The Courtesan's Arts: Cross-Cultural Perspectives

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The Courtesan's Arts

Luis Berrueco (fl. 1727-1749), Encounter with Four Women. Municipal Hospital (Ex-Convent of San Juan de Dios), Atlixco, Puebla, Mexico. Courtesy of the Honorable Town Council of Atlixco. Berrueco's aurally evocative painting depicts St. John of God in a sumptuous bedchamber beseeching four courtesans to leave their profession. The asceticism of the sixteenth-century Portuguese saint, who kneels on the floor wearing only a brown cloak and clutching rosary beads, contrasts sharply with the luxury of the courtesans, whose trappings include clothing made of colorful fabric, pearl bracelets and other jewelry, mirrors, beauty spots, a carpet, and a dressing screen. As a negrita servant watches in exasperation, the saint's chanted prayers seem to interrupt a session of music-making in which the courtesans had been playing the Spanish harp and guitar, probably as accompaniment to singing. Ironically, the saint's state of undress, coupled with the particularly luxuriant bed, alludes to the sexual basis of courtesanry while his asceticism highlights the courtesans' acquisition of the art objects and wealth. Following Novohispanic custom, a caption in the corner uses rhyming verse to explain the scenario.

The Courtesan's Arts Cross-Cultural Perspectives

Edited by Martha Feldman and Bonnie Gordon

OXFORD UNIVERSITY PRESS 2OO6

OXPORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam

Copyright © 2006 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The courtesan's arts : cross-cultural perspectives / edited by Martha Feldman and Bonnie Gordon. p. cm. Includes bibliographical references and index. ISBN 978-0-19-517028-3; 978-0-19-517029-0 (pbk.) i. Courtesans—History—Cross-cultural studies. I. Feldman, Martha. II. Gordon, Bonnie, 1968HQui.C682oo6 3o6.74'2!o862i—dc22 2005047340

4 6 8 9 7 5 3 Printed in the United States of America on acid-free paper

For Emily and Rebecca and Rebecca and Jonathan

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Acknowledgments

book realizes a dream of many years' standing. We have first to thank the tThis Women's Board of the University of Chicago for making it possible. They gave their most generous support to the project at the conference stage and again at the publication stage. Without their help we could never have done this book in style. Our heartfelt thanks are owed to all of them, as well as to Gretel Braidwood, of Development at the University of Chicago. We have many others to thank for support in kind. The State University of New York at Stony Brook contributed crucial collaborative support toward making the CD insert, as did the Music Department of the University of Chicago. Critical funding toward the conference that brought together the authors included in this volume was provided by the Roger Weiss and Howard Mayer Brown fund of the Department of Music at the University of Chicago, along with funding from the Adelyn Russell Bogert Fund of the Franke Institute for the Humanities, the Committee on South Asian Studies, the Dean of the Humanities, and the Newberry Library Consortium Committee, all of the University of Chicago. Our special thanks to Thomas Christensen and Robert L. Kendrick, past and present chairs, respectively, of the Department of Music at the University of Chicago, as well as the Dean Emeritus of the Humanities Division, Janel Mueller, and the Chair of the Music Department at SUNY Stony Brook, Jody Lochhead. Martha Feldman's work on the volume was partially supported by a grant for University Teachers from the National Endowment for the Humanities and from the Humanities Division of the University of Chicago, and Bonnie Gordon's likewise by the Bunting Institute of Radcliffe University. Our editorial assistants helped shorten the making of this book. Martha Feldman's Research Assistant Drew Edward Davies worked with great intelligence through all the early and middle editorial stages of this volume. Cordelia Chenault, Bonnie Gordon's Research Assistant at Stony Brook, lent invaluable assistance on the CD and illustrations. Additional thanks go to Deborah Heckert, who worked with Bonnie on earlier editorial stages, and especially to Shawn Marie Keener, who worked

viii Acknowledgments

tirelessly with Martha at the conference stage, wrote a wonderful program essay for the concert of the Newberry Consort, created our website, and stepped in again with great energy and intelligence at the stages of manuscript submission and copyediting. Meredith Ray, our Program Assistant for the conference and now Assistant Professor of Foreign Languages and Literatures at the University of Delaware, was our ace in the hole throughout all the critical phases of conference planning and execution. Special thanks are due to the Newberry Consort for its superlative work in consuiting with Martha Feldman and her seminar, putting together a beautiful concert on April 5, 2002 for the conference, giving permission to include performances on the CD included here, and recording other examples separately on short notice. In particular we want to thank the Consort's Director and gambist, Mary Springfels, soprano Ellen Hargis, and violinist David Douglas, as well as harpsichordist David Schrader, lutenist John Lenti, and gambists Craig Trompeter and Ken Perlow. Past managers of the Consort, Fred Liese and Alex Bonus, were helpful through many stages of this project, and most especially has been the present Manager Ken Perlow, who oversaw arrangements for a recent recording of examples for the CD. Our most vigorous thanks to the brilliant grand master of kathak dance, Pandit Chitresh Das, Artistic Director of the Chitresh Das Dance Company, and his principal dancer Jaiwanti Pamnani, for a stunning performance-demonstration of kathak dance on April 6, 2002. We give special thanks also to Andrew Natoli for his skilled mastering of the CD. Kelly Foreman helped immensely with locating audio examples, and Miki Keneda, Miho Matsugu, and Janis Mimura helped with various translation issues. The Law Office of Linda Mensch, P.C., as well as Norm Hirschy, Editorial Assistant for Music at Oxford University Press, helped greatly with obtaining permissions for the CD examples. Carla Zecher of the Center for Renaissance Studies at the Newberry Library was a linchpin in staging the conference that led to this volume. We wish to thank her most particularly as well as the staff of her Center. We are extremely grateful to those who read the manuscript or portions of it at various stages. Especially encouraging were the initial readers for Oxford University Press, Jane A. Bernstein and an anonymous reader. Judith T. Zeitlin consulted with us repeatedly at all stages in developing the project, which included critical advice on assembling the participants and commenting on the Introduction. Norma Field and Christopher A. Faraone consulted with us often about possible contributors and intellectual directions. Dorothy Ko also consulted with us during the earlier stages of the project. Also invaluable was the extensive reading and advice of our partners, Patricia Barber and Manuel Lerdau. We also thank Patricia for bringing her expertise as a producer and recording artist to our editing of the CD insert. Martha Feldman wishes to thank all of the members of her research seminar on "The Courtesan's Voice in Early Modern Italy," including Lyndal Andrews, Drew Edward Davies, Dawn De Rycke, Justin Flosi, Shawn Marie Keener, and Courtney Quaintance. Keener's fine essay, "Virtue, Illusion, Venezianita: Vocal Bravura and the Early Cortigiana Onesta," was sought out by another volume, now published, Musical Voices of Early Modern Women: Many-Headed Melodies, ed. Thomasin K. LaMay (Aldershot: Ashgate, 2005).

Acknowledgments

ix

We owe additional thanks to session chairs Kyeong-Hee Choi, Assistant Professor, East Asian Languages and Civilizations, the University of Chicago; Joan Erdman, anthropologist and performing arts scholar at Columbia College and Research Associate in the Committee on South Asian Studies at the University of Chicago; James M. Redfield, Professor of Classics; and Elissa Weaver, Professor of Romance Languages and Literatures, both of the University of Chicago. Robert Kendrick and Chika Kinoshita contributed fine papers for the conference but were not able to contribute to the volume. The administrator of the Music Department at the University of Chicago, Kathy Holmes, provided tireless administrative and budgetary support. Our thanks to her for always making the impossible possible, with sweetness and humor. The musical examples were expertly prepared by Drew Edward Davies and the index equally so by Melissa Reilly. Many people traveled long distances to attend the conference as auditors, among them Mary C. Dalton, Kelly Foreman, Eugenic Giusti, and Sheila Schonbrun. We were moved by their special efforts and commitment. Finally, our warmest thanks to Kim Robinson, Music Editor at Oxford University Press, New York, at the time we contracted this book, who believed in it from the beginning, and her expert Editorial Assistants, Eve Bachrach and later Norm Hirschy, as well as other members of the Oxford team, including Bob Milks, Senior Production Editor, and Suzanne Ryan, the new Music Editor. It is impossible to express enough our gratitude to Bonnie Blackburn, who embraced this project completely and transcended the notion of copyeditor. We often wondered how she could possibly know so much, and thanked the heavens for having her and (less officially) her classicist husband, Leofranc Holford-Strevens, on our project.

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Contents

List of Figures

xv

List of Music Examples xix A Note about Languages xxi Contributors

xxiii

Introduction 3 Bonnie Gordon and Martha Feldman PART ONE

Spectacle and Performance

i. Making a Spectacle of Her(self): The Greek Courtesan and the Art of the Present 29 James Davidson 2. Cutting a Good Figure: The Fashions of Venetian Courtesans in the Illustrated Albums of Early Modern Travelers 52 Margaret F. Rosenthal 3. "Notes of Flesh" and the Courtesan's Song in Seventeenth-Century China 75 Judith T. Zeitlin PART TWO

A Case Study: The Courtesan's Voice in Early Modern Italy

Introduction 103 Martha Feldman 4. The Courtesan's Voice: Petrarchan Lovers, Pop Philosophy, and Oral Traditions 105 Martha Feldman

xii Contents 5. On Hearing the Courtesan in a Gift of Song: The Venetian Case of Gaspara Stampa 124 Daw n De Rycke

6. On Locating the Courtesan in Italian Lyric: Distance and the Madrigal Texts of Costanzo Festa 133 Justin Flosi

7. On Music Fit for a Courtesan: Representations of the Courtesan and Her Music in Sixteenth- Century Italy 144 Drew Edward Davies

PART THREE

Power, Gender, and the Body

8. Royalty's Courtesans and God's Mortal Wives: Keepers of Culture in Precolonial India 161 Doris M. Srini 137, 141-42 n. 23, 204 Gli asolani, 105 Benares, 333 benjo, 340, 341, 344 Bentivoglio, Enzo, 191 Betussi, Giuseppe, 11 raverta, 107 bhakti, 337-38, 367 Bharata, Natyam, 176 Bharati, Sajan, 344 Bhatt, Mahesh, 332, 340 bhav, 321 Bhojpuri dialect, 335, 342 folk music, 335, 338, 343 Bible, The, 187 Big River Bridge. See Azuma Bridge BindumatI, 170 biradri, 334 Boar's-Tusk Boat, 258, 259, 267, 271, 276 Boccaccio, Giovanni, Decameron, 285 Boddhidarma, 259, 275 Boddhisattva, 13, 264 body dualism, 13, 118 effects of love on, 13, 182, 183-84, 212 experience through the, 169 and menstruation, 187 negative representations of, 199 physiology, 10, 20, 182, 186-87, 193-94 and sexual disease, 20, 22, 200, 205, 244, 249, 250 n. 12 Boethius, 126 bol banao, 338, 368 Bossinensis, Franciscus, 111-12 Bossier, Beverly, 75-76 Bottegari, Cosimo, "Bottegari Lutebook," no, 112, 357 Botticelli, Sandro (Alessandro Botticelli), 29 Boulanger, Gustave, 30 boys, 16, 32, 38, 214, 216, 227. See also homosexuality brahmacarin, 166 brahman, 163, 166

Index Bridge of Two States (Ryogoku-bashi), 259, 260 Brunetti, Orazio, 116 Bruni, Leonardo, 189 Buddha, 170, 258—59, 276 Buddhism, 166, 170—71, 255, 258—59, 264, 275, 302, 363

Buddhist Verses of the Eldresses, The (Thengatha) , 170

Burton, Joan, 213 Caccini, Giulio, 113, 194 Calcutta, 318, 333 Calmo, Andrea, 113-14 Calvinism, 60 Cambio, Perissone, 19, 124-27, 131. See also Stampa, Gaspara lo mi son bella e cruda, 127-28 Nel partir del mio ben sipart'amore, 127, 128-30, 356-57, track 5 Non di terrestre donna il chiaro viso, 115—16 Se mai crud'a mei dolci pensieri, 127 Canal, Filippo da, 283 Cantate, ninfe leggiadrette e belle (Marenzio), 358-59, track 8 cantatrice, 113, 125 canti carnascialeschi (canto carnascialesco) , 134, 205

"Canto di giovani impoveriti per le meretrici" (Grazzini), 205 canzone, 116, 146, 148, 155, 204 Canzoniere (Petrarch), 204 Cardano, Girolamo, 187 Caron, Francois, 228 carnival song. See canti carnascialeschi cartolerie, 67 Casa delle Zitelle, 192 Casa, Giovanni della, 284 Casola, Pietro, 69, 137 cassette industry, 338 caste. See also status brahman, 166 cheonmin, 296 courtesan, 175, 333 entertainment, 77, 314, 324, 339, 343 ruling, 166 system, n, 170 Castiglione, Baldassare, II cortegiano (The Courtier), 18, 108, 189, 284, 285 castita. See chastity Catalogo de tutte le principal et piu honorate cortigiane di Venetia, 202 Categories of Flowers, 87 Catholicism, 33, 147, 187, 191, 192, 291 n. 10 Celestial Air Played Anew, The (Feng), 91-92 cKaiti, 322 Chandra, Tanuja, 332, 340 changgo, 302 changnyeo, 297 chanson, 146—47, 191, 192 charis, 45-46 Charixena, 217 Charmides (Plato), 32 chastity, 10, 164, 188-89, J 9 2 > !93 chaudhrayin, 314, 315 cheez, 346 Cheke, John, 60 Chelidonion, 216 Cheng, 303 cheob. See concubine

383

Chiare fresche e dolci acque (Arcadelt), 116, 118, 355-56, track 4 "Chiare fresche e dolci acque" (Petrarch), 116-18, 125, 356, track 4 Chiaro e famoso mare (Stampa), 116-18, 355-56, track 4 children. See family China, 12 early modern, 14 imperial, 10, 14, 17 Japanese invasion of, 246 Cinthia (Porta), 149 Chitresh Das Dance Company, 4 Chobunsai, Eishi, 270, 271, 274 The Topsy Turvy Pine, 262 cithara, 38, 40, 217 city. See also urbanization appearance of, 275 early modern, 6, 56 as performance center, 338 polis (see polis)

relation to courts, 103, 148 Renaissance, 290 n. 4 rivalries, 281 states, Italian, 17 Classical Verse by Renowned Women (Wang Duanshu), 85-86 Classic of Whoring, The, 77, 99 n. 78 clients, 154, 229, 244, 282, 299, 323, 333, 337. See also patronage catering to, 239, 323 elite, 173, 232, 280, 296-97, 318-19 international, 301, 303 literati, 75-77, 84, 87 lower-class, 16, 246 merchant, 75, 319 middle-class, 16, 224, 245, 297 military (see military) participation in performance by, 148 religious, 166 royalty, 166 Clinias, 216 Clizia, La (Machiavelli), 146, 287—89, 292 n.23 Clothing Slope, 269, 275 Collatino, Count, 115 commoditization. See also payment of the body (see also slavery): as capital, 13, 188, 223, 231-32, 284; controlled by patrons, 191; exceeding, 10; marketing, 192 of services, 22, 202, 244, 246: artistic skills, 40, 191, 228-29 of sex (see also prostitution): commercialized, 244, 299; cost of, 40; as a product, 36—37, 192, 202, 224, 228-29, 246, 282; status as, 204 trapped in, 47 of voice, 194 competition for lovers, 212—16, 322 at symposia, 216-17 composition contrafacture, 84-85, 95 by formula, 84, 86-87, 109, 116, 150, 356, 358 (see also modi) methods, 12, 85, 86, 94 (see also counterpoint) style, 128-31, 147, 152-53, 154-55, 356, 358 concerto delle donne, 190—91, 359 concubine, 77, 227, 228, 296, 297 Consort of Musicke, The, 358-59, track 8 Contarini, Santo, 283

384

Index

convent, and singing nuns, 191 conversation bawdy, 229 skill at, 45, 119, 217, 218, 233, 239, 302, 303, 324 Coomaraswamy, A. K., 176 Cornaro, Caterina, 106 Corner, Benedetto, 202 cortegiano, II (The Courtier) (Castiglione), 18, 108, 189, 284, 285 cortigiana, 7, 52-74, 103-57, 182-208, 280-92 onesta, 5, 17, 71, 103, 133, 140, 146, 147, 154 cortigiana, La (Aretino), 149 Cosi estrema la doglia (Festa), 135-37 "Cos! estrema la doglia" (Gambara), 135-37, i42n n. 27-28 costume. See dress counterpoint, 129-31 Counter-Reformation, 18, 108 court, 18, 108, 148, 191, 297, 298, 300 "holding" of, 312, 315, 318, 320, 321, 340, 342 nature of, 14, 103, 284, 296 performance at, 7, 18, 296, 312, 313, 316, 318, 322, 324 royal, 9, 162, 175 tropes of, 20 courtesan, definition of, 5—7, 31, 202, 334 courtesan culture. See culture courtier, 103, 108, 316 relationship to courtesans, 7, 103 "cultural capital," 324, 328 Cultural Property Protection Law, 305 culture courtesan, 3, 6, 13, 75, 86, 146, 231, 270 elite: display of, 283; emulating, 18, 315; entertainment for, 81, 84, 301, 312, 321; practiced by courtesans, 75, 145, 154-55, 342 popular (see also popular music), 105, 155, 298-99, 306, 308 tensions in, 5, 147 traditional, 175, 241 Cupid, 105 currency artistic and intellectual, 5 in love, 240 Cyrene, 41 dadra, 319, 321, 322, 338, 343, 367, 368 Daimyo, 227, 263, 275 damigella, 133 dance ancient Greek, 36, 40 ballo, 149, 150 classical Japanese, 226, 228, 229, 233-34, 239, 241, 244, 247 couples, 301-2 folk, 302, 342 Kathak, 4, 161 miming, 41, 319, 321 nach ("nautch"), 176, 178, 318, 319 (see also antinautch movement) pavana, 108 ritual, 169, 172-73 rosina, 108 and seduction, 185 and singing, 312, 316, 321, 337, 339 Western, 247 Dandolo, Marco, 283 danna, 226, 238 Dante. See Alighieri, Dante darbar, 322

"D'ardito cavalier non e prodezza" (V. Franco), 137 Das, Chitresh, 4 Das, Nagari. See Singh, Raj dasT, 162—63 Dasi, Binodini, 173-74 My Life as an Actress, 174 M)» Story, 174 Dasi, Kali, 335, 344, 367 Davidson, James, 5, 8, 16, 20, 77, 216, 218 Davies, Drew Edward, 5, 13, 19, 85, 104 Davis, Natalie Zemon, 288 Decameron (Boccaccio), 285 dedications, 115, 124—27 Dedoyard, Berthe, 149 defamation, 20, 140, 189, 205—6 private, 200, 202 public, 199-200, 201 published, 108, 199, 360 Deipnosophistae (Athenaeus), 216-17 Delhi, 318, 325, 333, 347. See also New Delhi Del Nero, Francesco, 139 Delvaux, Paul, Phryne before Her Judges, 30 Demetrius (Plutarch), 34 Demosthenes, 42 Derrida, Jacques, 133 De Rycke, Dawn, 9, 19, 53, 104, 133, 144, 150, 357 Desai, Devangana, 164 devaddsi clients, 166 performance, 14, 162, 168, 175, 319, 334 power of, 13, 19-20, 172 Puri, 169, 170, 171—72 rituals, 169-70, 172 services, 6, 164 development, sexual, 32, 165, 240, 286 Devi, Aruna, 332, 335, 337-38, 340, 342-47, 367-68, track 17 Devi, Baby, 344 Devi, Chandni, 332~33. 335, 337> 34°, 342~43> 366-67, track 16 Devi, Savita, 313 Devi, Siddeshwari, 313 dharma, 165, 170 dhrupad, 319 Dialogo (Aretino), 186, 199 Dialogo della infinitd d'amore (Aragona), 107-8, 183-84 Dialogo della musica (Doni), 108, 190, 200 Dialogo dello Zoppino, 199 dizi, 83, 85 Dolce, Lodovico, 192 Gli istitutioni delle donne, 188 Dolce mio ben, dolce colomba mia (Donate), 113, 354-55, track 3 Dolfm, Luigi, 280-81, 284-85, 286 domna, 135 donations, 172 Donato, Baldassare (Baldissera Donata), Secondo libro de madrigali a quattro voci, 355: Dolce mio ben, dolce colomba mia, 113, 355, track 3 Doni, Antonfrancesco, Dialogo della musica, 108, 190, 200 donna, n, 133, 134, 135 donna angelicata, 105, 200 donna da bene, 133, 134, 151 Donna, frapiu bei volti honesti (Arcadelt), 203, 360—61, track 10 donzella, 57 Douglass, David, 354. See also Newberry Consort dowager, 224. See also grand dowager

Index Downer, Lesley, 5, 8, 9, 15, 21—22, 24 drama comic, 37, 212 commedia alia bulesca, 202 commedia dell'arte, 149, 150, 151 commedia erudite, 149 historical, 92—93 intermedi^ 149 kabuki, 226, 228, 229, 233, 241, 361 (see also kabuki) madrigal comedy, 150-55 no, 266 Noh, 233 dress books of, published, 53, 63—65, 70—71 codes: manipulation of, 9, 52, 56, 58-59, 61, 184-85; reflecting status, 17, 52-54, 57, 60-63, 71, 144, 147-48, 192, 229, 240 concealing identity, 268—70, 327 costs, 57, 59, 63 cross-dressing, 10, 35, 67, 149, 213, 218, 226 as a cultural symbol, 15-16, 54-56, 65, 67-69, 241, 303 of devaddsi, 169 displaying wealth, 210 importance of, 43, 235 and individual style, 17, 53, 66, 236 as part of a role, 236, 239 trends, 47, 52-53, 56-58, 64, 66, 153, 270, 303 Dubois, Abbe, 161-62, 164, 175 Hindu Manners, Customs, and Ceremonies, 162 du qu, 84—85, 97 n. 34 Duro e il partito dove mastringete (Festa), 140-41 East India Company, 228, 316 Edo (later Tokyo), 223, 228, 229, 244, 255-79, 255-61, 265-67, 270, 273-75 Edo Period, 8, 14, 22, 255, 362 education apprenticeship, 233—35 "brotherhoods" (bradri), 324 dance, 163, 232, 233-35, 334 extensive, 5, 7, 8, 43, 162—63, 189, 216—17, 239 limited, 174, 189 literacy, 43, 44, 84, 163 musical: hereditary (see hereditary order); identical for men and women, 81; instrumental, 39, 163, 234-35; lessons, 92-94, 145, 214; nontraditional, 247, 325; singing, 163, 315, 323; traditional, 232, 334 oratory, 43 techne, 40 Einstein, Alfred, 113, 116, 118, 134, 137, 355 Elegant Collection ofKun^Style Songs, An (Zhou), 91 emancipation, 295, 325 embodiment, 321 empowerment, 320, 333, 335, 344, 345, 348 entertainment elite, 15, 21, 223, 304, 312, 315 prints of, 227 private, 297 professional: and geisha, 224, 228-31, 238, 241, 243; and gisaeng, 295, 296, 299, 308; and tawa'if, 316, 320, 339 troupes, 296, 297, 317 Epitrepontes (The Arbitration) (Menander), 38 erastes, 212, 213, 216, 218 eroticism, 33, 40, in, 169, 192, 231, 235-36, 239, 241, 247-48 and magic (see magic)

385

and music, 78, 183, 188, 194, 247, 324, 337 and poetry, 168, 217 Este, Alfonso d', 190—91 ethnography, reflexive, 24, 224-26, 317, 320 ethnography fieldwork in India, 24, 169, 173, 314-15. 3 2I > 324> 333~42> 344—48: recordings 364, 366—68, track 15, track 16-17 in Korea, 23, 295 in Japan, 5, 224, 232, 238, 239 eungeunja (eun'gunja), 297 Euripides, 41, 43, 216 Euthymides, 214, 216 Evelyn, John, 67-69 exchange. See also commoditization bodily, 182 of body and soul, 13 (see also Neoplatonism) economic, 282 of favors, 46, 77, 203, 204, 284 forms of, 12, 194, 297 network, 8 social and political, 6 exoticism male fantasy, 22, 209 Western fantasy, 16, 22, 35, 224—25, 228, 239—40 exploitation in India, 313, 338, 341, 345, 349 n.ij in Japan, 228, 243, 249, 291 n.i6 in Korea, 309 Facoli, Marco, 148—50 11 secondo libro d'intavolatura di balli d'arpicordo: Aria da cantar terza rima, 150; Aria della commedia, 149; Aria della commedia novo, 149; Aria della Signora Ortensia, 149 Faiz, Ahmed Faiz, 367, track 16 family. See also hereditary entries; marriage background, 231, 232, 296 children, 17, 172 illegitimate, 226, 317 legitimate, 227 daughters, 166, 192, 270 of cortigiane, 152-53, 199 of ganika (ganika), 171 of geisha, 237 of gisaeng, 296 of tawa'if, 317, 318, 332, 335, 344 extended, 314-15, 324, 327 fathers, n, 226, 238, 326, 337 lack of, ii, 325 legitimation, 326 mothers, 192, 270: cortigiana, 152—53, 199; ganika (ganika), 171; geisha, 226, 233, 237-38, 244; gisaeng, 296; tawa'if, 317, 318, 326—27, 332, 335. 344 protection, 190 and social norms, 173, 232, 237, 266, 307 sons, 238 Faraone, Christopher A., 8, 20-21 farmaish, 322 Farsi, 317 fashion. See dress Fazl, Abu'l, 316 Feast of the Ascension. See Venice Feast of the Immaculate Conception, 147 Feldman, Martha, 4, 9, 17, 18, 19, 20, 22, 85, 144, 150, 202 femininity, 135, 172, 239, 307-08 courtesan as symbol of, 35—36, 201, 241 of the voice, 80, 92

386

Index

feminist activism, 314, 319, 325, 343. See also history feminist scholarship, 9, 25 n.6, 31, 34, 183, 239, 320, 348. See also history Fenaruolo, Girolamo, 108 Feng Menglong, 90-92 The Celestial Air Played Anew, 91-92 Hanging Branches, 91 Mountain Songs, 91 Feng Xi, 91 Ferand, Jacques, 187 fertility, 166-67, J68, 169-70, 187 Festa, Costanzo, n, 19, 137 madrigal books, 133: II vero libro di madrigali a tre voci (1543), 134, 141 n. 6, 134 madrigals: Amor ben puoi tu hormai, 140; Cosi estrema la doglia, 135-37; Duro e il partito dove m'astringete, 140-41: Madonna, al volto mio pallid'e smorto, 135; Madonna, io v'ame taccio, 135; Madonn', il vostr'orgog/io, 134-35; Madonn', io son un medico perfetto, 134; Nasce fra I'herbe, 140; Non mi par che sia vero, madonna mia, 141 n. io; Ogni belta, madonna, ch'io veggio, 134; Se i sguardi di costei, 141 n. 9 festivalization, 14, 24, 333, 336, 340. See also Guria Festival of Poseidon, 29, 32-34, 48 feudalism, 6, 12, 23—24, 135, 312-18, 320, 323-24, 335. See also patronage Ficino, Marsilio, 106, 183. See also Neoplatonism Fiorentina, Alessandra, 137 Fiorentina, Barbara. See Salutati, Barbara Floating World. See also Yoshiwara literature, 256, 266-68, 270—71, 273-76 prints, 229, 256-57, 259, 270-73, 275 Florence, 280-81 Florigerio, Sebastiano, 148 Flosi, Justin, 5, n, 19, 104 flute, 80, 83, 233-34, 3°2 folk music, 89-90, 297, 298, 300-6, 338, 362 Foal-form Hall (Icomagata-do), 264, 269 Fonte, Moderata, 190 On the Worth of Women, 183-84 Fortuna, 289 France, nineteenth-century, 7, 30 Franco, Giacomo, 154 Habiti d'huomeni et donne venetiane, 144-45: "Abito delle cortegiane prencipale," 144 Franco, Niccolo, 200 Franco, Veronica, 9, io, 65, 115, 190-93, 199 admirers of, 183-84, 192-93 capitoli, 137 "D'ardito cavalier non e prodezza," 137 and the Inquisition, n "I will make you taste the delights of your love," 193 "Non piu parole: ai fatti, in campo, a Parmi," 137, 357—58, track 6 performances, 192 poetic skill, io, 192-93 reputation, 9, 190, 192, 217 in youth, 152-53 fresco, 164 friendship, 45-46, 173, 210, 219 n.8, 233 Frogs (Aristophanes), 41 frottola, 112, 148 fue, 235 Fujime Yuki, 245 Fukita Kichiji, 361 fukujin (Lucky Gods), 270, 273 Fuller, Mrs., 320

galat, 347 j'agah, 347 Icam, 335, 343 Galenic discourse, 20, 182, 186. See also body Gambara, Veronica, "Cos! estrema la doglia," 135—37, i42n n. 27-28 gane-bajane vale, 343, 346 Ganguly, Rita (Rita Ganguli), 325 ganikd (ganika), 5, 6, 14, 19, 162—63, 166, 168, 169, 170-71 Garzoni da Bagnacavallo, Tomaso, 185 Gay Science, The (Nietzsche), 133 geisha, 5, 7, 14, 16, 21-22, 223-42, 243-52, 271 backgrounds, 231, 232 city, 224, 229, 232, 239 definition, 223, 243 districts, n, 224, 231, 236, 238, 244 hierarchy, 224, 233, 244, 246 hot spring (spa resort), 224, 231-32, 246-49 male, 229 performance of classical Japanese music, 226, 233-34, 2 4i> 243. 298 training, 225, 232-35, 240 geisha house (olcrya), 231-33, 235, 237-38, 244 gender roles commentary on, 337 normative, u, 118, 135, 209, 213, 319 Gerome, Jean-Leon, 47 Phryne devant le tribunal, 30 Gesualdo, Carlo, 152, 154 gharana, 347 ghazal, 318, 319, 321, 322, 326, 332, 335, 337, 364-67, tracks 14—16 text, 342, 343 Giacosa, Giuseppe, 225 ginyeo, 297 gioventu, 286, 287 Giraldi, Giovanni Battista, 185 Girard, Rene, 205 gisaeng, 5, 15-16, 23, 295-311 backgrounds, 296, 307 decline of, 299, 303, 304, 306, 308 hierarchy, 15, 297, 302, 310 n.i3 houses, 302, 303 as national symbols, 295, 296, 306, 308 restaurants (gisaengjib or ^ojeong), 301 schools, 16, 298, 299, 300, 304, 306 Glauce of Ceos, 41, 217 globalization, 14, 336, 339 Gnesippus, 41 goddess, courtesan as, 29, 34, 118, 134, 147, 169-70, 172 Gogh, Vincent Van. See Van Gogh, Vincent Golden, Arthur, Memoirs of a Geisha, 236 Gong Muxi, 92 Gordon, Bonnie, io, 20, 23, 106 Goryeo Dynasty, 296 grand dowager, 224. See also dowager Gravdal, Kathryn, 135 Grazzini, Antonfrancesco, 204 "Canto di giovani impoveriti per le meretrici," 205 Great Gate, 256, 269, 270 Greece, Ancient, 8, u, 13, 210 Athens, 32, 33, 36, 38, 42, 43, 47, 209, 210, 212-18 Corinth, 41 Crete, 32 Megara, 37 social structure, 31-33 Sparta, 30, 32 Thebes, 34, 37, 42

Index Green Bower Collection, 82 Guarini, Anna, 190 Guasca, Isabetta, 190 Gugak yesul High School, 306 Gugnip gugagwon (National Center for National Music / National Center for Korean Traditional Performing Arts), 305, 306 Guria (NGO Guria Sewi Sansthan), 15, 24, 327, 332-36, 339, 341, 348-49 n. 3 Festival (Mahotsav), 332, 335, 339-48, 366-67 gwangi, 297 gwangdae, 298 gwonbeon, 298, 301 gyobang (gyobangcheong), 297 Haar, James, 116, 118, 123 n. 38, 356 Habiti d'huomeni et donne venetiane (G. Franco), 144-45 Habrotonon, 38 hagwon, 306 Hangal, Gangubai, 320 Hanging Branches (Feng Menglong), 91 Hangzhou, 75, 86 Hanyang Court, 297 harem, 227 Hargis, Ellen, 118, 354, 356. See also Newberry Consort harmonium, 332, 340, 341, 342, 367 harp, 36 triangular, 38 harpsichord, 149, 154, 185, 190 Haruka, 233 Harumi (Ham-mi), 232-33, 234 Haruta, 232 Hashibae Jeny, 265-66 Hegesander of Delphi, 44 hereditary order. See also caste artisans, 337 communities, 334, 384 dance, 173 institutions, 298 musicians, 366: female, 314, 343, 346; male, 313, 320, 323, 324, 325, 327 performers, 339 Hershatter, Gail, 308 hetaera (hetaira), 5, 10, 16, 20, 29-51, 77, 209—20, 231, 232 definition of, 7, 35 fame of, 29, 34, 42 images of: Phryne (see Phryne); on vases, 33, 209, 213-16 literature on, 209, 218 Hinduism, 20, 162, 165, 166, 169, 170, 322, 327, 334, 338> 342, 367 Hindu Manners, Customs, and Ceremonies (Dubois), 162

Hindustani art music, 9, 161, 312, 314, 318, 319, 323, 338, 367-68 Hippocrates, 187 Hirokazu Sugiura, 361, track n history cross-cultural study of, 3-7, 12, 17, 24, 35, 166, 231, 308 issues of scholarship, 35, 44, 78, 103, 124, 164, 173, 216, 320 marginal, 4, 25 and reconstruction, 4, 5-9, 18-19, ?8, 118, 182 Hokusai, 275 Homer, The Odyssey, 186 homophony, 148, 150, 358

387

homosexuality, 31-32, 38, 46, 173, 212-17, 226-28 Hooker, Lynn, 116, 117, 356 hori, 322 Hou Fangyu, 93-95 "Human Cultural Assets," 305-6, 362-63 humanism, 18, 105, 108, 189, 314 humors, 184, 186, 194 Hyperides, 29-30, 42-43, 44, 46, 47-48 iconoclasm, 29 identity collective, 17, 57, 60, 69, 71, 173, 314, 316—17, 320, 322, 343 concealing and revealing, 63 delineations of, 345 divine (see goddess) individual, 52-53, 66, 71, 78, 183, 213 issues of, 185, 205, 225, 243, 292 n.24 liminal, 146, 185 performing (see also agency), 6, 8, 21, 106, 155, 182, 194, 218, 235, 333 idolatry, 202 Idyll (Theocritus), 211, 213, 218 ija^at, 322 lllica, Luigi, 225 ilpae, 297 Imado, 267, 269, 271, 273, 275 images, controlling of, 20, 209, 210, 218 Imperia, 281 improvisation. See also composition of epic song, 298 in performing verse, 85, 150, 152-55 solo, 113, 125, 145-46, 298 tradition of, 17, 18, 88, 90, 321, 322 independence, 163, 206, 225, 229, 231, 300 asserting, 20, 146, 210 in business, 10, 318, 325, 337 economic, 146, 164, 173, 213, 307 lack of, 209 social, 327 India ancient, 163-64 Awadh, 161, 162 Bihar, 24, 118, 337, 339 Chola Period, 172-73 colonial, 165, 166, 173, 175-76, 315, 319, 335 East Central, 118, 164 feudal, 323-24, 335 Independence, 312, 315, 319, 334 Juanpur, 333: Mohalla Shogav Mohammed District, 344 Madhya Pradesh, 339 modern, 7, 326 Muzaffarpur, 333, 335, 341, 344: Chaturbhujastan District, 335 North, 9, n, 15, 23-24, 175, 176, 314-17, 321, 327- 34, 339 postcolonial, 12, 23, 333, 334, 335 precolonial, 6, 8, 13, 14, 19, 161-62, 164, 166, 173, 175

Princely States, 315 South, 162, 166, 168, 172, 334, 342 Tanjora, 175 Uttar Pradesh, 175, 337, 339, 342 India, Sigismondo d', 113 industrialization, 245, 301, 304, 308 Inoue school, 233 inscription, 31, 147, 164, 172, 214, 215, 216, 218 instrumental music in ancient Greece, 36-41, 217

388

Index

instrumental music (continued) in China: accompanimental, 78, 80, 82, 83, 87 classifications, 80 ensemble, 154-55, 315 in India: accompanimental, 163, 315-16, 322-25, 332, 335. 338, 340-42, 344. in Italy, 105, 112, 149—50, 154-55, 185, 355, 366: accompanimental, 105-9, IJ 6, n8, 125, 144-46, 190 in Japan, 228: accompanimental, 21, 229, 233235, 240, 244-248, 298 (nagauta, 361) in Korea, 296, 298, 306 intelligence. See education lo mi son bella e cruda (Cambio), 127-28 lo son/erito, ahi lasso (Tromboncino), 112, 114 ipae, 297 ipchang, 297 Is ishq ke hathon se (So strong is the grip of this love), 363-64, track 14 Islam, 162, 317, 322, 327, 364 Isocrates, 43 Antidosis, 39 istitutioni delle donne, Gli (Dolce), 188 Italy, 12-13 early modern, 4, 6, 10, 17, 56-57, 103, 119, 141, 155, 182, 188, 193, 194 Renaissance, 3, 4, 5, 7, 9, 17, 118, 200, 217, 231, 284, 285 seventeenth'century, 182—98 sixteenth-century, 58, no, 112, 115, 144-58, 199, 202

iunx-wheel, 211, 213, 219 n. 7 "I will make you taste the delights of your love" (V. Franco), 193 Izumo no Okuni, 226, 233 izzat, 343 se, 335 Jackis, Jerry, 301-2 Jahan, Zeenat, 341-43, 346-48 Jang Deokhwa, 362, track 13 janggo, 299, 362, 363 Jani, Afsana, 344 Jani, Roshan, 344, 345, 346 Japan, 21, 302 economy, 22, 232, 245, 303 eighteenth-century, 223, 228-29, 2 44> 27° imperial, 21, 243-44 modern, 14, 16, 231-32, 238, 240-41 nineteenth-century, 223, 229-31, 245 seventeenth-century, 226, 233, 244, 255 symbols of, 224, 243, 245, 246-49 Japanese Bride, The (Tamura), 227 japga, 297, 298 J'ayme bien mon amy, 146-47 ji, 5. 9, i7. 75-99 books about, 86 definition of, 75-76 hierarchy, 76 ming-ji, 76-77 Jing Pianpian, 8, 86 Joglmara Inscription, 164 Joseon Dynasty, 23, 296-97, 305, 306, 307 Joseon Eumak Hyeop'hoe (Joseon Music League), 300 jungin, 297 Junkerman, Christine, 144 jwachang, 297 kabuki, 226, 268. See also drama kabuku, 226

kaburenjo, 238 Kahe mare naina bar sabro?, 367-68, track 17 kajri, 322 kalos (kallos). See beauty Kdmasutra (Vatsyayana), 3, 7, 25 n. 4, 162, 164, 166, 171

Kanazawa, 241 Kanchan/kanjar, 316 Kanda, 256, 258. 259 Kan'ei-ji temple, 256, 268 Kannon, 264, 269 karyukai, 223 Kashmir, 317 Kawabata Yasunari, Snow Country, 16, 22, 232, 243, 246-49 kayagum, 302 Keiji Azechi, 361, track 12 Kendrick, Robert, 191 Kersenboom-Story, Saskia C., Nityasumarigali, 172 keyboard, 145, 149-50 Khan, Abdul Karim, 317 Khan, Bahadur, 364, track 15 Khan, Nizamuddin, 363, track 14 Khan, Sahib, 323 khayal, 319 khumbhaddsi, 162 Kikuya, 229 Kim Gwangsuk, 305, 362, 363, track 13 Kim Jaya, 301 kineterion, 36 "King Vikramaditya and the Courtesan" (Somadheva), 166 Kirkby, Emma, 358. See also Consort of Musicke, The

kisaeng, 301-2. See also gisaeng Kishangarh paintings, 175-76 Kitigawa Utamaro Mimeguri Shrine, 265 Twelve Toki in the Blue Towers (Seiryojuni to/d), 275, 276 klassiki, 319 Knights (Aristophanes), 46 Kodaka Kiku, 248-49 Kohachiro Miyata, 361, track u Koito, 235 kokyu, 274-275, 361-62 Kong Shangren, Peach Biossom Fan, 78, 93-94, 95, 354

Korea, 14, 16 Japanese colonialism, 15, 23, 296—300, 306 modern, 295-96, 302, 307 National Anthem of, 302 North, 295, 305 postcolonial, 15, 16, 23, 296, 304 social structure of, 295, 303 South, 16, 23, 295, 296, 300—8, 362 symbols of, 295, 296, 305—6 Three Kingdoms Period, 296 Korean War, 300, 304, 306 kotha, 318, 325, 332, 339, 344 koto, 298 ko-tsu^ami, 235 kottabos, 21, 209, 213-16, 218 Krishna, 118—19, 33$, 3^7 Ksetrayya, 168 kugutsu, 244 Kumari, Daya, 344 Kunie Fujii, 361, track 12 kun qu, 83-84, 92, 354, tracks 1—2 Kunwar, Lai, 317

Index Kuramae, 261, 262, 263 Kurke, Leslie, 213, 215 Kwon DoHee, 295, 297 Kyoto, 14, 223, 226, 233, 244, 255 Gion District, 224, 229, 233, 246 Miyagawa-cho District, 224, 232, 235 Pontocho, 224, 246 Shimbara, 228 Lamia, 34 Lam, Joseph, 78 Laura, 116, 119, 134, 135, 287 Law Book of Manu, 164-65, 170, 171 Leagros, 31, 215 Lenti, John, 354, 356. See also Newberry Consort Liang Chenyu, Washing Silk Clothes, 92 Liang Xiaopian, 86—88, 89, 92, 354 liberalization, 339 licensing entertainment, 229, 249 prostitution (see also prostitution), 229, 231, 240, 244, 245, 249, 263, 269, 299 Little Clay Cart, The, 163-164 Liu, Marjory, 94 Li Xiangjun, 93-95 Li Yu, 80-81 Li Yunxiang, Seductive Courtesans of Nanjing, 86, 89-91 Lok Virsa Heritage, 326 Lowry, Kathryn, 89, 90 Long, John Luther, 225 love, 227 discourses of, 13, 18, 107, 183, 288-89 and music, 107, 182-83, 322 sacred and secular, 107, 184 trattati d'amore, 20, 106—7, J ^3 tropes (see also Petrarchism), 204 unrequited, 210, 287 Love Lyrics of Stylistic Brilliance (Zhang Xu), 91 Lucian, 3, 45, 211, 216 Sixth Courtesan Dialogue, 43 Lucknow, u, 24, 314—18, 321—22, 326-27, 366 Lucky Gods' Snakes and Ladders, The (Fukujin sugoroku) (Marishma), 271 lute, 105, 107, 108, 112, 116, 125, 154-55, J85, 190, 354-59 luxury display of, 2, 67—69, 163, 210, 281 goods, 17, 47, 53-57> 146, i?3> 204, 283 lyre, 38, 108 Machiavelli, Niccolo, 19, 139, 146 La Clizia, 146, 287—89, 292 n.23 letters, 288-89 La Mandragola, 146: O dolce node, 146, 358, track 7

Mandragoia, La, 146 Machon, 216 Maciszewski, Amelia, 9, 14, 24, 327, 366-68 Madame Butterfly, 225 Madavi, 171 madonna as symbol of Venice, n, 191 as unnamed woman, n, 105, 133-37, 139, 141—42 n. 23, 204 the Virgin Mary, 116, 191: and the Immaculate Conception, 13, 147, 156 n. 13 Madonna, al volto mio pallid'e smorto (Festa), 135 Madonna, io v'am'e taccio (Festa), 135

389

Madonn', il vostr'orgoglio (Festa), 134-35 Madonn', io son un medico perfetto (Festa), 134 madrigal, 112, 113, 124, 127—30, 133, 136—37, 203, 204, 354-61, tracks 3-10 hybrid, 134 madrigale arioso, 113, 116, 355—56, track 4 magadhi, 337-38, 342, 343, 367, track 17 Magdalen, Mary, 116 magic dangers of, 1 1 erotic, io, 41, 210-13, 2I§ male, 21, 209, 211, 212, 215, 218 Mahabharata, 166 Mahavrata, 166, 171 Mahendravarman I (King), 166 mahfil, 322 Mahotsav. See Curia maidan, 322 maiko, 232-35, 237, 240 majboori, 343, 347 Mandragola, La (Machiavelli), 146, 358 Manet, Edouard, Olympia, 30, 48 Manimeka/ai, 171 manners, 43, 47, 103, 104, 119, 146, 281, 284, 321, 322

Map, Walter, 103 marchette, 149 Marenzio, Luca, 152, 154 Cantate, ninfe leggiadrette e belle, 358-59, track 8 Marishma Churyo, 270 The Lucky Gods' Snakes and Ladders (Fukujin sugoroku), 271 marriage ceremony, 172 conventions of, 17, 229—30, 238 market, 6, 18, 192 responsibilities of, 161, 164, 165, 225-26, 237, 307 season, 344 systems, 6, io, 18, 227-228, 230-232, 282, 286, 291 n. io, 313, 327, 334 marital status 20, 52, 165, 166, 173, 175, 190, 192, 226, 324, 325 Martinelli, Caterina, 190 Marxism, and gender, 5, 23, 314, 319, 328 mascherata, 134 masculinity, 20, 286, 304. See also representation Masuda Sayo, 232, 246 matriarchy, n, 21, 24, 237-38, 314 lineage, 164, 244, 313, 316, 326—27 Matsuchi, 264-65, 266, 267 Matsugu, Miho, 21-22, 224, 228, 231—32, 241 Matsura family, 263 Ma Xianglan, 82 McGee, Debbie, 46 mediation, 134, 144 Meirakia/Neaniskoi, 32 Megalostrate, 217 Memoirs of a Geisha (Golden), 236 Memorabilia (Xenophon), 210, 212—13, 218 Menander, Epitrepontes (The Arbitration), 38 Meirakia, 32 Menexenws (Plato), 43, 44, 216 meretrice, 66, 151, 205 Metaneira, 44 metonymy, 17, 20, 78, 80, 95, 109, 182, 341 Michel, Parrasio, 105—6 Mikado, The, "Miya Sama" Chorus, 235 Mi/indapanha, 170 military, 245, 246, 299, 300, 303, 305, 308, 318

39°

Index.

Miller, Rufus, 358. See also Consort of Musicke, The Mimeguri, 264-65 Mimeguri Shrine (Kitigawa), 265 Minamoto no Yorimasa, 263-64 Mineko Iwasaki, Autobiography of a Geisha, 231 Minezaki Koto, 361-62, track 12 Ming Dynasty, 8, 9, 17, 75-78, 81-86, 89-90, 93 Miscellaneous Records of the Wooden Bridge District (Yu Huai and Zhang Dai), 82 Misgolas, 38 misogyny, 20, 31, 201, 347 Miyako, 265 bird (Capital Bird), 266, 267 mizuage, 240. See also virginity modernism, 22, 226, 229, 231, 236, 245, 247, 295 modernization, 6, 14-15, 22, 245, 246, 249, 297, 305, 308 modi, 109, no, 112, 116, 120-21 n.2i, 125, 150, 151. See also composition moicheia, 36 Mokubo, 266 Molza, Tarquinia, 190 monody, 108, 112. See also pseudo-monody Monson, Craig, 191 moqabala (musical duel), 347 Moralia (Pseudo-Plutarch), 42 morality attitudes about, 13, 46, 227-28, 282 debates about, 286, 340 discourse about, 188-89, 199 Neo-Confucian, 297 (see also Neo-Confucianism) operating outside of, 295 and sex, 184, 288 threat to, 10, 86, 190, 282 Victorian, 319, 320, 334 Moro, Angela dal, 199, 200-1 Moryson, Fynes, 60-62 motet, 146-47 Motomasa, The River Sumida (Sumida-gawa), 266 Mountain Songs (Feng Menglong), 91 mousike definition, 9, 37 workers (mousourgoi) , 37-38, 39, 41 mousourgoi. See mousike workers Mughal kings, 315 mujra, 321-22, 323, 336, 364 Muradabadi, Jigar, 364, track 14 Murari Lai Mehta Auditorium, 339 musica segreta, 191 Muzio, Girolamo, no "My Heart Flutters as I Face You," 86 My Life as an Actress (B. Dasi), 174 Myrtion, 41-42 My Story (B. Dasi), 174 nach ("nautch"). See dance nacni, 118 — 19 Nagari Natak Mandali, 339 nai, 340, 341, 346 naming, conventions for courtesans, 30, 149-51 Nanjing, 75, 86. See also Seductive Courtesans of Nanjing Nanpo, 270-71, 273, 274 Napolitana, Giulia, 23, 280-81, 284—85, 289 napolitano, 150 Nascefra I'herbe (Festa), 140 nationalism Indian, 15, 176, 312, 318, 319, 325: symbols of, 3i3> 340 Japanese, 15, 245, 247-49: symbols of, 21, 243, 246

Korean, 15, 295, 305, 308: symbols of, 23, 296, 305-6 National Music High School, 305 Natural History (Pliny the Elder), 186 "nautch." See dance Neaera, 42-44, 46 Neelam, 344-45 "Nel dolce tempo della prima etade" (Petrarch), no-iii Nel partir del mio ben sipart'amore (Cambio), 127, 128-30, 356-57 Neo-Confucionism, 10, 78, 227, 296, 297 neoi, 32 Neoplatonism discourse, 18-20, 134, 137, 182-84, 193, 194 precepts of love, 5, 114 understandings of music, 9, 13, 106-7, I2 6 Newberry Consort, 4, 116, 118, 354-60, tracks 3-7, 9-10 New Delhi, 332, 339. See also Delhi New Year, 270 New Yoshiwara. See Yoshiwara Nicarete, 42-44 Nichols, Mary, 358. See also Consort of Musicke, The Nietzsche, Friedrich, 5, 137 The Gay Science, 133 nihon, 260 Nihon Bridge, 260-61, 262 Nihon Embankment, 261, 265, 267-71, 273, 274 Niko, 211, 212, 213 Nityasumangali (Kersenboom-Story), 172 Nogarola sisters, 189 Isotta, 189 Nogarola, Leonardo, 147 Non di terrestre donna il chiaro viso (Cambio), 115-11 "Non e men del piu bello Angelo in cielo" (D. Venier), 201-2 Non mi par che sia vero, madonna mia (Festa), 141 n. 10 "Non piu parole: ai fatti, in campo, a l'armi" (V. Franco), 137 Nossis of Locri, 217 nostalgia, 48, 64-65, 91, 312, 338, 342 nrittya, 321 nudity female, 213, 215: partial, 16, 29, 47, 59, 61, 71, 105 images of, 30-31 male, 32, 213: partial, 2 objectification, 31-32, 37, 105, 183, 191-92, 202, 284, 346 O Bongnyeo, 305 Ocean of Story, The (Somadheva), 166 Ocha^a. See teahouse "O dolce nocte" (Machiavelli), 146, 358, track 7 O dolce nocte (Verdelot), 146, 147, 358, track 7 Odyssey, The (Homer), 186 Ogni belta, madonna, ch'io veggio (Festa), 134 oiran, 223 okami'San, 231, 232, 239 okiya. See geisha house oku-san, 230 Oldenburg, Veena Talwar, 11, 170, 173, 326 "Lifestyle as Resistance," 314 Old Nick, 287 Olympia (Manet), 30, 48 One Hundred Famous Views of Edo (Meisho edu hyakkei) (Utagawa), 271-73 Onesta, The, 280-81, 285. See also trials

Index "On the hetairides in Athens," 42 On the Worth of Women (Fonte), 183-84 opera Chinese, 10, 14, 30, 79, 81—84, 9 2 > 95 Venetian, 119, 189, 194 oppression, 6, 21, 31, 228, 243, 295, 307, 319, 341 oral literary criticism, 334, 337, 341, 343, 346, 348 oratory, 47-48 orgasm, 10, 186, 194 metaphors for, 186 orientalism, 33, 76, 225, 239-40. See also Other, theories of the Orlando furioso (Ariosto), 113, 200 Ornamentation, 355 instrumental, 150, 306 vocal: elaborate, 17, 83, 108, 112, 188, 190, 194, 306, 338; gorgia, 10 ; techniques, 122 n. 27, 368; written'Out, 113 Orr, Leslie C., 172-73 Ortels, Sigismund, 54-55, 69 "O tempo, o ciel involubil" (Petrarch), 112 Other, theories of the, 32-33, 35 Beauvoir, Simone de, 31 Said, Edward, 31 (see also orientalism) ottava rima, 150, 151 padam, 168 Padma Purdna, 166, 171 Padua, 54—55, 69, 151 Paignia, 41 Pakeeza, 320 Pakistan, 326, 327, 334 Pakjeongae, 299 palanquin, 267, 268, 269, 271 Pallavicino, Ferrante, La rettorica delle puttane, 186 Pamnani, Jaiwanti, 4 pansori, 298, 306 Pan Zhiheng, 80, 90, 92 Parabosco, Girolamo, 114—15, 118, 204 Pare, Ambrose, 194 Park Chung Hee, 305 Parkes, Fanny, 318 Parveen, Zarina, 317, 325, 326, 327, 36466, track 15 Pasio, 40, 42 Pasquetta, 57 patriarchy, 17, 24, 31, 245, 266, 313-15, 319, 328, 335. 347 lineage of, 15, 164, 312-13, 317, 319, 322, 324, 326-27 systems of, 10, 334 patronage. See also clients aristocratic, 103, 283, 313, 316-18, 334 bourgeoisie, 334, 338 changing, 333, 336-38 dependence on, 174-75, 190, 194, 286, 313-14, 3i7» 324 elite, 15, 316, 318, 320 feudal, 12, 14, 24, 119, 313, 316-19, 321-25, 328 (see also feudalism) flexible, 18 government, 15, 298, 300, 304-5, 338 local, 298 loss of, 325, 338 postcolonial, 348 private, 226, 238, 315, 364 religious, 166-70, 172—73, 334 royal, 172, 175, 312-13, 316-18, 322, 334, 339, 364 (see also court) patronne, 33, 35 payment

391

in gifts, 77, 203, 210, 231, 238, 324, 330-31 n-52 in money, 34, 163, 203, 204, 223, 229, 233, 280—81 for performance, 37, 146, 190, 322, 323 records of, 46 for sex (see prostitution) for slaves, 42-43 (see also slavery) systems of exchange, 12 (see also exchange) for virginity, 153, 188, 232, 240, 284 (see also virginity) Peach Blossom Fan (Kong) 78, 93-94, 95, 354 Pecorina, Polissena, 120 n. 18, 125 Peony Pavilion (Tang), 93-94 "Black Gossamer Robe," 93, 353-54, track i "Hao jiejie," 353, track 2 "My Darling Girl" ("My Dear Girl"), 94, 353—54, track 2 "Zao luo pao," 353, track i percussion, 87, 163 performativity, 3, 8, 9, 57, 66, 104, 105, 145, 307, 336-37 Pericles, 216 Perlow, Ken, 354. See also Newberry Consort Persia, 35, 316, 317, 321, 364 persona female voice, 89, 115, 118, 121 n.24, 127-28, 136—38, 147, 183, 200 issues of, 133 male voice, 88, 360 persuasion, 47 Peschel, Ingeborg, 213-14 Pesenti, Michele, Alma gentil, sen voi fusse equalmente, 148 peshadars, 346 peshavali, 343 Petrarch, 105, 115-16, 119, 125, 134-35, 146, 154, 287 Canzoniere, 204 "Chiare fresche e dolci acque," 116-18, 125, 356 "Nel dolce tempo della prima etade," no— n "O tempo, o ciel involubil," 112 "Ripensando a quell ch'oggi il ciel onora," 1 15 Petrarchism, 18-20, 115, 118, 127-28, 133-37, 153-54. 184, 194, 287, 355 Petrucci, Ottaviano, 109-10, 112 Peverara, Laura, 190 Pharmakeutria (Theocritus), 41 Phryne, 5, 31-36, 46 at trial, 16, 29, 35, 42, 47-48 images of: statues, 29; paintings, 29—30 Phryne before Her Judges (Delvaux), 30 Phryne devant le tribunal (Gerome), 30 Pilzer, Joshua D., 16, 23-24 Pine Tree of Ataka, The (Ataka), 233-34 pipa, 78, 79 Pipa, The, 95 pipe, 163 Pirrotta, Nino, 149, 150 Pisana, Camilla, 137—41, 143 n.49 "Amor ben puoi tu hormai," 138, 140 "Duro e il partito dove m'astringete," 138-39, 140-41 "Nasce fra 1'herbe un fiore," 138, 139 Pisani, Piso, 283 Plato, 210 Charmides, 32 Menexenus, 43, 44, 216 Symposium, 38 Plautus, Rudens, 39 pleasure district. See also prostitution in China, 14, 75, 82, 86, 91, 93, 95 in Japan, 14, 22, 223, 226-29, 240, 245, 255, 270, 362 (see also Yoshiwara)

392

Indx

Pliny the Elder, Natural History, 186 Plutarch, 36—37 Demetrius, 34 Table Talk, 41 Temistocles, 50 n. 29 poetry Chinese, n, 75, 84, 89-90, 92 collections, 86-87, 89-90, 94 comic, 45, 152-54, 216 (see also satire) contrafacture of, 84-85 conventional metaphors of, n, 89 devotional, 168, 367 elevated, 184 festival, 317 Japanese, 272 libretti for, 81 lyrics: aria, 79, 85, 88—91, 94 (see also aria); folk, 337 (see also folk music); frottola, 109-10 (see also frottola); ghazal, 318, 332, 364, 366 (see also ghazal); madrigal, 127-28, 133-38 (see also madrigal); qawwali, 340-42, 345 (see also qawwala) and seduction, 10, 107, 193 in sonnet form, 111—12, 200 as tribute, 89-90 by women (see authorship) Poli, Doretta Davanzo, 57—59 polis, 37-38 popular music American, 301 in China, 78, 89-91 in India, 314 in Italy, 146, 148-51 Japanese, 301 in Korea, 23, 298-301, 308, 362 porne, 36 pornography, 134, 200 Porta, Giambattista della, Cinthia, 149 portraiture, 73 n. 25, 144, 146, 154-55, 2IO> 29° n- £ Post, Jennifer, 320 postcolonialism, 14-15, 23, 296, 335, 340, 348 postmodernism, 14-15, 34, 335 poststructuralism, 9 poverty, 346 power asymmetry, 322, 340, 343 of discourse, 200 economic, 327 as gendered, 6, 19, 161 of sexuality, 22, 165, 168-72, 183, 192-93, 200, 205-6, 280 Praxilla, 217 Praxiteles, 29 presbutai, 32 prostitution, 23, 228, 296, 297, 340. See also commoditization; sex-and-entertainment industry ban on, 231, 240, 244, 300 books on, 108, 186 brothels and, 31, 36, 47, 148 circumstances leading to, 175, 346 conflation with courtesans, 6, 67, 76, 176, 243, 246, 282, 295, 299, 302, 332-33, 339, 344-46 distinct from courtesans, 14, 36, 133, 162, 223, 229, 231, 244, 295 districts, 15, 21, 36, 174, 200, 275, 300, 303, 333, 335, 339, 344 (see also pleasure district) entertainment and, 75 (see also pleasure district) public images of, 9, 161, 176, 224, 232, 284, 334 sacred, 13, 33, 169-70, 176 visibility of, 62-63

Protestant Reformation, 114 psalter, 38 psaltriai, 38 pseudo-monody, 113, 355. See also monody Pseudo-Plutarch, Moralia, 42 Puccini, Giacomo, 225 Pukhraj, Malka, 326 Puligo, Domenico, 19, 146-47 pumscali, 162 Purgatorio (Alighieri), 200 puttana errante, La (L. Venier), 200 Pyeongyang Gisaeng Gwonbeon, 304 Pyngyang, 305 qaum, 327 qawwala, 341, 345, 346 qawwali, 314, 340-42, 344-47 Querelle des femmes, 207 n. 23 Qiao Yuanzhi, 83 "Qiao Yuanzhi's Three Delights" (Yu Zhiding), 83 qin, 83, 92 Qing Dynasty, 9, 17, 75, 77-78, 81, 85 qu, 84 Quaintance, Courtney, 19, 20, 22, 144 "Quam pulchra es arnica mea," 146—47 Qureshi, Regula Burckhardt, 5, 9, n, 12, 15, 22-24, 364

Radha, 118-19, 3^7 raga categories of, 319 Khamaj, 364 Mishra Pilu, 368 Pilu, 338 Shivaranjani, 341 ragionamenti, I (Aretino), 108, 200 Ragionamenti della lingua toscana (Tomitano), 107 Rajaraja I, 172 rape, n, 200-1 raverta, 11 (Betussi), 107 Records of the Bedchamber, 227 "Red Candle on a Silver Stand, A," 86 reform, 77, 318, 319, 325 bourgeois, 312, 313, 319, 320 of the musical canon, 313, 319 social activist, 333 register, social, 19, 144 high and low, 144 Reinsberg, Carola, 213-14 Renzi, Anna, 189 repertory iconographical evidence of, 19 kinds of, 79, 81, 82-83, I][6> 233, 298, 308 marginalized, 319 personal, 320, 338, 343 range of, 17, 24, 297, 298, 301, 335, 348 recreating, 9, 18, 78, 90, 112-13, 124-25, 131, 144, i5°> 356 representation, 20 as art and reality, 8, 176, 235, 241 controlling, 209, 320, 325-26 (see also images) as fantasy, 31, 173, 204, 206, 209—10, 215, 238-39, 256, 282, 286 inverting reality, 268, 273, 282 issues of, n, 34, 56, 209-10, 213-14, 218, 320 of masculinity, 212, 213, 218, 245—46, 286, 303—4 negative tropes, 200, 282, 284—86, 289, 333, 340 realistic, 164, 209-10, 247 (see also identity) as sacred (see goddess) as upper-class, 6, 9, 53, 184-85, 324

Index reputation. See also status mixed, 23, 77, 201, 225, 289, 322 (see also ambivalence) negative, 31, 36, 41, 188, 189, 199, 202, 284, 313, 338 positive, 75, 92, 190 protecting, 47, 188, 284, 291 n. 15 respectability, 124, 327, 335, 338, 339, 344~45> 347. 348 retirement, 77, 174, 232 rettorica delle puttane, La (Pallavicino), 186 revival, traditional music, 15, 296, 305-6 rhetoric, 8, 104, 108, 119, 186, 194, 209, 210, 216 Riccia, La, 287 Rime (Aragona), no "Ripensando a quell ch'oggi il ciel onora" (Petrarch), 115 ripresa, 150 risposta, 150, 151, 203, 360—61 River Sumida, The (Sumida-gawa) (Motomasa), 266 Robazzo, Paulo, 283 Roberts, Deborah, 358. See also Consort of Musicke, The Rodio, Rocco, Aeri raccolti, no Rome, 199, 200, 210 Rooley, Anthony, 358. See also Consort of Musicke, The room culture, 21, 23, 298, 301, 303 Rore, Cipriano de, 128 Rosand, Ellen, 189 Rosenthal, Margaret F., 8, 15, 17, 114, 184, 205, 229 Rowley, Gaye, 246 Rudens (Plautus), 39 Ruggiero, Guido, 19, 22, 23, 144 ruhani ghiza, 322 riipajiva, 162 Ruswa, Hadi, 318 Rsyasrriga (Sage "Antelope Horn"), 166-67, l&9 sadangpae, 296, 297, 298 Saint-Saens, Camille, 30 salon, 173, 303 controlling, 323—25, 328 loss of, 325, 339 and musical performance, 81, 83, 108, 131, 314, 322-23, 336 private, 14, 109, 115, 124, 315-16 as a public business, 23, 312, 313 urban, 14, 133, 318, 319 Salutati, Barbara ("La Barbara," Barbara Fiorentina), 13, 19 lovers of, 146, 287, 288, 358 performance by, 146, 147 paintings of, 146—47, 150 reputation of, 146-47 sambuca (zhambyke), 38, 41 sampae, 297, 298, 299, 309 n.8 gisaeng, 297 samskdras rite, 165 samurai, 226, 228, 235, 244, 256, 268, 270 sangit, 319 sanjo, 298 San'ya Bridge, 267, 269, 271 Sappho, 210, 217-18 sarangi, 315, 322, 323, 332, 364, 366, 367 satire, 20, 108, 150-51, 153-54, J83, 189, 199-202, 206 Savorgnan, Andriana, 283-84 saxophone, 302

393

Scotti, Paulo (Paolo Scotti), 111—13 Screech, Timon, 8, 14, 228 se, 78 seasons, images of, 271-73, 337 seclusion, female, 33, 313, 327 secondo libro d'intavolatura di balli d'arpicordo, 11 (Facoli), 149-150 seduction, 13, 43, 144, 183, 216-17, 343. See also eroticism and instrumental music, 38, 78 power of, 206 rituals of, 19, 166-67 and singing (see vocal music) Seductive Courtesans of Nanjing ( Li Yunxiang), 86, 89-91 Seductive Courtesans of Suzhou (Zhou Zhibiao), 86-87, 89-91, 92 Sei giornate (Aretino), 284 seigneur, 135 Se i sguardi di costei (Festa), 141 n. 9 self-display, 106, 108, 112, 338 Se mai crud'a mei dolci pensieri (Cambio), 127 senryu, 256 Senso-ji Temple, 256, 264, 268, 269 Seodosori, 362—63 "Sushimga/Yeokkeum Sushimga," 304, 305, 362-63, track 13 Seoul, 297, 298, 300, 301, 303, 304 setsugekka, 273 seungmu, 302 sex attitudes about, 227, 286 commerce in, 6, 16, 134, 146, 223, 284 (see also commoditization) and deviance, 189 linked to voice, 186-87 metaphors for, 78, 85, 89, 200 and ritual, 33, 169 schema, 32 as spiritual union, 184 workers (see also prostitution) in India, 21, 333-34, 340 in Japan, 21—22, 243—44, 249 in Korea, 21, 295-96, 299-300, 306, 308 sex-and-entertainment industry, 23, 246, 295—96, 299, 300, 302-4, 307, 308. See also prostitution; sex, workers Shah, Hasan, 317 Shah, King Jahandar, 317 shakuhachi, 361 shamanism, 21, 243, 363 shamisen (samisen), 21, 229, 233—35, 240, 244—45, 247, 248, 298, 361 Shanghai, 308 Sharaku-sai Manri, Tosei anabanashi (Modern Foibles), 268 Sharar, Abdul Halim, 161, 162, 175 sharebon, 256 sheng, 78 shi, 94 Shikitei Sanba, 275 Shinto, 226, 264 shirabyoshi, 244 shogunate, 22, 227-28, 255, 260-63, 270, 273, 274 Shoten, 264 Shoto-ji Temple, 272 Shri Ram Centre of Art and Culture, 332, 339, 340, 366, 367 sKubi, 263 Shunga, 227

394

Index.

Si come dit'ogn'hor bella vi paio (Arcadelt), 203, 359-60, 361, track 9 Siemiradzki, Henryk, 29-30 signore, 149 sijo, 297, 298 Silappadigaram ("The Jeweled Anklet"), 171 Simaetha, 211, 212, 213, 218 sin, 164—65, 226, 286. See also morality Singh, Ajeet, 333, 335, 339, 343, 345, 347, 348 Singh, Raj (Nagari Das), 175-76 Singh, S., 364, track 15 Singing. See vocal music Sirena, La, 186 sirens, 115, 125, 126, 185—86, 205, 238 Sixth Courtesan Dialogue (Lucian), 43 skills, 162-63, 188, 190, 209, 229 slavery, 36-37, 39-40, 42, 162, 232, 244, 282 Slim, H. Colin, 147 Smikra, 215-216 Snow Country (Kawabata), 16, 22, 232, 243, 246—49 social mobility, 3, 6, 18, 77, 245, 296, 324, 327, 338, 344. 363 Socrates, 32, 38, 46, 47, 210, 212-13, 216, 217 Somadeva Bhatta "King Vikramaditya and the Courtesan," 166 Ocean of Story, The, 166 Sonetti lussuriosi (Aretino), 200 sonetto dialogato, 202 Song Dynasty, 75-76 "Song of Sadness/Extended Song of Sadness," 304, 305, 362-63, track 13 Song of Songs, 147 Sophocles, 45, 216 Soranus, 187, 193 Spano, Donato Antonio, 152 spa resort. See geisha speech, 9, 189, 203-4, 207 n- 23- $ee a^so conversation Speroni, Sperone, 149 Sperling, Jutta, 192 spinet, 144, 145 sposa, 57 sprezzatura, 284, 285 Springfels, Mary, 354. See also Newberry Consort srdddha rite, 165 Srinivasan, Doris M., 6, 7, 8, 19-20, 24 staging, 226, 301 private, 81 public, 14, 81, 153, 173, 312-13, 319, 333, 336, 344, 364 Stampa, Gaspara, 18, 114-15, 128. See also Cambio, Perissone Chiaro e famoso mare, 116-18, 355-56 dedication by Perissone Cambio to, 19, 115, 124, 125-27, 357 love affairs of, 10-11 performance by, 116, 124—27, 131 reputation of, 10, 115, 116, 124 n.2 status of, 116, 124 status. See also reputation cultural, 3, 6, 16, 162, 164-65, 173, 175, 178, 226, 241, 243, 295, 334 marginal, 173, 333, 336, 338, 341 marital (see marriage) negative, 244, 320, 333, 334, 344 positive, 135, 191, 241, 244, 245, 339 social, 133, 147, 148, 322, 345 (see also social mobility): based on class, 6, 114, 190—91, 204, 246, 268, 280, 297 (see also caste) (and gender, 184); determining, 46, 77, 107; distinguishing,

52-54, 57, 59, 62—63, 69, 71; and economic, 175; and music, 84, 344, 348; threat to, 6, 200, 223, 280, 285 symbol of, 223 stigma, 13, 21, 243, 244, 282, 319, 333, 336, 338 strambotto, 152 Stratonicus, 47 Strozzi, Barbara, 189 Strozzi, Filippo, 137-38, 139-40 Strozzi, Lorenzo, 137 structuralism, 31 Stylish Verses from the Green Bower, 77, 89 subjectivity, 46, 47, 77. See also identity subsidy, 15, 241. See also patronage Sufism, 342, 346, 347 Surrendered Wife, The, 239 "Sushimga/Yeokkeum Sushimga" (Song of Sadness/ Extended Song of Sadness), 304, 305, 362-63, track 13 Suzhou, 75, 86, 89. See also Seductive Courtesans of Suzhou Suzuki Harunobu, 259 Suzuki Rinsho, 275 Syed, Tahira, 326 symposium, 45 and erotic performance, 40 male, 10, 209 as performance venue, 21, 37-38, 40, 41 Symposium (Plato), 38 Symposium (Xenophon), 38, 40, 45 Tabassum, Meena, 340, 346 tabla, 315, 322, 323, 332, 338, 340, 363, 364, 366, 367, 368 Table Talk (Plutarch), 41 taiko, 235 Talenta (Aretino), 149 Tales of he (he mongatari), 265-66 taluqdar, 335, 339 Tamura, Naomi, The Japanese Bride, 227 Tang Dynasty, 9 Tang Xianzu Peony Pavilion, 93-94 "Black Gossamer Robe," 93, 353-54, track i "Hao jiejie," 353, track 2 "My Darling Girl" ("My Dear Girl"), 94, 353-54, track 2 "Zao luo pao," 353, track i Tanjore Temple, 172 Tariffa delle Puttane di Venegia, 202 tawa'if, 9, 14, 15, 24, 173, 312-31, 332-51 decline of, 312, 319, 325, 333, 335, 340 definition of, 317, 321, 333, 334 deredar, 317 hierarchy, 334 paintings of, 316-17, 319, 321 performance, 315, 320—23, 333, 334, 336 regional origins, 317 tayu, 223, 362 tea ceremony, 224, 228 teahouse (ochaya), 231, 232, 233, 235, 237, 239, 241, 271 Temistocles (Plutarch), 50 n. 29 Tempering the Reed Pipe in the Jade Valley (Yugu tiaohuang), 79 tenzone, 202 Thaniji, Bani, 175-76 Theano of Locri, 217 Theocritus Idyll, 211, 213, 218 Pharmakeutria, 41

Index Theodote, 46—47, 210, 212-14, 216-18 Theosophical Society, 176 then, 170 thumri, 319, 321, 322 time, perception of, 228, 274 Titian (Tiziano Vecchio), 199 told, 274-75 Tokugawa regime, 244, 255, 260, 261, 262 Tokyo (formerly Edo), 224, 239, 244, 247 Asakusa District, 234 Shimbashi District (Shinbashi District), 224, 246 Tomitano, Bernardino, Ragionamenti della lingua toscana, 107 Tosei anabanashi (Modern Foibles) (Sharaku-sai), 268 tourism, 9, 16, 52-57, 65-69. See also travel albums cultural, 15, 56, 296, 335, 339, 347, 348 sex, 16, 302-3, 307 traditional music, 299, 303, 306 transmission film, 338, 343 interactions among types of, 9 oral, 78, 84, 91, 104, 108, 113, 144, 314 published, 12, 84, 112, 190, 205, 247, 270 radio, 247, 298, 299, 306, 319 recording, 14, 298, 312, 326, 338 written, 18 travel rituals, 14, 22, 255, 256, 274-75 routes to Yoshiwara, 256, 258-79 travel albums, 15, 17, 52-55, 63—69, 71, 72n n. 4-5, 164, 271, 316. See also tourism Treaty of Ganghwa, 197 trees, symbolism of cherry, 266, 273 pasania, 263, 264 pine, 262-63 plum, 266 willow, 258-59, 262, 266, 269 trentuno della Zaffetta, 11 (L. Venier), 199, 200-1, 203, 205-6 trial of Giulia Napolitana, 23, 280-81 of Neaera, 42, 46 of Phryne, 16, 29, 35, 42, 47 of Veronica Franco, 1 1 tributes, 89-90 Tromboncino, Hippolito, Jo sonferito, ahi lasso, 112, 114 Trompeter, Craig, 354. See also Newberry Consort Troubadour, 204 verse, 135, 138 tsujin, 274 Tsutaya Juzaburo, 270, 275 Tubb, Evelyn, 358. See also Consort of Musicke, The Twelve Toki in the Blue Towers (Seiryo juni toki) (Kitigawa), 275, 276 University of Chicago conference, 4, 12 research team, 4, 103 seminar, 4, 17 workshop, 4 urbanization, 298, 308. See also city Urban, Lina, 69 Urdu, 316, 317-22, 332, 342, 364 U.S. News and World Report, 304 Utagawa Hiroshige, One Hundred Famous Views of Edo (Meisho edu hyakkei), 271—73 Utagawa Kunisada, 271

395

Vaisah, 170 Van Gogh, Vincent, 30 Varchi, Benedetto, 107-8 Vatsyayana, Kdmasutra, 3, 7, 25 n. 4, 162, 164, 166, 171 Vasantasena, 163 Vasari, Giorgio, 146 Vecellio, Cesare, 53-54, 58, 62-68, 70 vedova, 57 Venice, 52-74, 115, 118, 119, 281 laws in, 53-54, 59, 62, 71, 184 medieval, 57 public markets of, 57, 59—60 renaissance, 15, 229, 231 Sensa (Marriage to the Sea) in, 67-70, 74 n. 28-29, 74 n. 34 sixteenth-century, 124-32 social structure of, 18, 52, 64-65, 188, 201 symbols of, n, 15, 17, 191, 194, 283 as a trade center, 17, 53, 56-57, 67, 69, 114 Venier, Domenico, 108-9, 126, 131 "Non e men del piu bello Angelo in cielo," 201-2 Venier, Lorenzo, 200 The Wandering Whore, 200: La puttana errante, 200; 11 trentuno della Zaffetta, 199, 200-1, 203, 205-6 Venier, Maffio, 199 Venier, Marco, 183 venue. See also salon; staging private, 77, 149, 153, 190-91, 233, 303, 315, 318, 324 (see also court; room culture) public, 14, 154, 173, 188, 190-91, 241, 298, 303, 312, 319, 325, 327: mainstream, 15, 333, 338-39 religious, 81, 169, 243, 334 Venus, 105, 107, 191. See also Aphrodite as symbol of Venice, n Verdelot, Philippe, 125, 137 O dolce nocte, 146, 147, 358, track 7 vero libro di madrigali a tre voci, 11 (1543) (Festa), 134, 141 n. 6, 134 Vespers antiphons, 147 vesyd, 162, 168, 169 Vettori, Francesco, 287-88, 289 victimization, 320 villanella, 150, 151, 155 villino, 137, 140 vind, 163 viola da gamba, 354. See also Newberry Consort violence, n, 199 violence, as punishment. See rape violin, 354. See also Newberry Consort Virgil, Aeneid, 147 virginity, 147, 153, 165, 187-88, 190-92, 232, 284 virtu, 281—82, 285-86, 288-89. See also virtue virtue, 162. See also morality Christian, 309 determining, 185, 202, 285 and love, 107 and singing, 92, no, 147, 188, 190—91 (see also vocal music) and the soul, 106 (see also Neoplatonism) threats to, 164-65, 188, 281-82, 286, 288, 289 virtuosa, 18, 125, 190 virtuosity, 105, 119, 125, 150, 306, 321, 338, 342, 355, 359> 363, 366 Visnu, 169—70 Visnudharmottara Purara, 164, 166-67, 171 Visnusmrti, 168

396

Index

vocal music dangers of, 182, 186, 188, 191, 205 importance of, 90, 92, 119, 182 lyrics (see poetry) polyphonic, 19, 108, 112, 124, 125, 127-31, 147, i52-53. 190, 361 as seduction, 10, 79, 86, 88, 133, 185-86, 189-90, 193

sexual connotations of, 10, 78, 108, 186, 191, 93-194 singing: in China, 75-84, 92-95; in Greece, 36; in India, 168, 315, 319, 321, 325, 337, 340-42, 345; in Italy, 105-7, 116, 124, 146, 182, 188, 189, 191; in Japan, 228; in Korea, 297, 298, 306, 307 solo, 17, 19, 84, 107, 108, 109, 112, 124, 144-48, 150

voice. See also persona associations with female, 105, 118, 137, 185 imagined by males, 19, 44 materiality of the, 9, 18-19, 80, 193 multivalency of, 104 preference for female, 80-81 Wandering Whore (L. Venier), 200 Wang Duanshu, Classical Verse by Renowned Women, 85-86 Wangjide, 84 Wang Zhuo, 80 Washing Silk Clothes (Liang Chenyu), 92 Wasps (Aristophanes), 45 wealth. See also luxury dangers to, 6, u, 200, 205, 284 display of, 144, 146, 241 female, 10, 163, 173, 104, 210, 214-18, 281, 312 male, 46, 215, 223, 238, 283 types of, 315 Westernization, 316 West, Stephen, 84 Willaert, Adriano, 108, 125, 128, 130 Amor, da che tu vuoi pur ch'io m'arrischi, 185, 195 n. 14 Willow Bridge, 256, 258, 270 Winkler, Jack, 210, 212, 213, 215 WIP (Women in Prostitution), 333, 343, 346, 347. See also prostitution wit, 44, 47, 104, 209-10, 216, 218, 239, 303, 324, 340 importance of, 45 Woman Power, 239

Women Music Makers Festival, 323 Won'gaksa, 298 Wong, Isabel, 84, 85 "world around me Is blessed, The," 364-66, track 15 World War II, 223, 231, 238, 246, 249, 300, 304, 318 wutou, 94 Xenophon, 46 Memorabilia, 210, 212-13, 2I§ Symposium, 38, 40, 45 xiao, 78 Ximenes, Isabella, 145 Xu Pian, 92

yar, 347 Yeongeuk Munwha Hyeop'hoe (Theater Culture League), 300 Yi Jinyeo, 307 Yi Neunghwa, 297 yin, 227, 272 yojeong, 303. See also gisaeng houses Yoshiwara, 14, 22, 255-79, 362. See also Floating World Yoshiwara Guide (Yoshiwara saiken), 270. See also Tsutaya Juzaburo Yuan Anpu, 354, track 1-2 Yuan Dynasty, 82, 84 Yu Huai, Miscellaneous Records of the Wooden Bridge District, 82 yujo, 243, 244 Yuki (Snow), 275, 361-62, track 12 Yu Zhiding, "Qiao Yuanzhi's Three Delights," 83 Zaffetta, Angela, 185, 186, 201 ^amino'ar, 339 Zanibelli, Angela, 190 Zarlino, Gioseffo, 120—21 n. 21 Zeitlin, Judith T, 5, 8, 9, 12, 17-19 Zen, 259, 275 zhambyke. See sambuca Zhang Dai, Miscellaneous Records of the Wooden Bridge District, 82 Zhang Xu, Love Lyrics of Stylistic Brilliance, 91 Zhou Zhibiao, 82 An Eiegant Collection ofKun-Style Songs, 91 Seductive Courtesans ofSuzhou 86-87, 89-91, 92 Zindagi ya Tufan, 320 Zola, Emile, 30