In what ways is the concept of gender useful in the study of ancient history?

In antiquity gender was a defining feature of life, we can note that it affected the way society was structured, specifically in the Athenian ‘polis', as well as public events, such as those associated with religious cults. Gender was also influential in politics, especially that of the Romans. Moreover, it is through gender that we can observe the general ancient view towards women, found throughout numerous literary sources and archaeological remains. Firstly, there is a strong link between gender and the Athenian ‘polis', which was commonly considered to be ‘male dominated'. 1 From an early age male and female youths were polarised, so that males were educated professionally, with a strong emphasis on completing sports at the ‘palaestrai' and ‘gymnasia', then they were sent away to complete their military service. In contrast, women were denied no more than basic schooling. However they were introduced into society through religious cults. It is through education that the classical Athenians erected a prominent division between the sexes, in order to prepare the youths for their roles in later life-men for leadership in state and military affairs, women for more subordinate roles. For example, archaeological evidence suggests that young men were groomed for prominent positions in the state, that is, pitchers have been found that illustrate boys celebrating the festival, ‘Anthesterion', ‘the flower month', by sampling wine and participating in crawling races. The former would have been a simplistic pre-taster for male youths of a ‘symposium', philosophical sessions intertwined with heavy drinking periods, exclusively for male citizens. The playwrights Plato and Aristophanes recognised their importance in the ‘polis', as it was for affluent male citizens. In Aristophanic comedies he frequently alludes to scenes of inebriation and obscenity mixed with intervals of learned opinions. The latter would have prepared the youths for athletic competitions. Keuls' suggests that it is through these activities young boys were instilled, ‘with the norms of competitiveness and male privilege'. 2 In comparison, Greek women were initiated into society through religious roles, specifically those associated with chastity, labour and submission. The cult of Athena was particularly important, in which a robe known as a ‘peplos' was dedicated to the goddess that had been especially woven for the occasion. It was then presented to her either by two or four noble girls, known as ‘arrhephoroi', ‘bearers of sacred objects'. Scenes from this cult can be found on sections of the Parthenon frieze (440BC-432BC), detailing events such as the folding of the ‘peplos' by the ‘Archon Basileus', chief magistrate, helped by a young child. This was a significant affair because the cult of Athena portrayed the characteristics sought desirable in each sex. That is, she represented the ‘male patriarchal ethos',3 through a wild war dance, the ‘pyrrhic dance', which was performed by armed dancers. This highlights, through the festival that males were associated with war and had a responsibility to protect the ‘polis'. On the other hand, Athena also represented the female ethos, by emphasising the necessity of hard work and chastity through the tasks of spinning and weaving, which were given prestigious status', through the ritual of the ‘peplos'. Athenian women were associated with passive tasks, illustrating their subordination to men within the ‘polis'. It is also significant that religious festivals structured the female hierarchy. We have already noted that it was only noble girls who could become ‘arrhephoroi', whereas in other cults, such as that of Artemis at Brauron, all girls could participate in the rituals. Just as the female hierarchy needed cult festivals to differentiate between the varying classes, the male hierarchy was determined by society-the ‘polis' and the military. For example, Xenophon, in the ‘Anabasis', highlights the importance and influence of the head of the army, the ‘hegemon', compared to less important positions in the military. That is, when a ‘manteis', a divine interpreter, attempts to slander Xenophon-in this case he is acting as the ‘hegemon'-by suggesting that he would have founded a new city without consulting his troops, Xenophon retorts: ‘Silanus gave me his answer on the most important point, namely, that the appearance of the victim was propitious. He had to since he was aware that I myself, because of always being present at sacrifices had some experience in these matters. ‘ 4 This illustrates, in general, that in warfare, sacrifices were undertaken or overseen by those in commanding positions, such as the ‘hegemon', because they influenced the state. Those in less significant positions in the military had a minimal influence in the running of the state. Thus, highlighting that the military and state were active influences in determining the male hierarchy. So far, we can note that education and cult festivals were influenced by gender, illustrating the importance of studying it in ancient history, as it gives us a fuller picture of ancient Greek society. Furthermore, the perception of the sexes can be seen to vary vastly, Xenophon highlights this in his ‘Oikonomikos', when he determines that men were built for war because their bodies could endure toil and hardship, whereas women were made for domestic work. 5 Another ancient scholar, Ischomachos, comments that the nature of men and women's mind also differ, as women are considered to be more susceptible to emotions and show a lack of restraint. Physical and psychological features influenced ancient Greek scholars into stereotyping the sexes and thus explaining why each gender sought different roles in society. In consideration to the cult of Athena, we can note that the study of mythology is also relevant to the concept of gender and its effects on society. That is, the ‘Panathenaic' procession was based on the myth of the origin of Ericthonius, who was associated with Athens. Hephaistos spilt semen on Athena's lap, which she wiped off with some wool, but consequently Ericthonius was born. The child was then given to Cecrops' daughters, but two of them, Herse and Aglauros, looked at the baby, despite Athena's warning that they should not. This myth emphasises the importance of women as child bearers and nurturers in society. The relevance of the wool can be associated with textile making, an occupation that was encouraged in young women. Likewise the cult of Artemis illustrated to women the importance of chastity, as the myth behind her cult warns them that promiscuity is an undesirable and unacceptable value. Artemis punishes her nymph, Kallisto, who had been raped by Zeus, by changing her into a bear, who is consequently hunted and killed by her own son. The Greeks used the myths as moral paradigms, warning women against unacceptable behaviour in the ‘polis'. Furthermore, Artemis was also concerned with childbirth, as clothes were dedicated to her at Brauron. Keuls' comments that this cult, ‘may have been the most effective way of instilling in females the ethos that male society required of them. ‘ 6 In comparison, if the cult of Artemis and Athena portrayed ideal female virtues that were affable for their role in the ‘polis', then the cult of Theseus represented ideal virtues for the Athenian male citizen. He was the archetypal male hero, as he saved Athens and slaughtered the Minotaur. In a social context, he had protected the ‘polis' and by militant means had killed a foreign being that threatened the well being of the state-actions that were expected of all male Athenians. Funerals were also a very significant event within the ‘polis' and the concept of gender greatly influenced its organisation. Women played a vital role in the ‘prothesis', the procession preceding the actual funeral, when the body was placed on a bier and was surrounded by mourners. It was the role of the women to lament- the more intense they seemed, the more honoured the dead appeared. Firstly, in connection with lamentation, we can note that women played an integral role in this procession, as they allowed men to keep up an austere appearance. This allowed the males to protect their masculine front, as they could refrain form outwardly expressing their grief. We have already observed, from ancient scholars, such as Xenophon, that only certain characteristics were deemed acceptable for men. Plaques and funeral vases illustrate the different roles performed during the ‘prothesis' by men and women. For example, a funeral pot of the late geometric period depicts men in processions of armed warriors or on horseback. 7 It is notable that they remain untearful, when compared to the numerous figurines of women in lamentable positions. The men honour the dead by highlighting the prestige of dying whilst in battle. Two ideals of mourning were set up to protect the social structure-women lament due to their lack of restraint of their emotions, emphasising their fragile characters, deeming them unfit for leadership. Whereas, men retain their dignity through their restraint and their passive role in the ‘prothesis'. Furthermore, funerals allowed aristocratic families to present their rank and power in society. Therefore, the lamentation was a reflection of the family's status. Hans Van Wees states that, ‘tears were a sign of respect to the dead†¦ ears of women played a part in the power struggle of men. ‘ 8 This illustrates that women had a significant role in the society of men, but one that was manipulated to benefit the running of the state. Moreover, the emotions of the women became so severe, as they behaved as a medium, that Solon had to institute legislations to curtail their display, as women had resorted to lacerating their arms and other forms of self-mutilation. The concept of gender is also very noteworthy in ancient literature, as men and women were perceived very differently in comparison to their perception in the ‘polis'. For example, during the Homeric era, it was not uncommon to observe heroes crying, a characteristic that would later be associated with the ‘fairer sex'. We first see Odysseus on Calypso's island, weeping in despair to return home to Ithaca. 9 Likewise, Homer frequently alludes to Odysseus's wife, Penelope, crying. For instance, we observe her crying for her lost husband when she retrieves his bow for the suitors' competition. 10 Both of the genders display similar characteristics, which Homer's audience obviously found acceptable in men. This emphasises that the gap between the genders widened with the progression of society and the founding of the structure of the ‘polis'. A further example that illustrates this point can come from the medium of tragedy, as the perception of male literary figures had conformed to the opinions of the ‘polis'. That is, male characters are portrayed as more restrained towards their emotions, in Aeschylus' ‘Agamemnon', the male king shows a considerable deal of restraint when Clytaemnestra offers him the sacred carpets to walk on. He states: ‘This-you treat me like a woman†¦ ive me the tributes of a man†¦ '11 Agamemnon displays his lack of excitement towards the frivolity of walking on ‘nice' tapestries that obviously would have appealed to a woman's nature. In the Homeric era, heroes appreciated niceties-Odysseus is bathed in perfume when he gets to Phaecia, there are constant allusions to Paris preening and primping himself and we are frequently reminded of his good looks. This illustrates the progression of the male status from the Heroic age to classical Athens. Briefly, we can note that Homeric heroes took an active grieving role in funerals. Achilles pours grimy dust on his face and beasts his breast, accompanied by his handmaidens; then Homer states that: ‘Antilochus mourned with him, letting the tears fall†¦ '12 Furthermore, this reiterates the different characteristics found in the male persona of the heroic age, rather than the age of the ‘polis'. However, we should also observe that the Homeric heroes were not completely without restraint, they just depicted less moderation than would have been acceptable for later Greeks. For example, the Trojans are commanded not to weep whilst collecting their dead bodies from the battlefield, which they do. They show a determined self-control, perhaps not as noted in the Homeric women, such as Odysseus' wife, Penelope. Furthermore, it is also through tragedy that we can note the progression of the perception of ancient women. In reference to Aeschylus' ‘Agamemnon', it has been observed that Clytaemnestra is portrayed with masculine attributes, as it is she who plots and kills her husband, with an axe in the bath. Her lover, Aegisthus, states to the chorus: ‘The treachery was the woman's work, clearly. '13 In the prologue, the watchman comments: ‘That woman -she manoeuvres like a man. '14 Firstly, Clytaemnestra has overstepped the divide that marked the different statuses of men and women in the ‘polis', on account of her masculine behaviour. Aeschylus, through tragedy, has illustrated that if women are not supervised within society, the social structure will collapse, as they are lead by their emotions. This would have highlighted the importance of the ‘kyrios', who acted as a guardian to Athenian women, to keep them in check within the ‘polis'. Moreover, this illustrates the common perception of women, as tragic heroines are often perceived as being manipulative, treacherous and unfaithful. This is emphasised by the character of Clytaemnestra, as well as Electra, who later persuades her brother, Orestes, to kill their mother, in Aeschylus' ‘Eumenides' and Euripides ‘Electra'. These characteristics illustrate that women are unworthy to lead the state, and highlights the insistence that they remain inferior to men within the social structure, maintaining their role in family matters. In Aristophanic comedies, such as ‘Lysistrata', women were also depicted as being drunkards and sex fiends, qualities that were associated with slaves. This is noteworthy, as slaves were considered not to be wholly free and without possessing any rights within the ‘polis', such as voting. Furthermore, slaves and women were also both low down in the social structure. Aristotle in his ‘Politics', stated that women were, ‘slaves by nature'. This demonstrates the lack of freedom that women possessed, highlighting their seclusion within classical Athens. The majority of the time, women were physically kept within the home-apart from when they participated in particular public events-to keep them subordinate, in a social context. Furthermore, according to Solon15, if a woman was in the company of men all the time, she would not want to get married. Thus she would be defying her role as a life giver and producer of heirs, and so she would be disrupting her status within the ‘polis'. In contrast, in the heroic age of Homer, women were given a considerable amount of freedom, for example, we see Helen with Priam, on the walls of Troy, pointing out to all the different Greek warriors. Moreover, Penelope, in the Odyssey, acts as the hostess at the banquet of the suitors, totally surrounded by men. We can see that the seclusion of women became more intense with the founding of the ‘polis', which brought along a greater need to categorise the genders. The concept of gender is also very significant when studying the politics of ancient Rome. Roman historians of the imperial era have recorded the great influence of women on particular male emperors. For example, the historian, Tacitus, in his ‘Annals', records the influence of Nero's mother, Agrippina the Younger, on his political career. It is she who initiates the poisoning of her husband, Claudius, and his son, Britannicus, so that Nero can usurp the power of the empire. Roman coins depict her bust, alongside that of her son's, displaying that she is ruling with him. It is significant that her role becomes less influential as Nero grows up and adopts more power. This is again illustrated through the medium of the coins, as we can note the gradual removal of her image from the obverse of the coins. The influence of his mother was so strong that he could only be freed from it, by attempting to murder her, through a collapsing boat. Thus, this demonstrates that imperial women dominated their male associates and played a leading role within in the running of the state. However, we should note that they still remained in the background, ruling behind their male relatives, as Rome was a male dominated state. Clark suggests that, ‘women might, then, have considerable influence and interests outside their home and families, but they were acting from within their families to affect a social system managed by men: their influence was not to be publicly acknowledged. '16 However, it has also been recorded that other imperial women had infiltrated the very male event of patronage. Octavia had acted or had interceded with male relatives as a patron, also, Messalina and Agrippina the Younger, were the patrons of Claudius' freedmen, such as Narcissus. This highlights the prestigious role of women in the empire. It is also significant that they were involved in particular public affairs, demonstrating that the social structure of Rome was gradually changing form being solely a male establishment, to a state outwardly influenced by both genders. Furthermore, Dio records that the senate honoured Livia with an arch as she had helped many senatorial children in times of need. 7 Likewise, the public recognition of Livia's role in the running of the state was acknowledged by the senate. However, it is important to note that the prominent role of women during the imperial period was not considerably favoured by all. Fischler comments that many men considered ‘a good emperor to have had wives and mothers that he could control and who never overstepped the boundaries set by convention'. 18 For example, Tiberius refused honours for his mother, Livia, because he did not want to seem to be influenced by her actions. Women may have been more prominent in the political sphere but it was not fully approved by the public opinion, which was aired by the majority of men. The significant role of women was fully acknowledged by Augustus, the first Roman emperor, who recognised the importance of women as figures of a new political regime. They represented the move from the Republican era to the Imperial era, as they were significant members of his dynasty. Fischler goes onto observe that ‘women were symbols of the imperial order. '19 The society of the Republic was less tolerant of the presence of women in the public eye. They had few rights within the state, such as, they were not allowed to vote or, as Valerius Maximus records, appear or act in courts20 and were generally under the ‘potestas of the ‘paterfamilias'. However, unlike the Greek ‘polis' women were not secluded from society, as they were allowed to own property and divorce their husbands. There were two types of marriage- that of ‘cum manu', in which the woman remained under her father's rule, as he even had the power to end her marriage; or that of ‘sine manu', in which women were allowed to own their own property an divorce their husbands. The former type of marriage was common in the early Republic and the latter, in the late Republic. This illustrates the progression of women's freedom in society and their further prominence in the public eye. The perception of gender and the way it affected the structure of society can be noted in forms of literature, such as satire. For example, Juvenal, who was writing either under the emperor, Trajan or Domitian, perceives the progression of women in the public sphere as a bad thing. That is, women had transgressed the divide between the genders, as they had adopted masculine roles in society, such as acting in political matters, demonstrated in Tacitus' portrayal of Agrippina. Furthermore Juvenal goes onto condemn the public sexuality of women and the growing effeminacy of men. In a social context. He highlights the breakdown of the social structure of the Roman society, that is, he considers the sexes to have changed roles and transgressed their divisions, which had given certain roles to men and to women in order to structure society. For example, he describes the ‘whore empress' coming home from the brothel to the Imperial palace. 21 Furthermore, his female persona attacks males for preferring homosexuality and states that overseas people are laughing at their effeminacy. 22 In contrast, he frequently extols the old virtues of chastity in women and praises the good old days, when men worked in fields and completed other masculine tasks23. Thus highlighting the change of roles in gender, on account of a changing society. In conclusion, we can argue that the concept of gender is extremely important when studying ancient history, as it played a significant role in defining the structure of society. The progression of society, both Greek and Roman, can also be marked by the changing perceptions of each gender, found in abundant literary sources and archaeological material. These sources of evidence make it possible to study gender, however we should also take into account, when using literature as evidence, some external influences. For example, when consulting tragedy or comedy. For the perception of Greek women, we should note that the playwrights exaggerated the characteristics of figures, for dramatic effects. That is to say, in the ‘polis', not all Greek women were alcoholics with a sex addiction, as portrayed in Aristophanic comedies. Likewise, from Juvenal's satires we cannot assume that all Roman women were promiscuous, due to the degeneration of their social structure. The ancient writers were assuming the ‘worst-case-scenarios', highlighting what would happen without a social structure in society. However, there is truth behind these pieces of literature, as the authors had to base their work on realism, so that their audiences could relate to their work. Furthermore, we should take into consideration the genre that the author was writing for, for example, Tacitus was considered to be a ‘silver age' writer, thus his writing would have portrayed characteristics of that type. Thus, his work is macabre and sombre; therefore his portrayals of his characters would reflect that style. Likewise, archaeological evidence should be considered with care, as depictions on pots and vases are left to our own personal interpretation.