The Marriage of Cadmus and Harmony (13 page)

Then the three fell silent as they continued to contemplate that marble body. Behind a thigh they noticed a mark, like a stain on a tunic. Licinus assumed it was a defect in the marble and remarked on this as yet another reason for admiring Praxiteles: how clever of him to hide this blemish in one of the least visible parts of the statue. But the guardian who had opened the door and was standing beside the visitors told them that the real story behind the stain was rather different.

She explained that a young man from a prominent family had once been in the habit of visiting the temple and had fallen in love with the goddess. He would spend whole days parading his devotion. He got up at dawn to go to the sanctuary and went home only reluctantly after sundown. Standing before the statue, he would whisper on and on in some secret lover’s conversation, breaking off every now and then to consult the oracle by tossing a few Libyan gazelle bones. He was waiting anxiously for Aphrodite’s throw to come up. That was when every face of the bones bore a different number. One evening, when the guardians came to close the temple, the young man hid behind the door where the three visitors were now standing and spent “an unspeakable night” with the statue. The fruits of his lovemaking had stained the statue. That mark on the white marble demonstrated the indignity the image of the goddess had suffered. The young man was never seen again. Rumor had it that he drowned himself in the sea. When the guardian had finished, Caricles immediately exclaimed: “So, men love women even when they are made out of stone. Just
imagine if she had been alive …” But Callicratides smiled and said that actually the story supported his side of the argument. For despite being alone a whole night with the statue, and completely free to do whatever he wanted, the young man had embraced the marble as if it were a boy and hadn’t wanted to take the woman from the front. The two antagonists began arguing again, and Licinus was hard put to persuade them to leave the temple and continue elsewhere. In the meantime the worshipers were beginning to arrive.

To a considerable extent classical morality developed around reflections on the nature of men’s love for boys; basically such reflections stressed the quality of
aret
and played down something self-evident: pleasure.
aret
means an “excellence” that is also “virtue.” The word always had a moral meaning attached; the morality wasn’t just something added by mischievous latecomers. In any event,
aret
is incandescent whenever manifest in a man’s love for a boy. In its Kantian, unattached isolation, the Greeks would scarcely have appreciated the quality at all. The last and ultimate image of
aret
Greece offers us is a field strewn with the corpses of young Thebans after the battle of Chaeronea. The corpses were found lying in pairs: they were all couples, lovers, who had gone into battle together against the Macedonians. It was to be Greece’s last stand. Afterward, Philip II and Alexander set about turning the country into a museum.

“Nothing beautiful or charming ever comes to a man except through the Charites,” says Theocritus. But how did the Charites come down to man? As three rough stones that fell from heaven in Orchomenus. Only much later were statues placed next to those stones. What falls from heaven is indomitable, forever. Yet man is obliged to conquer those stones, or girls with fine tresses, if he wants his singing to
be “full of the breath of the Charites.” How to go about it? From the
Chárites
, one passes to
cháris
, from the Graces to grace. And it is Plutarch who tells us what the relationship is: “The ancients, Protogenes, used the word
cháris
to mean the spontaneous consent of the woman to the man.” Grace, then, the inconquerable, surrenders itself only to he who strives to conquer it through erotic siege, even though he knows he can never enter the citadel if the citadel doesn’t open, grace-fully, for him.

The relationship between
erast
s
and
erómenos
, lover and beloved, was highly formalized and to a certain extent followed the rules of a ritual. In Sparta and Crete, the main centers of love between men, one could still find clear evidence of these rites. In Crete, each boy’s parents knew that one day they would be forewarned of their son’s imminent abduction. The lover would then arrive and, if the parents considered him worthy, would be free to carry off the boy and disappear into the country with him. Their whereabouts unknown, they would live together in complete privacy for two months. Finally the beloved would reappear in the city with “a piece of armor, an ox, and a cup,” ceremonial gifts from his lover. Athens, with its vocation for modernity, was less rigid than Crete but equally tough below the surface. Here the rite was transformed into set behavior patterns that, though immersed in the buzz and chatter of the city square, remained as recognizable as dance steps. The lovers would cruise around the gymnasiums with a fake air of abstraction, their eyes running over the youngsters working out in the dust. It was the primordial setting for desire. The lovers would watch the boys, throwing furtive glances at “hips and thighs, the way sacrificing priests and seers size up their victims.” They would sneak glances at the prints their genitals left in the sand. They would wait till midday, when, with the combination of oil, sweat, and sand, “dew and down would bloom on the boys’ genitals as on the skin of a peach.” The place was drenched with pleasure, but the
word
pleasure
couldn’t be mentioned, because pleasure was common property—even slaves and immigrants could enjoy it—whereas the amorous journey undertaken that morning aimed at an excellence, a splendor and glory, that belonged to one and one alone: an Athenian, the chosen one, the boy who, through subterfuge and gifts of garlands, would become the beloved.

That reluctance to admit the pleasure involved would never be dropped, not even in the ultimate intimacy: “in the act of love the boy does not share in the man’s pleasure, as does the woman; but contemplates, in a state of sobriety, the excitement of the other drunken with Aphrodite.” When the lover approaches, the beloved stands upright and looks straight ahead, his eyes not meeting those of his lover, who bends down and almost doubles up over him, greedily. The vase painters generally show thigh-to-thigh contact rather than anal penetration: this allows the beloved to maintain his erect, indifferent, detached position. But all too soon the whole situation would be reversed. The first facial hair marked the beginning of the end of the boy’s period as beloved. The hairs were called Harmodius and Aristogiton because they freed the boy from this erotic tyranny. Then, as though in need of a little time out, the boy escapes “from the tempest and torment of male love.” But very soon he is back in that tempest, and in a new role: instead of being eyed, nude in the gymnasium, he is himself cruising around younger boys, in the same places, nosing out his prey. Transformed from
erómenos
into
erast
s
, he would finally discover, as a lover, what it means to be possessed by love. Only the lover is
éntheos
, says Plato. Only the lover is “full of god.”