Homoeroticism in Ancient Greek Lyric

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Plutarch, a respected author of the 1st century, wrote “the noble lover of beauty engages in love wherever he sees excellence and splendid natural endowment without regard for any difference in physiological detail” (Plutarch 146). On this, ancient Greece had a particular artistic interest in ta aphrodisia, or a sphrere of sexuality derived from the Greek goddess Aphrodite (Ogden 311). There is not a defined conception of the realities of the times, moreso throughout time, artistic conventions evolved to establish the dyamics of Greek life. Though many societies influenced modern-day ideas of ancient culture, the artistic expression valued so greatly in Greece distinguished itself from any other culture of the time. Particularly in the late seventh and sixth centuries B.C., romantic love was presented as something directed primarily at members of ones' own sex. Some revoluntionary Greek lyric poets of this period such as Sappho, Theognis, and Ibycus expanded the parameters of love by extending the appreciation for same-sex love. What was exceptional about these poets was their unique stylistic effects of evoking intimacy and devotion. Commonly, a manifestation of the power of aphrodisia was known as eros, or the divine power of love and sex-drive (Ogden 311). Therefore, in this paper, homoeroticism solely refers to eros between the same sex. It is important here to note that the Greeks of the seventh and sixth centuries were living in times before any negative stigmas became attached to same-sex practices; they simply did not even have define it any further than sexual or romantic love. The seventh and sixth centuries B.C. were times of turbulant change and increasing developments politically, socially, and intellectually, but also provided a basis for the celebration of same-sex love. The standard view is that increased leisure in the seventh and sixth centuries
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