Apedusato

Jean-Joseph Benjamin-Constant, L'Impératrice Théodora au Colisée, ca. 1887
Jean-Joseph Benjamin-Constant, L’impératrice Théodora au Colisée (ca. 1887)

This is part 2 of 3. Part 1 is here. Part 3 is here.

Ἥσσων γάρ τις οὕτως ἡδονῆς ἁπάσης οὐδαμῆ γέγονεν, ἐπεὶ καὶ ἐς ξυναγώγιμον δεῖπνον πολλάκις ἐλθοῦσα ξὺν νεανίαις δέκα, ἢ τούτων πλείοσιν, ἰσχύϊ τε σώματος ἀκμάζουσι λίαν, καὶ τὸ λαγνεύειν πεποιημένοις ἔργον, ξυνεκοιτάζετο μὲν τοῖς συνδείπνοις ἅπασι τὴν νύκτα ὅλην· ἐπειδὰν δὲ πρὸς τὸ ἔργον τοῦτο πάντες ἀπείποιεν, ἥδε παρὰ τοὺς ἐκείνων οἰκέτας ἰοῦσα, τριάκοντα ὄντας, ἂν οὕτω τύχοι, ξυνεδυάζετο μὲν αὐτῶν ἑκάστῳ· κόρον δὲ οὐδ’ ὣς ταύτης δὴ τῆς μισητίας ἐλάμβανε. καί ποτε ἐς τῶν τινος ἐπιφανῶν οἰκίαν ἐλθοῦσα, μεταξὺ τοῦ πότου θεωμένων αὐτὴν, ὥς φασι, τῶν ξυμποτῶν ἁπάντων, ἐς τὸ προὖχον ἀναβᾶσα τῆς κλίνης, ἀμφὶ τὰ πρὸς ποδῶν ἀνασύρασά τε τὰ ἱμάτια, οὐδενὶ κόσμῳ, ἐνταῦθα οὐκ ἀπηξίωσε τὴν ἀκολασίαν ἐνδείκνυσθαι. ἡ δὲ κἀκ τριῶν τρυπημάτων ἐργαζομένη, ἐνεκάλει τῇ φύσει, δυσφορουμένη ὅτι δὴ μὴ καὶ τοὺς τιτθοὺς αὐτῇ εὐρύτερον ἢ νῦν εἰσι τρυπῴη, ὅπως καὶ ἄλλην ἐνταῦθα μίξιν ἐπιτεχνᾶσθαι δυνατὴ εἴη. καὶ συχνὰ μὲν ἐκύει· πάντα δὲ σχεδὸν τεχνάζουσα ἐξαμβλίσκειν εὐθὺς ἴσχυε. πολλάκις δὲ κἀν τῷ θεάτρῳ ὑπὸ θεατῇ παντὶ τῷ δήμῳ ἀπεδύσατό τε, καὶ γυμνὴ διὰ μέσου ἐγένετο, ἀμφὶ τὰ αἰδοῖα καὶ τοὺς βουβῶνας διάζωμα ἔχουσα μόνον, οὐχ ὅτι μέντοι ᾐσχύνετο, καὶ ταῦτα τῷ δήμῳ δεικνύναι, ἀλλ’ ὅτι ἐνταῦθα γυμνῷ παντάπασι παριέναι οὐδενὶ ἔξεστιν, ὅτι μὴ τῷ ἀμφὶ τοὺς βουβῶνας διάζωμα ἔχοντι. οὕτω μέντοι τοῦ σχήματος ἔχουσα, ἀναπεπτωκυῖά τε ἐν τῷ ἐδάφει, ὑπτία ἔκειτο. θῆτες δέ τινες, οἷς δὴ τὸ ἔργον τόδε ἐνέκειτο, κριθὰς αὐτῇ ὕπερθεν τῶν αἰδοίων ἐρρίπτουν, ἃς δὴ οἱ χῆνες, οἳ ἐς τοῦτο παρεσκευασμένοι ἐτύγχανον, τοῖς στόμασιν ἐνθένδε κατὰ μίαν ἀνελόμενοι, ἤσθιον. ἡ δὲ οὐχ ὅτι οὐκ ἐρυθριῶσα ἐξανίστατο, ἀλλὰ καὶ φιλοτιμουμένῃ ἐπὶ ταύτῃ δὴ τῇ πράξει, ἐῴκει. ἦν γὰρ οὐκ ἀναίσχυντος μόνον, ἀλλὰ καὶ ἀναισχυντοποιὸς πάντων μάλιστα. πολλάκις δὲ καὶ ἀποδυσαμένη ξὺν τοῖς μίμοις ἐν μέσῳ εἱστήκει ἐπὶ τῆς σκηνῆς λορδουμένη τε, καὶ τὰ ὀπίσω ἀποκεντῶσα, τοῖς τε διάπειραν αὐτῆς ἔχουσι, καὶ τοῖς οὔπω πεπλησιακόσι τὰ ἐκ παλαίστρας τῆς αὐτῇ εἰωθυίας βρενθυομένη.
(Procopius, Anecdota 9.16-23)

Never has there been a person so enslaved to lust in all its forms. She often went to the potluck dinner parties in the company of ten young escorts, or even more than that, all at the peak of their physical prowess and skilled at screwing, and she would bed down with her fellow diners in groups all night long. And when all were exhausted from doing this, she would turn to their servants, all thirty of them if that’s how many there were, and couple with each of them separately—but even this would not satisfy her lust. One time when she went to the house of a notable to entertain during drinks, they say that when the eyes of all the diners were upon her she mounted the frame of the couch by their feet and unceremoniously lifted up her clothes right there and then, not caring in the least that she was making a spectacle of her shamelessness. Even though she put three of her orifices to work she would impatiently reproach Nature for not making the holes in her nipples bigger than they were so that she could devise additional sexual positions involving them as well. She was often pregnant, but by using almost all known techniques she could induce immediate abortions. Often in the theater too, and with the entire populace as her audience, she would strip and stand naked at the very center of attention, having only a loincloth about her genitals and groin—not that she would have been ashamed to flaunt those before the whole city too, but only because it was not permitted for anyone to be entirely naked in the theater, that is without a loincloth about the groin. Wearing this outfit, then, she would lie down on her back and spread herself out on the floor whereupon certain menials, who were hired to do this very job, would sprinkle barley grains all over her genitals. Then the geese, which were trained for this purpose, pecked them off one at a time with their beaks and ate them. When she stood up again not only was she not blushing with shame but seemed rather to be proud of this performance. For she was not just shameless: she was also more accomplished than anyone else at devising shameless acts. Often she would take her clothes off and stand in the middle of the stage by the mimes, alternately bending backwards or drawing attention to her rear, advertising her special brand of gymnastics both to those who had more intimate knowledge of it and to those who did not—yet. (tr. Anthony Kaldellis)

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