The following dialogue between Socrates and Ischomachus, a man who had managed his household in such a manner as to be “pointed out as a model for all Athens,” perhaps serves as a correct picture of the relations existing between husband and wife in the Periclean age. “I should like to know this particular from you,” said Socrates, “whether you yourself educated your wife so as to make her what she ought to be, or whether you received her from her parents with a knowledge of her duties?”—“And how could I have received her so educated, Socrates, when she came to me not fifteen years old, and had lived up to that time under the strictest surveillance that she might see as little as possible, and hear as little as possible, and inquire as little as possible?” Of the five classes to which reference has been made, wives only were native-born, and as this particular class had specific duties to perform, severe penalties were attached to the crimes of seduction and rape when committed upon Athenian women. The remaining four classes were arranged according to the dignity of their associates, the highest in rank and repute being the hetairai, the members of which comprised the only free women in Athens. Themselves philosophers and stateswomen, their associates among males were of the same rank or station. They constituted a highly intellectual class, and as such were able to control not only their own movements, but to exercise a remarkable influence upon literature, art, and the affairs of state. Because of the important position occupied by these women, they will be referred to later in this work. The next in rank were the _auletrides_, or flute-players. Many of the most fashionable of these were slaves who had been brought to Greece by speculators. We are informed that female musicians were a usual accompaniment to an Athenian banquet, and that flute-playing became an essential feature in the worship of several of their deities; hence, the services of this particular class were in demand, not only to heighten the enjoyment of social intercourse, but to stimulate and encourage religious enthusiasm. At public gatherings, after the dinner was over, and while the wine was flowing freely, these women made their appearance in a semi-nude condition, dancing and keeping time to the music by the graceful motion of their beautifully moulded figures. While the enthusiasm was at its height they were sold to the highest bidder. Fist fights, or hand-to-hand encounters for the possession of these female flute-players, were not uncommon occurrences in the best society in Athens.[230] [230] _Athenæus_, book xiii.,