The Greek courtezan possessed attainments, which the more virtuous of her sex were neither expected nor permitted to acquire. On her the education which was denied to a spotless woman, was carefully bestowed. To sing, to dance, to play on the lyre and the lute, were accomplishments in which the courtezan was, from her earliest years, completely instructed. The habits of private life afforded ample opportunity for the display of such acquirements, as the charm of convivial meetings among the Greeks was thought imperfect, unless the enjoyments were brightened by a display of the talents which belonged exclusively to the Wanton. But though these refinements alone were sufficient to excite the highest admiration of the Greek youth, unaccustomed as they were to female society, and often procured a splendid establishment for the accomplished courtezan, some of that class embraced a much wider range of education; and having added to their attainments in the fine arts, a knowledge of philosophy and the powers of eloquence, they became, thus trained and educated, the companions of orators, statesmen, and poets. The arrival of Aspasia at Athens is said to have produced a change in the manners of that city, and to have formed a new and remarkable epoch in the history of society. The class to which she belonged was of more political importance in Athens than in any other state of Greece; and though I scarcely believe that the Peloponnesian war had its origin in the wrongs of Aspasia, the Athenian courtezans, with their various interests, were often alluded to in grave political harangues, and they were considered as part of the establishment of the state. Above all, the comic poets were devoted to their charms, were conversant with their manners, and often experienced their rapacity and infidelity; for, being unable to support them in their habits of expense, an opulent old man, or dissolute youth, was in consequence frequently preferred. The passion of Menander for Glycerium is well known, and Diphilus, from whom Plautus borrowed his _Rudens_, consorted with Gnathena, celebrated as one of the most lively and luxurious of Athenian Charmers(266). Accordingly, many of the plays of the new comedy derive their names from celebrated courtezans; but it does not appear, from the fragments which remain, that they were generally represented in a favourable light, or in their meridian splendour of beauty and accomplishments(267). In the Latin plays, the courtezans are not drawn so highly gifted in point of talents, or even beauty, as might be expected; but it was necessary to paint them as elegant, fascinating, and expensive, in order to account for the infatuation and ruin of their lovers. The Greeks and Romans were alike strangers to the polite gallantry of Modern Europe, and to the enthusiastic love which chivalry is said to have inspired in the middle ages. Thus their hearts and senses were left