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The Wolfish Lover: the Dog As a Comic Metaphor in Homoerotic Symposium Pottery

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The Wolfish Lover: the Dog As a Comic Metaphor in Homoerotic Symposium Pottery The Wolfish Lover : The Dog as a Comic Metaphor in Homoerotic Symposium Pottery Marina Haworth To cite this version: Marina Haworth. The Wolfish Lover : The Dog as a Comic Metaphor in Homoerotic Symposium Pottery. Archimède : archéologie et histoire ancienne, UMR7044 - Archimède, 2018, Archimède n°5. Archéologie et histoire ancienne, pp.7-23. halshs-01825115 HAL Id: halshs-01825115 https://halshs.archives-ouvertes.fr/halshs-01825115 Submitted on 29 Jun 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ARCHIMÈDE N°5 ARCHÉOLOGIE ET HISTOIRE ANCIENNE 2018 DOSSIER THÉMATIQUE : HUMOEROTICA 1 Ruby BLONDELL et Sandra BOEHRINGER Humour et érotisme dans l’Antiquité grecque et romaine. Introduction au dossier u 7 Marina HAWORTH The Wolfish Lover: The Dog as a Comic Metaphor in Homoerotic Symposium Pottery 24 James ROBSON Whoring, Gaping and Hiding Meat: The Humour of Male-on-Male Sexual Insults in Aristophanes’ Knights 35 Carmen DAMOUR De qui se moque-t-on ? Les travestis sur la scène de l’Assemblée des femmes d’Aristophane 49 Deborah KAMEN The Consequences of Laughter in Aeschines’ Against Timarchos 57 Yvonne RÖSCH Hunting Hares and Lovers: Socrates’ Playful Lesson in Xenophon, Memorabilia III, 11 71 Eugene O’CONNOR Aroused by Laughter: Martial’s Priapic Humor 83 Sandra BOEHRINGER with the artistic collaboration of Marjolaine FOURTON Not a Freak but a Jack-in-the-Box: Philaenis in Martial, Epigram VII, 67 95 Michel BRIAND Des mœurs sexuelles des Sélénites (Lucien, Histoires vraies, I, 22) : entre satire queer et constructionnisme incarné, le sexe qui donne à rire et à penser 108 ACTUALITÉ DE LA RECHERCHE : DES FEMMES PUBLIQUES. GENRE, VISIBILITÉ ET SOCIABILITÉ DANS L’ANTIQUITÉ GRECQUE ET ROMAINE 185 VARIA 246 LA CHRONIQUE D’ARCHIMÈDE Retrouvez tous les articles de la revue Archimède sur http://archimede.unistra.fr/revue-archimede/ REVUE RCHIMeDE, ARCHÉOLOGIE ET HISTOIRE ANCIENNE THE WOLFISH LOVER: THE DOG AS A COMIC METAPHOR IN HOMOEROTIC SYMPOSIUM POTTERY Marina HAWORTH MA Art History, MA Classical Archaeology Phd Classical Archaeology forthcoming Faculty, Art Department North Hennepin Community College [email protected] ABSTRACT This paper examines the image of the pet dog on Cette étude aborde les représentations du chien sur les Greek red-figure pottery from the late archaic and vases à figures rouges, de la fin de l’époque archaïque early classical periods. At least half of the represen- au début de l’époque classique. Au moins sur la moitié tations depict the dogs accompanying boys and men d’entre elles le chien accompagne des hommes adultes in the gymnasium, often in homoerotic scenarios. The et de jeunes garçons qui se rendent au gymnase, et article suggests that rather than being ancillary figures, souvent selon une mise en scène homoérotique. On contributing to a sense of realism in the background propose l’interprétation suivante : loin d’être une figure setting, the dogs themselves are visual metaphors for secondaire contribuant, en arrière-plan, au réalisme de the erastês, adding an element of humor and tension la scène, les chiens sont, en eux-mêmes, des méta- to the scenes. In the absence of a depiction of an phores des amants, et leur présence ajoute une touche erastês, a dog may be shown as a comic metonymic d’humour et de tension érotique à la scène. Dans les stand-in for the pursuing images où l’erastês n’est pas représenté, le chien lover. These images are peut être placé à cet endroit comme un double méto- varied and multi-layered, nymique et comique de l’amant chassant son aimé. with polyvalent meanings. Ces représentations sont variées Considering the represen- et multiples, avec des significa- tations of dogs within the tions polysémiques. L’étude de la context of the humorously représentation des chiens dans un Keywords Mots-clés and erotically charged contexte plein d’humour et d’éro- Greek painted pottery, symposium helps us to tisme qu’est le banquet permet Céramique grecque, gymnasium, gymnase, symposium, understand the function de mettre au jour la fonction et la banquets, athletes, and meaning of the dog as signification du chien, un jeu/une athlètes, dog, a visual joke referring to plaisanterie visuelle renvoyant à chien, wolf, loup, pederasty, the comically aggressive l’erastês, si comiquement agressif pédérastie, homoeroticism. or foolish erastês. ou éconduit. homoérotisme. Article accepté après évaluation par deux experts selon le principe du double anonymat 7 ARCHIMÈDE ARCHÉOLOGIE ET HISTOIRE ANCIENNE N°5 2018 - p. 7 à 23 Dossier « Humoerotica » In late archaic and early classical red-figure sym- particularly rich way to generate humor during the potic pottery, homoerotic images of young athletes symposium [4]. Indeed, animal scenes in general have surrounded by older men in the gymnasium are very been recognized as metaphorical and not just orna- common. Often accompanying the human subjects mental filler [5], and in light of the textual and visual in the gymnasium is another figure: the pet dog. A evidence, the images of dogs, in erotic contexts espe- rough statistical analysis from the Beazley Archive cially, deserve closer examination. shows that dogs are represented on over 400 red-fig- The painted sympotic pottery of the late sixth and ure vases. At least half of these are depicted with ath- early fifth centuries BCE must be understood within the letes in the gymnasium, or otherwise accompanying Greek pederastic context. The scenes under examina- boys or men, sometimes in explicit scenes of “court- tion here depict the gymnasium, and were viewed in the ship” [1]. Despite their prevalence on Greek pottery, symposium, the two most important loci for homoerotic however, dogs have been underrepresented in schol- interaction in the Athenian world [6]. Understanding arship, and when mentioned, have simply been read the images portrayed, and their subversion of the as illustrations of everyday life, perhaps because our norms, or adherence to them, requires an understand- own cultural associations with “man’s best friend” are ing of the cultural conventions surrounding pederas- so strong that we view the images through our own tic practice. Furthermore, it must be understood that cultural assumptions. The temptation is to see these the homoeroticism of gymnasium imagery on sympo- gymnasium scenes as documentary accounts, perhaps sium vessels, like the representations of dogs, does associating them with the matter-of-fact descriptions not provide a documentary realism, or necessarily offer like Arrian’s, who mentions that his dog “escorts me to a description of historical practice; rather the images the gymnasium, and sits by while I am exercising” [2]. play with the expectations regarding social standards in The imagery on Greek painted pottery, however, is multiple ways. The approach this study takes is based not factual evidence, but rather imaginary scenes in on the fundamental concept that the viewers of these which fantasies and humor are given form [3]. This symposium vessels would have normative expectations paper will show that the concept of the dog in ancient of pederastic behavior in mind, so that the subversion Greece was multi-faceted, symbolic, and often highly or exaggeration of them in the images would read as comedic. In fact, the dog could be used as a visual comic. The association of the erastês with either the metaphor for the erastês himself (the generally older dangerous hunting dog or the mawkish lap dog could male lover of a younger boy) and the images of these lampoon embarrassing and improper behavior of an seemingly innocent domestic canines were used in a erastês towards his erômenos [7]. [1] In general Beazley Archive searches, “dog” is com- markers in the Attic pederastic scenes that indicate the bined with “athlete” 12 times. But this is a low number, importance of pederastic activities to the visual con- since many athletic scenes are often not marked as such struction of Athenian aristocratic society. This setting in the archive. For example, there are 126 instances of underscores the agonistic nature of gift giving and court- “dog and youth”, and many of these boys may be ath- ship, which were designed to enhance the status of both letes. “Dog and strigil” also appears at least 21 times. erastai and eromenoi. We have also noted that a major- ity of the pederastic depictions occur on drinking para- [2] Arrian, On Hunting, 5. Phillips & Willcock 1999: 97. phernalia affiliated with the symposion, an aristocratic [3] Ferrari 2003, Parker 2015, Schnapp 1989. institution. Kalos inscriptions addressed to beautiful aris- [4] It is necessary to remark upon the convention of refer- tocratic youths, the walking sticks on which the erastai ring to these figures as the “erastês” and “erômenos”. The lean, and the mantles casually thrown over the shoulders of erastai have also been cited as aristocratic markers.” assignment of these labels to the imagery is a modern Barringer 2001: 85. scholarly creation. It is unknown how the ancient Greeks themselves would have referred to these figures. [7] The mocking of bad pederastic behaviour in Attic comedy also singles out the tropes of the aggressive [5] Edlund 1980. lecher, or the persistent hopeful erastês. Shapiro 2015: [6] “The palaistra is one of the several iconographic 190, 194-195. 8 The Wolfish Lover: The Dog as a Comic Metaphor in Homoerotic Symposium Pottery In the images, the erômenos is recognized by his eventual feeling of lack, which in turn creates the depiction as erotically beautiful and in the ideal age demand for the next erômenos [13].
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