emotional /romantic bonds between women
Ovid also composed one of the longest texts dealing with love between women from the Roman period—the story of Iphis, also from the Metamorphoses. In brief, a poor man of Crete tells his wife they can’t afford to raise their expected child if it’s a girl. So a girl child would be killed. The child being a girl, at the recommendation of the goddess Isis, the mother conceals its biological sex and raises it as a boy. The name Iphis is given and noted as being a name that might be borne by either gender.
Ovid’s major contribution to classical mythology was to bring individual stories together into a single literary work with a unified theme. As stated in the opening lines, that theme for him was “bodies changed into new forms”. When addressing the sub-theme of love, the stories included the pursuit of a desired object, impossible or forbidden loves, and the disappearance of the beloved. The individual episodes are tied together by groups of related motifs and by cross-commentary within the stories themselves.
For Rome as for Greece, the category of biological sex was secondary to status based on class (free versus unfree) and nationality (resident versus foreign). Sex had legal and social relevance primarily for the free-born citizen class. Sexual practices were judged and categorized based on social status and the nature (and roles) of the sexual act. This system did not generate any categories corresponding to “homosexuality” and “heterosexuality”.
Comic drama of the fifth and early fourth century BCE do not touch on f/f relations, but a later fourth century comedy by Amphis has a humorous treatment of the myth of Artemis and Callisto. In his version, Callisto is unaware that the Artemis she had sex with was Zeus in disguise, so when the goddess demands an explanation for her pregnancy, she says the goddess herself is responsible. Artemis, enraged – not by the pregnancy but by Callisto’s insistence that she was impregnated by the goddess – changes her into a bear.
Asclepiades of Samos was a poet of the late fourth/early third century BCE, best known for his epigrams, especially those on erotic topics. The epigram as a poetic style, was just coming into popularity and an understanding of the conventions and forms of the genre are essential to interpreting the one epigram referring to f/f erotics.
This section of the chapter looks at patterns of reference and silence across various types of media to try to interpret the absences of representations of f/f sex. Different genres had different implicit rules about what could or could not be depicted. For example, visual arts that depicted m/m sex invariably stuck to the “ideal” of a desiring older man and a passive youth. Human men were not depicted in scenes with deprecated sexual practices, such as performing oral sex, but such scenes might show a satyr performing the male role, “standing in” for the human man.
The second topic in this chapter is another work of Plato, and once again a deep context is needed to interpret what the mention of f/f sex actually means for Greek realities. The Laws takes the form of a conversation between three men about what laws are needed for the governance of the ideal city. This is a different take than the one Plate put forth in the Republic. The Republic was more of an idealized thought experiment. The Laws is more of an exhaustive, practical plan of action (but still a purely hypothetical document).
One of the more intriguing classical Greek texts that includes f/f erotics is the mythological narrative included in Plato’s Symposium about divided beings and eros being “seeking one’s other half.” Following Boehriner’s standard approach, she begins by examining the historic and literary context of the work and discussing what the purpose of the passage is within that larger context.
We now turn to the non-poetic sources from the Archaic era. We start with a painted plate from circa 620 BCE from the island of Thera. It shows two female figures facing each other, each holding a garland. One is touching the other’s chin, otherwise the figures are symmetric and show an equal interaction in their postures and gazes. This contrasts with the use of the same tropes for m/f or m/m couples where there is an asymmetry (in m/m couples, the person doing the chin-touching is always an older man and the one being touched is younger).
I forgot to include this last bit of the introductory material. The author discusses the scope of the work and the nature of the evidence. The late cut off is to exclude Christian texts. But the types of data vary across the scope and this corresponds to different attitudes towards f/f sex. So the analysis can’t entirely be a comparison across eras or a clear picture of development over time.
Chapter 1: Myth and Archaic Lyric Poetry