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                  <text>Contests</text>
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                  <text>Sources that contain specific information about contests for women or girls.</text>
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              <text>The reference to sports is only indirect, but we know from other sources (especially archaeological ones) that the girls who served as bears at the festival of Artemis ran a race: see Valerius Harpokration, Lexicon in Decem Oratores Atticos s.v.  Ἀρκτεῦσαι (A235 Keaney) and s.v. Δεκατεύειν (Δ16 Keaney).  </text>
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              <text>WOMEN&#13;
And all ye fellow-citizens, hark to me while I tell         &#13;
What will aid Athens well.&#13;
Just as is right, for I&#13;
Have been a sharer&#13;
In all the lavish splendour&#13;
Of the proud city.&#13;
I bore the holy vessels&#13;
At seven, then&#13;
I pounded barley&#13;
At the age of ten,&#13;
And clad in yellow robes,&#13;
Soon after this,&#13;
I was Little Bear to&#13;
Brauronian Artemis;&#13;
Then neckletted with figs,&#13;
Grown tall and pretty,&#13;
I was a Basket-bearer,&#13;
And so it's obvious I should&#13;
Give you advice that I think good,&#13;
The very best I can.</text>
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              <text>Jack Lindsay, Lysistrata by Aristophanes, Sydney 1926.</text>
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              <text>Χορὸς Γυναικῶν&#13;
ἡμεῖς γὰρ ὦ πάντες ἀστοὶ λόγων κατάρχομεν&#13;
τῇ πόλει χρησίμων:&#13;
εἰκότως, ἐπεὶ χλιδῶσαν ἀγλαῶς ἔθρεψέ με.&#13;
ἑπτὰ μὲν ἔτη γεγῶσ᾽ εὐθὺς ἠρρηφόρουν:&#13;
εἶτ᾽ ἀλετρὶς ἦ δεκέτις οὖσα τἀρχηγέτι:&#13;
κᾆτ᾽ ἔχουσα τὸν κροκωτὸν ἄρκτος ἦ Βραυρωνίοις:&#13;
κἀκανηφόρουν ποτ᾽ οὖσα παῖς καλὴ 'χουσ᾽&#13;
ἰσχάδων ὁρμαθόν:</text>
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              <text>Frederick W. Hall/William M. Geldart (eds.), Aristophanes Commoediae, vol. 2, Oxford 1907. </text>
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                <text>Aristophanes, Lysistrata 638-647: the Arkteia in Brauron  </text>
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                <text>Comedy</text>
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            <name>Date</name>
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              <elementText elementTextId="25">
                <text>between 460 and 450 - 386 BCE</text>
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                <text>Aristophanes</text>
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        <name>Artemis</name>
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        <name>Maiden race</name>
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              <text>I am aware, too, that on one occasion there was a contest of beauty instituted among women. And Nicias, speaking of it in his History of Arcadia, says that Cypselus instituted it, having built a city in the plain which is watered by the Alpheus; in which he established some Parrhasians, and consecrated a plot of sacred ground and an altar to Ceres of Eleusis, in whose festival it was that he had instituted this contest of beauty. And he says that the woman who gained the victory in this contest was Herodice. And even to this day this contest is continued; and the women who contend in it are called Goldbearing. And Theophrastus says that there is also a contest of beauty which takes place among the Eleans, and that the decision is come to with great care and deliberation; and that those who gain the victory receive arms as their prize, which Dionysius of Leuctra says are offered up to Minerva. And he says, too, that the victor is adorned with fillets by his friends, and goes in procession to the temple; and that a crown of myrtle is given to him (at least this is the statement of Myrsilus, in his Historical Paradoxes). “But in some places,” says the same Theophrastus, “there are contests between the women in respect of modesty and good management, as there are among the barbarians; and at other places also there are contests about beauty, on the ground that this also is entitled to honour, as for instance, there are in Tenedos and Lesbos.</text>
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              <text>Charles D. Yonge, The Deipnosophists or Banquet of the learned of Athenaeus, London 1854. </text>
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              <text>οἶδα δὲ καὶ περὶ κάλλους γυναικῶν ἀγῶνά ποτε διατεθέντα: περὶ οὗ ἱστορῶν Νικίας ἐν τοῖς Ἀρκαδικοῖς διαθεῖναί φησιν αὐτὸν Κύψελον, πόλιν κτίσαντα ἐν τῷ πεδίῳ περὶ τὸν Ἀλφειόν: εἰς ἣν κατοικίσαντα: Παρρασίων τινὰς τέμενος καὶ βωμὸν ἀναστῆσαι Δήμητρι Ἐλευσινίᾳ, ἧς ἐν τῇ ἑορτῇ καὶ τὸν τοῦ κάλλους ἀγῶνα ἐπιτελέσαι: καὶ  νικῆσαι πρῶτον αὐτοῦ τὴν γυναῖκα Ἡροδίκην. ἐπιτελεῖται δὲ καὶ μέχρι νῦν ὁ ἀγὼν οὗτος, καὶ αἱ ἀγωνιζόμεναι γυναῖκες χρυσοφόροι ὀνομάζονται. Θεόφραστος δὲ ἀγῶνα κάλλους φησὶ γίνεσθαι παρὰ Ἠλείοις, καὶ τὴν κρίσιν ἐπιτελεῖσθαι μετὰ σπουδῆς λαμβάνειν τε τοὺς νικήσαντας ἆθλα ὅπλα: ἅπερ ἀνατίθεσθαί φησιν Διονύσιος ὁ Λευκτρικὸς τῇ Ἀθηνᾷ, τὸν δὲ νικήσαντα ταινιούμενον ὑπὸ τῶν φίλων καὶ πομπεύοντα ἕως τοῦ ἱεροῦ παραγίνεσθαι. τὸν στέφανον δ᾽ αὐτοῖς δίδοσθαι μυρρίνης ἱστορεῖ Μυρσίλος ἐν Ἱστορικοῖς Παραδόξοις. ἐνιαχοῦ δέ φησιν ὁ αὐτὸς Θεόφραστος καὶ κρίσεις γυναικῶν περὶ σωφροσύνης γίνεσθαι καὶ οἰκονομίας, ὥσπερ ἐν τοῖς βαρβάροις: ἑτέρωθι δὲ κάλλους, ὡς δέον καὶ τοῦτο τιμᾶσθαι, καθάπερ καὶ παρὰ Τενεδίοις καὶ Λεσβίοις:</text>
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              <text>Charles Burton Gulick (ed.), Athenaeus, The Deipnosophists, vol. 6 ( = Loeb Classical Library; 327), London 1937. </text>
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                <text>Athenaeus of Naucratis, Deipnosophistae 13.609e–610a: beauty contest for girls/women</text>
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                <text> 2nd/3rd century CE</text>
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                <text>Athenaeus of Naucratis</text>
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              <text>Thus Polemon; but he is contradicted by Didymus the grammarian (whom Demetrius of Troezen calls the "book-forgetter" because of the number of treatises — three thousand five hundred — which he has published). Didymus says: "Polycrates relates in his History of Sparta that the Spartans observe the ritual of the Hyacinthia for a period of three days, and because of the mourning which takes place for the death of Hyacinthus they neither wear crowns at the meals nor introduce wheat bread, nor do they dispense any cakes, with their accompaniments, and they abstain from singing the paean to the god (Apollon), and do not introduce anything else of the sort that they do at other festivals. On the contrary, they eat with great restraint, and then depart. But in the middle of the three-day period there is held a spectacle with many features, and a remarkable concourse gathers which is largely attended. Boys with tunics girded high play the lyre or sing to flute accompaniment while they run the entire gamut of the strings with the plectrum; they sing the praises of the god in anapestic rhythm and in a high pitch. Others march through the theatre mounted on gaily adorned horses; full choirs of young men enter and sing some of their national songs, and dancers mingling among them go through the figures in the ancient style, accompanied by the flute and the voice of the singers. As for the girls, some are carried in wicker carts which are sumptuously ornamented, others parade in chariots yoked to two horses, which they race, and the entire city is given over to the bustle and joy of the festival. On that day they sacrifice very many victims, and the citizens entertain at dinner all their acquaintances and their own servants as well. Not one misses the festival; on the contrary, it so happens that the city is emptied to see the spectacle. </text>
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              <text>Charles Burton Gulick, Athenaeus, The Deipnosophists, vol. 2 ( = Loeb Classical Library; 327), London 1928. </text>
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              <text>ταῦτα μὲν ὁ Πολέμων πρὸς ὃν ἀντιλέγων Δίδυμος ὁ γραμματικὸς—καλεῖ δὲ τοῦτον Δημήτριος ὁ Τροιζήνιος βιβλιολάθαν διὰ τὸ πλῆθος ὧν ἐκδέδωκε συγγραμμάτων ἐστὶ γὰρ τρισχίλια πρὸς τοῖς πεντακοσίοις—φησὶ τάδε: ‘ Πολυκράτης,’ φησί, “ ἐν τοῖς Λακωνικοῖς ἱστορεῖ ὅτι τὴν μὲν τῶν Ὑακινθίων θυσίαν οἱ Λάκωνες ἐπὶ τρεῖς ἡμέρας συντελοῦσι καὶ διὰ τὸ πένθος τὸ γινόμενον περὶ τὸν Ὑάκινθον οὔτε στεφανοῦνται ἐπὶ τοῖς δείπνοις οὔτε ἄρτον εἰσφέρουσιν οὔτε ἄλλα πέμματα καὶ τὰ τούτοις ἀκόλουθα διδόασι καὶ τὸν εἰς τὸν θεὸν παιᾶνα οὐκ ᾁδουσιν οὐδ᾽ ἄλλο τι τοιοῦτον εἰσάγουσιν οὐδὲν καθάπερ ἐν ταῖς ἄλλαις θυσίαις ποιοῦσιν, ἀλλὰ μετ᾽ εὐταξίας πολλῆς δειπνήσαντες ἀπέρχονται, τῇ δὲ μέσῃ τῶν τριῶν ἡμερῶν γίνεται θέα ποικίλη καὶ πανήγυρις ἀξιόλογος καὶ μεγάλη: παῖδές τε γὰρ κιθαρίζουσιν ἐν χιτῶσιν ἀνεζωσμένοις καὶ πρὸς αὐλὸν ᾁδοντες πάσας ἅμα τῷ πλήκτρῳ τὰς χορδὰς ἐπιτρέχοντες ἐν ῥυθμῷ μὲν ἀναπαίστῳ, μετ᾽ ὀξέος δὲ τόνου τὸν θεὸν ᾁδουσιν ἄλλοι δ᾽ ἐφ᾽ ἵππων κεκοσμημένων τὸ θέατρον διεξέρχονται: χοροί τε νεανίσκων παμπληθεῖς εἰσέρχονται καὶ τῶν ἐπιχωρίων τινὰ ποιημάτων ᾁδουσιν, ὀρχησταί τε ἐν τούτοις ἀναμεμιγμένοι τὴν κίνησιν ἀρχαικὴν ὑπὸ τὸν αὐλὸν καὶ τὴν ᾠδὴν ποιοῦνται, τῶν δὲ παρθένων αἱ μὲν ἐπὶ κανάθρων φέρονται πολυτελῶς κατεσκευασμένων , αἱ δ᾽ ἐφ᾽ ἁμίλλαις ἁρμάτων ἐζευγμένων πομπεύουσιν, ἅπασα δ᾽ ἐν κινήσει καὶ χαρᾷ τῆς θεωρίας ἡ πόλις καθέστηκεν. ἱερεῖά τε παμπληθῆ θύουσι τὴν ἡμέραν ταύτην καὶ δειπνίζουσιν οἱ πολῖται πάντας τοὺς γνωρίμους καὶ τοὺς δούλους τοὺς ἰδίους: οὐδεὶς δ᾽ ἀπολείπει τὴν θυσίαν, ἀλλὰ κενοῦσθαι συμβαίνει τὴν πόλιν πρὸς τὴν θέαν. </text>
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              <text>Charles Burton Gulick (ed.), Athenaeus, The Deipnosophists, vol. 2 ( = Loeb Classical Library; 327), London 1928. </text>
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                <text>Athenaeus of Naucratis, Deipnosophistae 4.139c–f: the Hyacinthia in Sparta</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Contests</text>
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              <text>So many honours were voted to him [Domitian] that almost the whole world (so far as it was under his dominion) was filled with his images and statues constructed of both silver and gold. He also gave a very costly spectacle, in regard to which we have noted nothing that was worthy of historic record except that maidens contended in the foot-race. After this, in the course of holding what purported to be triumphal celebrations, he arranged numerous contests. In the Circus, for example, he exhibited battles of infantry against infantry and again battles between cavalry, and in a new place he produced a naval battle. At this last event practically all the combatants and many of the spectators as well perished. For, though a heavy rain and violent storm came up suddenly, he nevertheless permitted no one to leave the spectacle; and though he himself changed his clothing to thick woollen cloaks, he would not allow the others to change their attire, so that not a few fell sick and died. By way, no doubt, of consoling the people for this, he provided for them at public expense a dinner lasting all night. Often he would conduct the games also at night, and sometimes he would pit dwarfs and women against each other. </text>
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          <description/>
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              <text>Earnest Cary/Herbert B. Foster, Cassius Dio Cocceianus, Dio's Roman History, vol. 8 (= Loeb Classical Library; 176) London/New York 1925.</text>
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              <text>καὶ τοσαῦτα αὐτῷ ἐψηφίσθη ὥστε πᾶσαν ὀλίγου δεῖν τὴν οἰκουμένην τὴν ὑπ᾽ αὐτὸν οὖσαν εἰκόνων αὐτοῦ καὶ ἀνδριάντων καὶ ἀργυρῶν καὶ χρυσῶν ἐμπλησθῆναι. ἐποίησε δὲ καὶ θέαν πολυτελῆ, ἐν ᾗ ἄλλο μὲν οὐδὲν ἐς ἱστορίαν ἐπίσημον παρελάβομεν, πλὴν ὅτι καὶ παρθένοι τῷ δρομικῷ ἠγωνίσαντο: μετὰ δὲ ταῦτα ἑορτάς τινας νικητηρίους δῆθεν ἐπιτελῶν ἀγῶνας συχνοὺς  ἐποίησε. τοῦτο μὲν γὰρ ἐν τῷ ἱπποδρόμῳ μάχας καὶ πεζῶν πρὸς ἀλλήλους καὶ ἱππέων αὖ συνέβαλε, τοῦτο δὲ καὶ ἐν καινῷ τινι χωρίῳ ναυμαχίαν ἐπετέλεσε. καὶ ἀπέθανον ἐν αὐτῇ πάντες μὲν ὀλίγου δεῖν οἱ ναυμαχήσαντες, συχνοὶ δὲ καὶ ἐκ τῶν θεωμένων: ὑετοῦ γὰρ πολλοῦ καὶ χειμῶνος σφοδροῦ ἐξαίφνης γενομένου οὐδενὶ ἐπέτρεψεν ἐκ τῆς θέας ἀπαλλαγῆναι, ἀλλ᾽ αὐτὸς μανδύας ἀλλασσόμενος ἐκείνους οὐδὲν εἴασε μεταβαλεῖν, καὶ ἐκ τούτου ἐνόσησαν οὐκ ὀλίγοι καὶ ἐτελεύτησαν.  ἐφ᾽ ᾧ που παραμυθούμενος αὐτοὺς δεῖπνόν σφισι δημοσίᾳ διὰ πάσης τῆς νυκτὸς παρέσχε. πολλάκις δὲ καὶ τοὺς ἀγῶνας νύκτωρ ἐποίει, καὶ ἔστιν ὅτε καὶ νάνους καὶ γυναῖκας συνέβαλλε.</text>
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                <text>Cassius Dio, Historia Romana 67.8: the Capitolia in Rome</text>
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                <text>164-235 CE</text>
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        <name>contest</name>
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        <name>Maiden race</name>
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        <name>race</name>
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              <text>There took place also during those days a gymnastic contest, at which so great a multitude of athletes assembled, under compulsion, that we wondered how the course could contain them all. And in this contest women took part, vying with one another most fiercely, with the result that jokes were made about other very distinguished women as well. Therefore it was henceforth forbidden for any woman, no matter what her origin, to fight in single combat. </text>
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            <elementText elementTextId="94">
              <text>Earnest Cary/Herbert B. Foster, Cassius Dio Cocceianus, Dio's Roman History, vol. 9 (= Loeb Classical Library; 177), London/New York 1914.</text>
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              <text> ἐγένετο δ᾽ ἐν ταύταις ταῖς ἡμέραις καὶ ἀγὼν γυμνικός, ἐν ᾧ τοσοῦτον πλῆθος ἀθλητῶν ἀναγκασθὲν συνῆλθεν ὥσθ᾽ ἡμᾶς θαυμάσαι πῶς αὐτοὺς τὸ στάδιον ἐχώρησε. καὶ γυναῖκες δὲ ἐν τῷ ἀγῶνι τούτῳ ἀγριώτατα ἁμιλλώμεναι ἐμαχέσαντο, ὥστε καὶ ἐς τὰς ἄλλας πάνυ ἐπιφανεῖς ἀπ᾽ αὐτῶν ἀποσκώπτεσθαι: καὶ διὰ τοῦτ᾽ ἐκωλύθη μηκέτι μηδεμίαν γυναῖκα μηδαμόθεν μονομαχεῖν.</text>
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          <name>Edition used</name>
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          <elementTextContainer>
            <elementText elementTextId="96">
              <text>Earnest Cary/Herbert B. Foster (eds.),  Cassius Dio Cocceianus, Dio's Roman History, vol. 9 (= Loeb Classical Library; 177), London/New York 1914.</text>
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                <text>Cassius Dio, Historia Romana 76.16.1: contest for women under Septimius Severus</text>
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        <name>contest</name>
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        <name>exercise</name>
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        <name>wrestling</name>
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              <text>Triolax: a dromos-agon for maidens </text>
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              <text>T1477: τριῶλαξ· ἀγὼν παρθένων δρόμου</text>
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              <text>Moritz Schmidt (ed.), Hesychii Alexandrini lexicon, Jena 1867.</text>
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          <name>Translation</name>
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              <text>Dionysiades: In Sparta maidens who compete in the dromos at the Dionysia&#13;
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              <text>Δ1888: Διονυσιάδες· ἐν Σπάρτῃ παρθένοι, αἱ ἐν τοῖς Διονυσίοις δρόμον ἀγωνιζόμεναι</text>
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          <name>Translation</name>
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              <text>Moritz Schmidt (ed.), Hesychii Alexandrini lexicon, Jena 1867.</text>
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                <text>Hesychius, Lexicon s.v. Νέαι: a category of participants in a unknown footrace</text>
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                <text>5th/6th century CE</text>
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                <text>Hesychius</text>
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        <name>race</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Contests</text>
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              <description>An account of the resource</description>
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                  <text>Sources that contain specific information about contests for women or girls.</text>
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              <text>To the holy Olympic Games there came well-born youths from every city and every land, competing under a vow, and they measured themselves against each other.&#13;
(…) &#13;
And there were also virgins, who were philosophers and attended under a vow of chastity: they fought and wrestled in bloomers, ran, performed declamations and recited certain Hellenic hymns. These women contended with women, competing fiercely in wrestling, running and recitation. And – as report has it – whenever one of them, be it a woman or a young man, was crowned as victor under the acclamation of the holy people, they remained chaste until the end of their life because immediately after the agon they received the sphragis and became a priest. The philosophizing virgins who received the wreath likewise became priestesses after the agon. And from there they all returned home. Those who owned landed property did not have to pay any taxes, but from the time of their being crowned their property remained untaxed, though only during the lifetime of the crowned person. And if they owned any workshops, then the workshops owned by the competitor remained untaxed – but only for the duration of their lifetime. So numerous were those who came to compete that their numbers were unparalleled, but those who happened to come according to a vow, whether young men or virgin girls, were all admitted. And at times a great multitude came, at other times not, according to the seasons and the sea winds.</text>
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              <text>translation by Alexander Meeus for the Cynisca project</text>
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            <elementText elementTextId="218">
              <text>Εἰς δὲ τὸν αὐτὸν ἱερὸν ἀγῶνα τῶν Ὀλυμπίων ἤρχοντο ἀπὸ ἑκάστης πόλεως καὶ χώρας νεώτεροι εὐγενεῖς κατὰ τάγμα ἀγωνιζόμενοι, καὶ ἐμέριζον αὑτοὺς κατέναντι ἀλλήλων.&#13;
(...)&#13;
ἦσαν δὲ καὶ παρθένοι κόραι φιλοσοφοῦσαι καὶ κατὰ τάγμα σωφροσύνης ἐρχόμεναι καὶ ἀγωνιζόμεναι καὶ παλαίουσαι μετὰ βομβωναρίων καὶ τρέχουσαι καὶ τραγῳδοῦσαι καὶ λέγουσαι ὕμνους τινὰς Ἑλληνικούς· αἵτινες γυναῖκες μετὰ γυναικῶν ἐμάχοντο ἀγωνιζόμεναι πικρῶς καὶ περὶ τὰ παλαίσματα καὶ περὶ τοὺς δρόμους καὶ τὸ φώνημα. καὶ εἴ τις ἐξ αὐτῶν εἴτε γυνὴ εἴτε νέος τοῦ ἱεροῦ, φησί, δήμου κράζοντος ἐστέφθη, ὁ στεφανούμενος ὡς νικητὴς σώφρων ἔμενεν ἕως τῆς τελευτῆς αὐτοῦ· ἐσφραγίζετο γὰρ εὐθέως μετὰ τὸν ἀγῶνα καὶ ἐγίνετο ἱερεύς. ὡσαύτως δὲ καὶ παρθένοι φιλόσοφοι αἱ στεφανούμεναι ἐγίνοντο μετὰ τὸν ἀγῶνα ἱέρειαι. κἀκεῖθεν ἀπεστρέφοντο πάντες. οἱ δὲ ἔχοντες κτήσεις χωρίων οὐ συνετέλουν ἀλλὰ ἀσυντελεῖς ἔμενον ἀφ’ οὗ ἐστέφθησαν ἡ κτῆσις αὐτοῦ τὸν χρόνον καὶ μόνον τῆς ζωῆς τοῦ στεφθέντος. εἰ δὲ καὶ ἐργαστηρίων τινῶν ἐδέσποζεν, ἀλειτούργητα ἔμενε τὸν χρόνον τῆς ζωῆς αὐτοῦ μόνου ἃ εἶχεν ἐργαστήρια ὁ ἀγωνισάμενος. τοσοῦτοι δὲ ἦσαν οἱ ἐρχόμενοι ἀγωνίσασθαι ὅτι οὐχ ὑπερεβάλλοντο ἀριθμῷ, ἀλλ’ ὅσους συνέβη ἐλθεῖν κατὰ τάγμα καὶ εἴτε νέους εἴτε παρθένους κόρας πάντας ἐθεώρουν. καὶ ποτὲ μὲν πλῆθος ἤρχετο πολύ, ποτὲ οὐκ ἤρχετο, πρὸς τοὺς χρόνους καὶ τοὺς ἀνέμους τῆς θαλάσσης.</text>
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          <description/>
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            <elementText elementTextId="219">
              <text>L. Dindorf (ed.), Ioannis Malalae chronographia, Bonn 1831.</text>
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                <text>Johannes Malalas, Chronographia 12.10: the Olympia in Antioch</text>
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                <text>Chronic </text>
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            <name>Date</name>
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              <elementText elementTextId="215">
                <text>ca. 490/500 - 570 CE</text>
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                <text>Johannes Malalas</text>
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        <name>contest</name>
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      <tag tagId="21">
        <name>Olympia</name>
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        <name>Olympic games</name>
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      <tag tagId="106">
        <name>priestesses</name>
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        <name>race</name>
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        <name>wrestling</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Contests</text>
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                  <text>Sources that contain specific information about contests for women or girls.</text>
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        <element elementId="190">
          <name>Source Type</name>
          <description>Physical type of source</description>
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            <elementText elementTextId="221">
              <text>Literary source</text>
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          <name>Translation</name>
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            <elementText elementTextId="224">
              <text>But I do demand that priests should withdraw themselves from the licentiousness of the theatres and leave them to the crowd. Therefore let no priest enter a theatre or have an actor or a chariot-driver for his friend; and let no dancer or mime even approach his door. And as for the sacred games, I permit anyone who will to attend those only in which women are forbidden not only to compete but even to be spectators. With regard to the hunting shows with dogs which are performed in the cities inside the theatres, need I say that not only priests but even the sons of priests must keep away from them?</text>
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        </element>
        <element elementId="192">
          <name>Translation used</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="225">
              <text>Wilmer C. Wright, Julian, Orations 6-8. Letters to Themistius, To the Senate and People of Athens, To a Priest. The Caesars. Misopogon (= Loeb Classical Library; 29), Cambridge, MA 1913.</text>
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            <elementText elementTextId="226">
              <text>ἀξιῶ δὲ τοὺς ἱερέας ὑποχωρῆσαι καὶ ἀποστῆναι τῷ δήμῳ τῆς ἐν τοῖς θεάτροις ἀσελγείας. μηδεὶς οὖν ἱερεὺς εἰς θέατρον εἰσίτω, μηδὲ ἐχέτω φίλον θυμελικὸν μηδὲ ἁρματηλάτην, μηδὲ ὀρχηστὴς μηδὲ μῖμος αὐτοῦ τῇ θύρᾳ προσίτω: τοῖς ἱεροῖς ἀγῶσιν ἐπιτρέπω μόνον τῷ βουλομένῳ παραβάλλειν, ὧν ἀπηγόρευται μετέχειν οὐκ ἀγωνίας μόνον, ἀλλὰ καὶ θέας ταῖς γυναιξίν. ὑπὲρ δὲ τῶν κυνηγεσίων τί δεῖ καὶ λέγειν, ὅσα ταῖς πόλεσιν εἴσω τῶν θεάτρων συντελεῖται, ὡς ἀφεκτέον τούτων ἐστὶν οὐχ ἱερεῦσι μόνον, ἀλλὰ καὶ παισὶν ἱερέων;</text>
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          <name>Edition used</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="227">
              <text>Wilmer C. Wright (ed.), Julian, Orations 6-8. Letters to Themistius, To the Senate and People of Athens, To a Priest. The Caesars. Misopogon (= Loeb Classical Library; 29), Cambridge 1913.</text>
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                <text>Iulianus Apostata, Fragmenta Epistolarum 304C-D: a late antique rejection of contests involving women</text>
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            <name>Date</name>
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              <elementText elementTextId="223">
                <text>332-363 CE</text>
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                <text>Iulianus Apostata</text>
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        <name>contest</name>
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        <name>spectators</name>
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