When this woman saw the populace assembled in the amphitheater, she placed laurel wreaths on her daughters’ heads and in their hands, and sent them out to sit on the ground in the attitude of suppliants. The Greens eyed this mute appeal with indifference; but the Blues were moved to bestow on the children an equal office, since their own animal-keeper had just died.
When these children reached the age of girlhood, their mother put them on the local stage, for they were fair to look upon; she sent them forth, however, not all at the same time, but as each one seemed to her to have reached a suitable age. Comito, indeed, had already become one of the leading hetaerae of the day.
Theodora, the second sister, dressed in a little tunic with sleeves, like a slave girl, waited on Comito and used to follow her about carrying on her shoulders the bench on which her favored sister was wont to sit at public gatherings. Now Theodora was still too young to know the normal relation of man with maid, but consented to the unnatural violence of villainous slaves who, following their masters to the theater, employed their leisure in this infamous manner. And for some time in a brothel she suffered such misuse.
But as soon as she arrived at the age of youth, and was now ready for the world, her mother put her on the stage. Forthwith, she became a courtesan, and such as the ancient Greeks used to call a common one, at that: for she was not a flute or harp player, nor was she even trained to dance, but only gave her youth to anyone she met, in utter abandonment. Her general favors included, of course, the actors in the theater; and in their productions she took part in the low comedy scenes. For she was very funny and a good mimic, and immediately became popular in this art. There was no shame in the girl, and no one ever saw her dismayed: no role was too scandalous for her to accept without a blush.
She was the kind of comedienne who delights the audience by letting herself be cuffed and slapped on the cheeks, and makes them guffaw by raising her skirts to reveal to the spectators those feminine secrets here and there which custom veils from the eyes of the opposite sex. With pretended laziness she mocked her lovers, and coquettishly adopting ever new ways of embracing, was able to keep in a constant turmoil the hearts of the sophisticated. And she did not wait to be asked by anyone she met, but on the contrary, with inviting jests and a comic flaunting of her skirts herself tempted all men who passed by, especially those who were adolescent.
On the field of pleasure she was never defeated. Often she would go picnicking with ten young men or more, in the flower of their strength and virility, and dallied with them all, the whole night through. When they wearied of the sport, she would approach their servants, perhaps thirty in number, and fight a duel with each of these; and even thus found no allayment of her craving. Once, visiting the house of an illustrious gentleman, they say she mounted the projecting corner of her dining couch, pulled up the front of her dress, without a blush, and thus carelessly showed her wantonness. And though she flung wide three gates to the ambassadors of Cupid, she lamented that nature had not similarly unlocked the straits of her bosom, that she might there have contrived a further welcome to his emissaries.
Frequently, she conceived, but as she employed every artifice immediately, a miscarriage was straightway effected. Often, even in the theater, in the sight of all the people, she removed her costume and stood nude in their midst, except for a girdle about the groin: not that she was abashed at revealing that, too, to the audience, but because there was a law against appearing altogether naked on the stage, without at least this much of a fig-leaf. Covered thus with a ribbon, she would sink down to the stage floor and recline on her back. Slaves to whom the duty was entrusted would then scatter grains of barley from above into the calyx of this passion flower, whence geese,21 trained for the purpose, would next pick the grains one by one with their bills and eat. When she rose, it was not with a blush, but she seemed rather to glory in the performance. For she was not only impudent herself, but endeavored to make everybody else as audacious. Often when she was alone with other actors, she would undress in their midst and arch her back provocatively, advertising like a peacock both to those who had experience of her and to those who had not yet had that privilege her trained suppleness.
So perverse was her wantonness that she should have hid not only the customary part of her person, as other women do, but her face as well. Thus those who were intimate with her were straightway recognized from that very fact to be perverts, and any more respectable man who chanced upon her in the Forum avoided her and withdrew in haste, lest the hem of his mantle, touching such a creature, might be thought to share in her pollution. For to those who saw her, especially at dawn, she was a bird of ill omen. And toward her fellow-actresses she was as savage as a scorpion: for
