Sexual life in ancient Greece : with thirty-two full-page plates

RELIGION AND EROTIC

from the upper part of whose body a third Eros is drawing away her dress (for a different explanation of the picture, see W. Helbig, Wandgemalde Campaniens, p. 194, No. 974). In course of time the Hore became identified rather with the hours of the day, and the seasons were represented by male forms.

Perhaps even more enchanting forms than the Hore are the Charities, or, as the Latins call them, the Graces. They also are generally regarded as three in number, and personify everything in life that is enchanting, cheerful, graceful, sensually beautiful. It is very significant of Hellenic civilization that such a glorification of the naked sensual charm does not belong to the later period of the decadence, as it is beautifully phrased, but that, long before the old original poets, meditating in the mist of prehistoric times—for instance, Pamphos (Pausanias, ix, 35, 4), the mythical singer of hymns—had sung of the Charities and their sensual charms. These goddesses are everywhere where it is a question of manifesting the more cheerful joys of life, at dance and game, at joyful meal, when stringed instruments and songs resound. According to Theognis (Theognis, 15; the proverb in Zenobius, 1, 36; cf. Seneca, De Benef., i, 3), in company with the Muses, they sang at the wedding of Cadmus and Harmonia the words: ‘“‘ What is beautiful is dear, what is not beautiful is not dear ’—words which so correctly embody the nature of the Charities, indeed, affirm the quintessence of Greek worldly wisdom generally. They themselves are charming forms, ever laughing and dancing, singing and leaping. They bathe in springs and rivers, and crown themselves with the flowers of spring, especially roses. While the older artists represent them still clothed, in course of time their drapery becomes more and more diaphonous, until they generally appear completely naked, embracing each other in the well-known attitude, so that the

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