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From the beginning at Miletus the relations between men and women were notoriously bad, and, as Herodotus tells us, they had some historical justification. 'The first settlers at Miletus,' he says,[49] 'having no wives of their own, killed the men and seized the women of the country.' On account of this massacre, the women established the law and imposed upon themselves an oath, which they handed down to their daughters, to this effect:
They should never eat at the same table with their husbands, nor should any woman ever call her husband by his name. For they had killed their fathers, their husbands, and their sons, and after so doing had forced them to become their wives.
This is the first incident in the history of Miletus, an episode not unlike the story of the Lemnian women, and it explains a great deal. In the chief city of Ionia, enmity, not love, was the law between husband and wife. Domestic life was poisoned, and literature caught the infection. By action and reaction the mischief spread, and it is impossible for us now fully to estimate its extent. But we cannot doubt the effect that Ionian literature had in lowering men's estimate of women, and thereby degrading all their ideals of social life. The three great curses of Greek civilisation---sexual perversion, infanticide, and the harem system---all come into prominence during the sixth century, and there is good reason to believe that it was just at this time that the natural increase of population was checked, and the slow process of race suicide begun. If Ionia was the cradle of Greek culture, as we know[50] it, from Ionia also came the germs of that moral disease which made a fatal counterpoise to the intellectual supremacy of Greece.
In the worse type of Milesian Tale immorality takes its most revolting form; but there was another and more pleasing form of story, also invented in Ionia about this time, which occasionally is called by the same title, and is best known to us in the collection of sop's Fables. sop himself, the lame slave who was made by tradition the fellow-servant of the fair courtesan, Rhodopis, and so a contemporary of Sappho, is hardly more a real person than Homer, and his name was used as a convenient shelter for two slightly different kinds of humorous story. There were the well-known animal fables which are common to the whole Mediterranean and Asiatic world, and in sop find a Greek dress, and beside them a sort of humorous anecdote, sometimes trivial, sometimes coarse, but always strongly realistic.
They were especially popular at Athens. 'Tell them a funny tale of sop, or of Sybaris,' says the old gentleman in Aristophanes' 'Wasps,' 'something you heard at the club'; and later on in the play, when Bdelycleon is intoxicated, we get two specimens of the style. Like our Limericks, they are in verse, with a catch refrain: 'A woman at Sybaris once,' and 'sop one day,' and although[51] they are not particularly humorous, it must be remembered that they are the witticisms of a drunken man. The first runs thus:
sop one night was going back from dinner, when a bitch began to bark at him, a bold, drunken creature. Thereupon said he: 'Dear, dear! my good bitch, if you were to sell that foul tongue of yours and buy some flour, you would be more sensible.'
The other is this:
A woman of Sybaris once broke a jug. The jug got a friend to act as witness, and laid a claim for damages. Thereupon the lady said: 'By the virgin, if you would but let the lawyers alone and buy some sticking-plaster you would show more wisdom.'
The fables of sop are now a nursery classic, for, like the Arabian Nights and Gulliver's Travels, they have been turned by the kindly irony of time to a use which their authors hardly contemplated. But in their Milesian shape there was always an underlying vein of satire, even in the animal stories. The male animals, the eagle and the lion, are brave and generous; the females, the fox and the weasel, are cunning and treacherous.
Moreover, as we see in the Greek version of Babrius and the Latin of Phdrus, separated though they be from the original by a gap of centuries, there was a great deal of matter in the sopian stories which was plainly misogynistic.
As examples, we may take from Babrius, Fable 10:
A man fell in love with an ugly, dirty slave-girl, his own property, and readily gave her all she asked. She had her fill of gold: fine purple robes trailing at her ankles, and soon she began to rival the mistress of the house. 'The goddess of love,' thought she, 'is the cause of all this' and she honoured her with votive tapers, going every day to sacrifice and prayer with supplications and requests. But at last the goddess came in a dream while they were asleep, and appearing to the slave-girl, she said, 'Do not thank me, or suppose that I have made you beautiful: I am angry with that fellow there, and so he thinks you fair.'
Belief in women's beauty, we see, is mere infatuation, and so is belief in their truth, as No. 16 shows:
A country nurse once threatened a whining child: 'Stop, or I will throw you to the wolf.' The wolf heard the words, and supposing that the old dame was speaking the truth, waited patiently for the meal which he thought would soon be ready. It was not till evening that the child fell asleep, and the wolf, who had been waiting on slow hope, went off home very hungry, his mouth really agape. 'How is it you have come home empty-handed?' said his wife, who had been keeping house. 'It's very unusual.' But the wolf replied: 'What would you have? I have trusted a woman.'
No. 32 is a curious reminiscence of Simonides:
Once upon a time a cat fell in love with a comely man, and glorious Cypris, the mother of Desire, allowed her to change her shape and take a woman's body, one so fair that all men desired her. The young man[53] saw her, fell captive in his turn and arranged to wed. The marriage feast was just prepared when a mouse ran by, and the bride, jumping down from the high couch, rushed after it. So the banquet came to an end, and Love, who had had a merry jest, departed too---for even he could not fight against nature.
No. 22 is more outspoken:
Once upon a time a middle-aged man---not young, but not yet old, his hair a mixture of black and white---feeling that he still had leisure for love and merriment, took two mistresses, one young, one old. Now the young woman wanted to see in her lover a young man, the old dame desired some one as old as herself. So, every time, the girl plucked out any hairs that she could find turning white, while the old lady did the same to the black hairs, until young and old together at last pulled out all the hair he had and left him bald. Moral: Pitiable is the man who falls into the hands of women: they bite and bite until they strip him to the bone.
So in the fable of the lion who falls in love with a maiden, the noble animal strips himself of claws and teeth, and everything that makes him formidable, to please the girl, and for his reward is beaten to death.
In all these stories there is a note of satirical depreciation, but the best example of the cynical humour which inspires the whole class is to be found in the tale of the Ephesian Widow. Phdrus gives a brief version; in Petronius the story is put into the mouth of the satyr-poet Eumolpus, and in a[54] condensed form it will perhaps bear quotation. 'There was once a matron of Ephesus so notoriously virtuous that all the women of the neighbouring towns used to come and gaze upon her as at a wonderful spectacle.' So it begins, and the first sentence, which might come from Voltaire's Candide, gives the spirit in which it is written. The lady's husband died, and not satisfied with the ordinary signs of grief, the bereaved wife insisted on following the corpse to the underground chamber where it was laid. There the lady 'with singular and exemplary constancy,' remained with it for five days, deaf to the entreaties of relatives and magistrates, refusing all food, and attended only by one servant-girl whose business it was to share her mistress' grief and renew the taper which alone lit up the sepulchral chamber.
