
surrounded by Hetaerae, in the character of Orestes and the
Erinnyes. (Cp. Mein. _Com. Fr._ i. 432.)
Philodicastes. Mention of a new regulation by which the
γυναικονόμοι had to inspect entertainments, to see that they
were respectable.
Sappho. An allusion to Misgolas (cp. _supra_, p. 157).
XENARCHUS.
Butalion. A childless house.
Hypnus. Happy cicadas, for their females are dumb.
Pentathlus 1. The folly of adultery (cp. Eubulus, Nannion).
2, 3. Woman’s power of drinking.
Priapus. An earnest drinker.
Scythae 1. The effects of a rival (?).
THEOPHILUS.
Neoptolemus 1. A young wife does not suit an old husband.
Philaulus 1. Love for a maiden (a _citharistria_) described
with considerable enthusiasm. (The first four lines = Antiph.
_Incert._ 51.)
2. An anxious father (?) hopes that his son will not
fall into the hands of the Hetaerae.
EXCURSUS H.
[P. 163.]
_WOMEN IN THE FRAGMENTS OF THE EARLY NEW COMEDY._
In the case of Menander, only the more important allusions are
chronicled. In the case of the other writers, everything that bears on
the subject is mentioned.
MENANDER.
Adelphi 1. The happiness of never marrying. (Adapted by Terence
in his _Adelphi_.)
Andria 1. Love makes blind. (Adapted by Terence in his
_Andria_.)
Androgynus 2. An allusion to a wedding ceremony.
Anepsii 1. Love is, by nature, deaf to advice.
2. A daughter is a troublesome thing.
Aphrodisia 1. Love makes fools of men.
2. A girl, while delirious, lets out unfortunate secrets.
Arrephorus 1. The dangers of marriage.
3. A talkative woman.
Carchedonius. (Adapted by Plautus in his _Poenulus_?)
Chalceia 3. Youth is the time for love.
Colax 4. A list of various well-known Hetaerae. (Adapted by Terence in
his _Eunuchus_.)
Cybernetae 2. The man who is counted lucky in public, but tyrannised over
at home.
Dactylius 1. The obstinate father who refuses his daughter.
2. A bridegroom who wants no dowry. (For the plot cp. Ter.
_Hecyra_.)
Didymae 1. The Cynic Crates’ wife. (Cp. Apul. _Florid._ xiv.)
Empipramene 1. Invective against marriage.
4. A father’s joy (at the recognition of his daughter?).
Epitrepontes. (Similar in plot to the _Hecyra_ of Terence.)
Eunuchus 7. The violent joy of the successful lover in Ter. _And._ v. 5,
3, is translated literally from this play. (Adapted by Terence in his
_Eunuchus_.)
Georgus 6. The unpractical lover.
Halieis 6. A daughter is an awkward thing.
10. The flight of the adulterer.
Heauton Timorumenus 3. The respectable girl’s home. (Adapted by Terence
in his _Heauton Timorumenus_.)
Heros 1. Love is omnipotent.
Hiereia 2. A respectable woman should not leave the house. (The plot
deals with a married woman who follows the priests of Cybele about the
streets.)
Hypobolimaeus 4. The husband should rule the wife.
8. μέγιστον θηρίον γυνή.
Leucadia 1. Sappho’s leap.
Misogynes 1. The advantages of a wife.
2, 3, 4, 5. The expense of keeping a wife.
4, 5. A woman’s superstitions.
9. The husband seeks refuge with an Hetaera. (The plot is
concerned with a man who marries a woman, and then conceives
a most violent hatred for her.)
Misumenus 3. The slavery of love.
5. Platonic love.
6. The lover’s misery.
7. The lover in his lady’s absence.
8. An unsympathetic listener.
10. The lover cannot sleep.
12. Jealousy.
(The plot deals with a Miles Gloriosus, who is in love
with a slave girl of his, but will not touch her because
she does not love him.)
Nauclerus 4. A lover is always easily led.
Olynthia 4. Artificial hair.
Orge 5. An adulterer is an expensive luxury.
Paedion 2. A man who goes round offering amulets to men when they get
married.
Periceiromene. (The soldier who, in a fit of jealousy, cuts off the hair
of his slave girl, and afterwards repents.)
Perinthia. (Adapted by Terence in his _Andria_, especially for the first
scene.)
Plocion 1. The rich, ugly, and jealous wife.
2. The disagreeableness of the same.
3. The results of a κωμικὴ παννυχίς.
4. The trouble that they bring on a house.
Sicyonius. (The soldier who buys a girl, and then treats her as if she
were a free woman.)
Synaristosae 1, 2. The strange behaviour of some women (Hetaerae?) at
dinner.
4. Love makes one perjure oneself.
Thais 1. The ideal Hetaera, faithful to none.
Thesaurus 1. Love is a severe god, especially to the old.
2. Music is the food of love.
3. The lover must be bold.
(In order to estimate at its true value the prominence of misogyny in the
following passages, it is well to remember that a large proportion of the
_Fragmenta Incerta_ of Menander are found in Christian collections of
apophthegms.)
Incert. 1. If you have once married, then you must put up with
it.
3. A man ought to be allowed the chance of getting to know his
wife before marriage; for every woman is an evil, but then one
could choose the least. (Cp. 102.)
6. Invective against Prometheus for creating women.
7. The sudden effects of a kiss.
8. The polygamous habits of the Thracians.
14. Of the nature of love.
16. Women are afraid of death, and seek comfort for trouble in
tears.
27. Women have no gratitude.
32. A girl’s wooing. (Transl. in Plaut. _Cist._ i. 1, 91.)
36. The advantages of a πόρνη over a respectable woman.
πλείονα κακουργεῖ, πλείον’ οἶδ’, αἰσχύνεται
οὐδέν, κολακεύει μᾶλλον.
54, 55, 57. One should not marry money.
58. The man who contemplates marriage must consider whether he
prefers beauty or worth.
73. A man stands up for his wife.
99. Virtue doubles the value of beauty.
100. A woman must try to lead her husband, not drive him.
101. None are so closely related as man and wife.
102. A man who marries, may count it as a great good if his
wife is only a slight evil.
103. The troubles of a family man.
104. Advice against marriage.
105. Marriage is a necessary evil.
106. A woman’s fair words are most to be feared. (Cp. 197.)
107. An Hetaera cannot be expected to be good, for she makes
her living out of mischief.
112. A mother loves her children more than a father.
114. The unmarried daughter in the house.
117. A lover’s threats are not serious.
133. A respectable woman does not dye her hair.
154. Educating a woman is like giving poison to a viper.
155. The dangers of beauty.
156. Your wife will be nasty without being taught.
185. A bit of the marriage ceremony.
196. Love cannot be controlled by reason.
198. Women are consistent liars.
199. Night is the time for love.
241. An Hetaera’s dress.