What Pompeii’s ruins say about its enslaved, prostituted women | Aeon Essays

Fresco from the Lupanar brothel, in Pompeii, c 70-79 CE.

庞贝卢帕纳尔妓院的壁画，公元 70-79 年。

Courtesy Wikipedia

维基百科提供

‘Eutychis, a Greek lass with sweet ways, 2 asses.’ This pithy graffito advertising sex for sale comes from the walls of Pompeii.

“Eutychis，一个性情甜蜜的希腊姑娘，有两头驴。”这幅简洁的性广告涂鸦来自庞贝古城的墙壁。

The ancient Roman city was already an old town when it was destroyed in the eruption of Mount Vesuvius in August 79 CE – and thus preserved for posterity.

这座古罗马城市在公元 79 年 8 月的维苏威火山喷发中被摧毁时，已经是一座古老的城镇，因此得以为子孙后代保留下来。

Located on the Bay of Naples, near the mouth of the river Sarno, there are early signs of Etruscan culture, though the area was later settled by Oscan-speaking Samnites, who began the town’s real growth after around 200 BCE.

位于那不勒斯湾，靠近萨尔诺河口，这里有伊特鲁里亚文化的早期迹象，尽管该地区后来被讲奥斯坎语的萨姆尼特人定居，他们在公元前 200 年左右开始了该镇的真正发展。

The land around Pompeii was fertile, and the city and region grew wealthy.

庞贝周围的土地肥沃，城市和地区变得富裕。

‘Eutychis, a Greek lass with sweet ways, 2 asses’; grafitto at the entrance to the Lupanar, Pompeii.

“Eutychis，一位举止甜美的希腊姑娘，有两头驴”；庞贝古城卢帕纳尔入口处的涂鸦。

Photo courtesy Pompeii Sites

照片由庞贝遗址提供

As Rome expanded its power throughout Italy, Pompeii became a Roman city, though one that retained a diverse population.

随着罗马在意大利各地扩张势力，庞贝成为一座罗马城市，尽管保留了多元化的人口。

We can imagine a busy place of some 12,000 people, rich and poor, free and enslaved, of public squares, fountains and gardens, fine houses and poorer dwellings, taverns, shops and workshops, and a stone amphitheatre for the provision of large-scale public entertainment.

我们可以想象一个约有 12,000 人的繁忙场所，无论贫富、自由还是被奴役，有公共广场、喷泉和花园、精美的房屋和简陋的住宅、酒馆、商店和作坊，以及提供大型公共娱乐的石头圆形剧场。

There would have been a clamour of Oscan, Greek and Latin, and all the activities we would expect from a thriving town – politics, business, love, crime.

那里会有奥斯卡语、希腊语和拉丁语的喧嚣，以及我们期望从一个繁荣的城镇中得到的所有活动——政治、商业、爱情、犯罪。

Graffiti is one of the most exciting kinds of evidence preserved for us by the destruction of Pompeii, because it comes not from the literature of the elite, or the inscriptions of the powerful, but from a wider cross-section of society.

涂鸦是庞贝古城毁灭后为我们保留下来的最令人兴奋的证据之一，因为它不是来自精英的文学，也不是权势人物的铭文，而是来自更广泛的社会阶层。

The Eutychis graffito gives us a woman’s name, an ethnicity, a price, the hint of a good time to be had – and suggests a seamy side to the ruined town now frequented by inquisitive tourists and keen culture-vultures.

尤蒂奇斯的涂鸦为我们提供了一个女人的名字、种族、价格、美好时光的暗示——并暗示了这个如今被好奇的游客和热衷文化爱好者经常光顾的废墟小镇阴暗的一面。

It was written on the vestibule wall of a well-to-do house owned by two freedmen, the Vettii, which is perhaps best known to the world for its painting of the well-endowed Priapus weighing his member on a balance against a bag of coins.

这句话写在两位自由民维蒂 (Vettii) 拥有的一栋富裕房屋的前厅墙上，该房屋最出名的也许是画中的富有的普里阿普斯 (Priapus) 在天平上对着一袋硬币称量他的成员。

While brief and to the point, this announcement, calling out to us from nearly 2,000 years ago, can set us on a journey to understanding more about the life of Pompeii’s haves and have-nots.

虽然简短而中肯，但这一公告在近 2000 年前就在向我们发出召唤，可以让我们踏上更多了解庞贝城富人和穷人生活的旅程。

At the same time, it may well leave us with more questions than answers about Eutychis herself and the prostitutes of Pompeii.

与此同时，关于尤蒂奇斯本人和庞贝城的妓女，这很可能给我们留下的疑问多于答案。

The Lupanar brothel, Pompeii.

庞贝古城卢帕纳尔妓院。

Photo courtesy Wellcome Images

照片由惠康图片提供

P ompeii, often seen under the bright sun with hordes of other visitors, does not hide its darker side – in fact, the single purpose-built brothel identified in the city, known as the Lupanar, is one of its most popular attractions.

庞贝城经常在明亮的阳光下看到成群结队的游客，但它并没有隐藏它阴暗的一面——事实上，这座城市中唯一一家专门建造的妓院，被称为卢帕纳尔 (Lupanar)，是它最受欢迎的景点之一。

The sexy frescoes are one highlight.

性感的壁画是一大亮点。

Eight can be seen above the doorways of the little cubicles with their masonry ‘beds’.

在小隔间的门口上方可以看到八个，里面有砖石“床”。

Five or six are female-male sex scenes, another shows a woman standing next to a reclining man as she points at an erotic picture, and the last depicts the god Priapus with two erect phalluses.

其中五六幅是男女性爱场景，另一幅描绘了一名女子站在斜倚的男子旁边，指着一张色情图片，最后一幅描绘了拥有两个勃起阳具的普里阿普斯神。

These show something very basic and timeless that we have in common with ancient Pompeiians – sex – but they also titillate the visitor and sometimes prompt dirty jokes from both guides and visitors.

这些展示了我们与古代庞贝人共有的一些非常基本和永恒的共同点——性——但它们也会让游客兴奋，有时会引发导游和游​​客的黄色笑话。

The frescoes presumably indicate the kind of activities that were available to customers, and helped in creating an erotically charged atmosphere.

这些壁画大概表明了顾客可以进行的活动类型，并有助于营造一种充满情欲的氛围。

Thanks to the graffiti in the brothel, we even know the names of some of the women who worked there: Anedia, Aplonia, Atthis, Beronice, Cadia, Cressa, Drauca, Fabia, Faustilla, Felicla, Fortunata, Habenda, Helpis, Ianuaria, Ias, Mola, Murtis, Myrtale, Mysis, Nais, Panta, Restituta, Rusatia, Scepsis, Victoria, and the daughter of Salvius.

多亏了妓院里的涂鸦，我们甚至知道了一些在那里工作的妇女的名字：Anedia、Aplonia、Atthis、Beronice、Cadia、Cressa、Drauca、Fabia、Faustilla、Felicla、Fortunata、Habenda、Helpis、Ianuaria、Ias、Mola、Murtis、Myrtale、Mysis、Nais、Panta、Restituta、Rusatia、Scepsis、Victoria，和萨尔维乌斯的女儿。

Eutychis does not appear in the list, although it might well be that those were working names; some of them appear in graffiti elsewhere in town.

Eutychis 没有出现在列表中，尽管这些很可能是工作名称；其中一些出现在镇上其他地方的涂鸦中。

They were on display naked with prices, to be perused, evaluated and chosen by the male clientele

它们赤裸裸地展示着价格，供男性顾客仔细阅读、评估和选择。

How would Pompeiians and other visitors have experienced the brothel?

庞贝人和其他游客会如何体验妓院？

We can learn something of this from a fragmentary literary text called The Satyricon , written in the 1st century CE by an elite Roman called Petronius.

我们可以从一部名为《萨蒂里孔》的文学文献片段中了解到一些关于这一点的信息，该文献由罗马精英佩特罗尼乌斯于公元 1 世纪撰写。

In the scene, the male character Encolpius has become lost in town.

在这个场景中，男性角色恩科尔皮乌斯在镇上迷路了。

An old woman tricks him into entering the brothel, whereupon:

一位老妇人把他骗进了妓院，于是：

Petronius was writing comedy, but there is no reason to dispute the incidental details, which can bring the Lupanar to life.

佩特罗尼乌斯正在写喜剧，但没有理由对那些可以让卢帕纳尔栩栩如生的附带细节产生争议。

His description suggests brothels would be located in more out-of-the-way parts of town and were not necessarily identifiable from the outside; the prostitutes and punters were screened from the outside world by a curtain.

他的描述表明，妓院将位于城镇更偏僻的地方，从外面不一定能辨认出来；妓女和赌客被帘子与外界隔绝。

It also reveals that people could be enticed or tricked into visiting – presumably chaperones who drummed up trade got a fee.

它还表明，人们可能会被引诱或欺骗来参观——大概是鼓动交易的监护人得到了费用。

The prostitutes themselves were on display naked with prices, to be perused, evaluated and chosen by the male clientele.

妓女本身赤裸裸地展示着价格，供男性顾客仔细阅读、评估和选择。

Cubicles or rooms could be rented out for private use.

小隔间或房间可以出租供私人使用。

T he Roman poet Horace wrote about men’s choice of sexual partners in one of his satires, where he is pointing out the follies of some men – especially in hankering after or having affairs with elite or married women.

罗马诗人贺拉斯在他的一篇讽刺作品中写到了男性对性伴侣的选择，他指出了一些男性的愚蠢行为——尤其是在追求精英或已婚女性或与他们发生关系方面。

He suggests that prostitutes are a much more sensible choice when a man had need of sex.

他认为，当男人需要性时，妓女是一个更明智的选择。

For one thing, their faces and bodies are visible, he says.

他说，一方面，他们的脸和身体是可见的。

In contrast to respectable women, whose bodies were well covered, prostitutes’ clothes could be revealing, allowing the man to view what he might want to buy and use.

与身体被很好地遮盖的受人尊敬的女性相比，妓女的衣服可能很暴露，让男人可以看到他可能想购买和使用的东西。

And, during the encounter, Horace says, a man might call the prostitute by any name – she could be expected to cater better to man’s fantasies.

霍勒斯说，在邂逅过程中，男人可能会称呼妓女任何名字——她可能会更好地满足男人的幻想。

Horace, at least in character, preferred these women to be fair and natural, smartly turned out, prompt and inexpensive.

霍勒斯，至少在性格上，更喜欢这些美丽、自然、聪明、敏捷、廉价的女性。

The Satyricon begins to fill in the details of the lives and environment of some prostitutes – those who worked in brothels, at least – but, so far, from the text and the paintings we have something of a light-hearted view of what went on.

《萨蒂利孔》开始描述一些妓女的生活和环境的细节——至少是那些在妓院工作的妓女——但到目前为止，从文字和绘画中我们对所发生的事情有一些轻松的看法。

However, the reality of the women in the brothel, naked and carrying their price placards, was a grim one: their bodies put to use for the profit of the brothel’s owners, their physical and emotional work performed in tiny open cubicles or sex booths.

然而，妓院里那些赤身裸体、举着标语牌的妇女的现实是残酷的：她们的身体被用来为妓院老板谋取利益，她们的体力和情感工作在狭小的开放式隔间或性爱摊位中进行。

Most of them were slaves, who had little choice in what they were doing, at the mercy of their owners and customers.

他们中的大多数人都是奴隶，他们在自己所做的事情上几乎没有选择，任由主人和顾客摆布。

Poorer free women too were vulnerable and had probably been driven to prostitution by necessity .

较贫穷的自由妇女也很脆弱，很可能被迫卖淫。

About a fifth of the women’s names in the brothel indicate they were free.

妓院里大约五分之一的女性的名字表明她们是自由的。

Slavery was an accepted institution in the Roman Empire, and slaves of all kinds – agricultural workers, urban house slaves, labourers, miners, teachers (and prostitutes) – were everywhere.

奴隶制在罗马帝国是一种公认​​的制度，各种奴隶——农业工人、城市房奴、劳工、矿工、教师（和妓女）——无处不在。

Some few slaves may have lived relatively privileged lives, and others had a degree of independence in their work and life, within the confines of being owned; some could even hope to be made free.

少数奴隶可能过着相对特权的生活，而另一些奴隶则在被拥有的范围内，在工作和生活中具有一定程度的独立性；有些人甚至希望获得自由。

But there are also sombre reminders of the less fortunate.

但也有一些不幸的事情提醒人们。

Columella, also writing in the 1st century CE, explained how slaves on the farm should be treated and managed.

科鲁梅拉也在公元 1 世纪写作，解释了应该如何对待和管理农场里的奴隶。

He recommended their constant supervision and physical restraint in chains and in slave prisons ( ergastula ), as well as keeping control over where they could go, whom they could see, and also their bathing, religious practices and sex.

他建议他们在锁链和奴隶监狱（ergastula）中持续受到监督和身体约束，并控制他们可以去的地方、可以见的人，以及他们的洗澡、宗教活动和性行为。

What was the regime like for slave prostitutes in the Lupanar?

卢帕纳尔的奴隶妓女制度是什么样的？

Slaves often had no space of their own but were simply part of the furniture

奴隶通常没有自己的空间，而只是家具的一部分

Enslaved people might be denied a love or sex life of their own but also be forced to reproduce (a source of new slaves), while female slaves might be forced into sex to help control male slaves.

被奴役的人可能会被剥夺自己的爱情或性生活，但也可能被迫繁殖（新奴隶的来源），而女性奴隶可能被迫发生性行为以帮助控制男性奴隶。

Sexual abuse and rape by owners was one particular vulnerability of slaves, female and male, child and adult.

奴隶主的性虐待和强奸是奴隶（无论是女性还是男性、儿童还是成人）特别容易受到的伤害之一。

Many slaves could expect to be used sexually by their owners as a matter of course, perhaps household slaves in particular given their proximity.

许多奴隶理所当然地会被主人性利用，尤其是家庭奴隶，因为他们距离很近。

In another satire, Horace gives the line: ‘When your organ is stiff, and a servant girl or a young boy from the household is near at hand and you know you can make an immediate assault, would you sooner burst with tension?’ He also wrote an ode on the topic, advising his friend not to be ashamed of loving his slave when Achilles and other heroes did the same.

在另一首讽刺诗中，贺拉斯写道：“当你的器官僵硬，家中的女仆或小男孩近在咫尺，你知道你可以立即发动攻击时，你会立即爆发出紧张吗？”他还就此话题写了一首颂歌，建议他的朋友不要因为阿喀琉斯和其他英雄也这样做而感到羞耻，因为爱他的奴隶。

A gold armband from Pompeii hints at this kind of relationship; it carries the legend ‘from the master to his slave girl’.

庞贝古城的金臂章暗示了这种关系。它承载着“从主人到他的女奴”的传说。

Yet as well as perhaps being an earnest gift, it was also a reminder of who was who in the relationship.

然而，这也许是一份真诚的礼物，同时也提醒人们，这段关系中的谁是谁。

Sometimes, slaves may have been able to leverage sex to their advantage.

有时，奴隶可能能够利用性来获得优势。

Archaeology furnishes more tangible evidence of the life of the enslaved.

考古学为奴隶的生活提供了更切实的证据。

The relative absence of slave quarters in elite houses suggests that slaves often had no space of their own but were simply part of the furniture.

精英住宅中相对缺乏奴隶宿舍，这表明奴隶通常没有自己的空间，而只是家具的一部分。

They may have hidden and slept where they could, including making use of the spaces under staircases and dark and unpleasant cellars.

他们可能躲藏起来并在可以睡觉的地方睡觉，包括利用楼梯下的空间和黑暗而令人不快的地窖。

These cellars could have other uses too.

这些地窖也可以有其他用途。

At Pompeii, in the Villa of the Mosaic Columns, the skeleton of a slave was found in a cellar with iron shackles anchored into the ground.

在庞贝古城的马赛克柱别墅中，人们在地窖中发现了一具奴隶的骨架，地窖里还埋着铁镣铐。

This seems to have been a slave prison.

这似乎是一个奴隶监狱。

Leg irons were found in a cupboard in the House of the Venus in Bikini, perhaps a half-hidden but lingering threat to coerce slaves into good behaviour.

在比基尼维纳斯之家的一个橱柜里发现了腿镣，这或许是一种半隐藏但挥之不去的威胁，旨在强迫奴隶表现良好。

Beatings and whippings and the threat of violence were commonplace means of control and punishment by slaveowners .

殴打、鞭打以及暴力威胁是奴隶主控制和惩罚的常见手段。

There was not only the physical pain involved, but also the humiliation of such a personal affront, which the victim was powerless to prevent.

不仅是身体上的痛苦，还有这种个人侮辱所带来的羞辱，而受害者却无力阻止。

Compulsion and coercion were enforced psychologically as well as physically.

强迫和胁迫在心理上和身体上都受到强制。

Perhaps the Lupanar had its own ‘bouncers’, ready to deal with any trouble from customers or from the women themselves.

也许卢帕纳尔有自己的“保镖”，随时准备处理来自顾客或女性本身的任何麻烦。

Enslaved people did resist and some did manage to run away.

被奴役的人们确实反抗了，有些人确实设法逃跑了。

One nameless slave from Bulla Regia, in north Africa, was put in a lead collar inscribed: ‘This is a cheating whore!

来自北非布拉雷吉亚的一名无名奴隶被戴上铅项圈，上面写着：“这是一个作弊的妓女！”

Seize her because she escaped from Bulla Regia.’ The collar was found with a skeleton in the Temple of Apollo.

抓住她，因为她逃离了布拉雷吉亚。”项圈是在阿波罗神庙中与一具骷髅一起发现的。

Nobody knows the name of the woman who wore it.

没有人知道佩戴它的女人的名字。

Did she die seeking shelter in the abandoned temple?

她是在这座废弃的寺庙里寻求庇护而死的吗？

Was this her first attempt to flee or had she tried before and then been collared?

这是她第一次尝试逃跑，还是她以前尝试过，然后就被套住了？

This woman is almost lost in history, unknown apart from the symbol of her captivity.

这个女人几乎消失在历史中，除了她被囚禁的象征之外，人们对其一无所知。

Copper alloy tag that was attached to the collar of an enslaved person, inscribed with a demand to return the wearer to the slave master at his estate in Rome, 4th century CE.

铜合金标签，贴在被奴役者的衣领上，上面刻有将佩戴者送回罗马庄园的奴隶主的要求，公元 4 世纪。

Courtesy the British Museum

由大英博物馆提供

There are some 45 known slave collars.

已知的奴隶项圈约有 45 种。

Many mention the name, occupation and location of the slave’s owner, but never the slave.

许多人提到奴隶主的姓名、职业和所在地，但从未提到奴隶。

For example, a bronze tag from a slave collar from Rome announced: ‘Hold me because I have run away and return me to the Caelimontium to the house of Elpidius, vir clarissimus , to Bonosus.’ Its other side said: ‘Hold me and return me to the Forum of Mars, to Maximianus the antiquary.’ It seems the tag had been reused.

例如，来自罗马的奴隶项圈上的青铜标签上写着：“抓紧我，因为我逃跑了，请把我带回凯利蒙提姆，回到埃尔皮迪乌斯的房子，vir clarissimus，到博诺苏斯。”它的另一面说：“抓紧我，让我回到火星广场，回到古董商马克西米安努斯。”看来标签已被重复使用。

An iron collar from Rome also offers a reward: ‘I have run away; hold me.

来自罗马的铁项圈也提供了奖励：‘我已经逃跑了；抱紧我。

When you have brought me back to my master Zoninus, you will receive a gold coin.’

当你把我带回我的主人佐尼努斯那里时，你会收到一枚金币。

S o who was Eutychis?

那么优提基斯是谁？

Was she a prostitute, an enslaved woman, both or neither?

她是一个妓女，一个被奴役的女人，还是两者兼而有之？

Was she forced into selling herself?

她是被迫出卖自己的吗？

Let us think first of her name.

让我们首先想到她的名字。

Eutychis is a Greek name that roughly translates to ‘fortunate’, and was in use throughout the Greek-speaking world.

Eutychis 是一个希腊名字，大致翻译为“幸运”，并在整个希腊语世界中使用。

Although the graffito surely refers to a real person, we don’t know whether it was her real name, or a slave name, or a working name.

虽然涂鸦肯定指的是真人，但我们不知道这是她的真名，还是奴隶的名字，还是工作的名字。

If she was a free woman working as a prostitute, she may have chosen Eutychis as her pseudonym; if she was a slave, the name may have been given to her by her owner.

如果她是一个以妓女为业的自由女性，她可能会选择尤蒂奇斯作为她的笔名；如果她是奴隶，这个名字可能是她的主人给她起的。

Renaming a slave with something cheerful and Greek was a common practice of the Romans.

用欢快的希腊语给奴隶重新命名是罗马人的常见做法。

This act of renaming an enslaved person could affect them in various ways.

这种为被奴役者重新命名的行为可能会以多种方式影响他们。

It robbed the enslaved person of a key aspect of their own identity and replaced it with a sometimes cruel name that emphasised their status as property.

它剥夺了被奴役者自身身份的一个关键方面，并用一个有时残酷的名字取而代之，强调他们作为财产的地位。

A slave prostitute named ‘fortunate’ or ‘lucky’ was probably anything but.

一个被称为“幸运”或“幸运”的奴隶妓女可能根本不是。

Another slave in the House of the Vettii was called ‘Eros’ (‘desire’).

维蒂家族的另一个奴隶被称为“Eros”（“欲望”）。

The graffito that mentions him reads: ‘Eros likes to be sexually passive,’ but it was later scratched out ) .

提到他的涂鸦上写着：“爱神喜欢在性方面处于被动”，但后来被刮掉了）。

Nowadays, we might see this as an aspect of coercive control, an ongoing rite of abuse and humiliation.

如今，我们可能将其视为强制控制的一个方面，一种持续的虐待和羞辱仪式。

However, renaming could also allow the enslaved person to retain a separate, inner ‘core’ identity linked with their own ‘private’ name.

然而，重命名也可以让被奴役者保留与自己的“私人”名字相关的独立的、内在的“核心”身份。

An unhappy possibility is that we know ‘Eutychis’ only by the name her owner gave her, and she remains, in this sense, invisible .

一个不幸的可能性是，我们只能通过她主人给她起的名字来认识“Eutychis”，从这个意义上说，她仍然是隐形的。

The second part of the graffito stresses Eutychis’ Greekness.

涂鸦的第二部分强调了尤蒂奇斯的希腊血统。

Should we read the label of ‘Greek’ simply as a statement of fact, or could it have a different significance?

我们应该将“希腊”这个标签简单地理解为事实陈述，还是可以有不同的含义？

If the graffito were written by her owner or a pimp, then it could be that both the name and the ethnic label were given to increase Eutychis’ appeal by generating a sense of exoticism – although Pompeii had quite a mixed heritage and attracted all kinds of visitors.

如果涂鸦是由她的主人或皮条客写的，那么这个名字和种族标签可能都是为了通过产生异国情调来增加尤蒂奇斯的吸引力——尽管庞贝古城有着相当复杂的遗产并吸引了各种各样的游客。

Were Greek women fetishised as sex objects by some Pompeiian males?

希腊女性是否被一些庞贝男性视为性对象？

The fetishisation and sexualisation of groups of women (and men), based on ethnicity or race, is well known still, so it is not impossible.

基于民族或种族的女性（和男性）群体的迷恋和性化仍然是众所周知的，所以这并非不可能。

A prostitute would have had to appear cheerful, coy or aroused, depending on the circumstances

妓女必须表现得高兴、害羞或兴奋，具体取决于具体情况

On the other hand, perhaps ‘a Greek lass’ would have appealed to Greeks travelling through the town or Greek-heritage Pompeiians, such as Mousaios or Epagathus, named in graffiti from the Lupanar, or Pyrrhus or Chius, known in graffiti from the Basilica at Pompeii.

另一方面，也许“希腊少女”会吸引途经该镇的希腊人或希腊遗产庞贝人，例如在卢帕纳尔的涂鸦中命名的穆萨奥斯或埃帕加苏斯，或者在庞贝大教堂的涂鸦中命名的皮洛士或丘斯。

Mousaios’ name was written in Greek rather than Latin, one of a number of Greek graffiti found around the city.

穆萨奥斯的名字是用希腊语而不是拉丁语写成的，这是该市周围发现的众多希腊涂鸦之一。

Either way, the choice and statement of both her name and ethnicity could have been deliberate business strategies rather than factual biographical details.

不管怎样，她的名字和种族的选择和陈述可能是经过深思熟虑的商业策略，而不是真实的传记细节。

The advert also stresses Eutychis’ ‘sweet ways’ ( moribus bellis ) .

该广告还强调了 Eutychis 的“甜蜜之道”(moribus bellis)。

This is found on a number of graffiti in Pompeii.

这在庞贝古城的许多涂鸦上都可以找到。

In the Lupanar, we find ‘Restitua with sweet ways’.

在卢帕纳尔，我们发现“以甜蜜的方式恢复”。

Other prostitutes, such as Spes, Successa, and Menander, a man, are so labelled.

其他妓女，如斯佩斯（Spes）、成功（Successa）和男人米南德（Menander），都被贴上这样的标签。

This label suggests a good time in an indirect fashion, perhaps good company as well as a sexual service.

这个标签以一种间接的方式暗示着美好的时光，也许是美好的陪伴以及性服务。

Indeed, in her research on the public and private lives of Pompeian prostitutes, Sarah Levin-Richardson reminds us that prostitution could also involve emotional as well as physical labour.

事实上，莎拉·莱文-理查森在对庞贝妓女的公共和私人生活的研究中提醒我们，卖淫也可能涉及情感劳动和体力劳动。

A prostitute would likely have had to run the gamut of emotions, appearing cheerful, coy or aroused, enticing and passionate, pliable or dominant, depending on the circumstances.

妓女可能必须表现出各种情绪，表现出快乐、害羞或兴奋、诱人和热情、柔顺或强势，这取决于具体情况。

This contrasts with some of the other graffiti around the town that elaborates on the specific services offered, especially fellatio and sex.

这与镇上其他一些涂鸦形成鲜明对比，这些涂鸦详细说明了所提供的具体服务，尤其是口交和性服务。

Finally, what of the price of two asses (copper coins)?

最后，两头驴（铜币）的价格是多少？

It seems low; the same price as a loaf of bread.

看起来很低；与一条面包的价格相同。

Recorded prices for prostitutes varied, but most tend to be from one to five asses .

妓女的记录价格各不相同，但大多数往往是一到五头驴。

Two asses seems to have been a common price at Pompeii and may have been a kind of standard low rate.

两头驴似乎是庞贝古城的常见价格，并且可能是一种标准的低利率。

Price could reflect a number of factors.

价格可以反映多种因素。

It would be calculated to attract a high volume of customers, or it may reflect the age and perceived appeal of the woman.

其目的是吸引大量顾客，或者反映女性的年龄和感知吸引力。

It could have been used as a punishment.

它本来可以用作惩罚。

Perhaps there was an element of haggling possible once a punter had expressed an interest.

一旦下注者表达了兴趣，也许就可能存在讨价还价的因素。

Independent prostitutes may have had little means to protect themselves and enforce payment.

独立妓女可能没有什么手段来保护自己和强制付款。

We should also consider what the location of the graffito adds to the story.

我们还应该考虑涂鸦的位置给故事增添了什么。

The text was written on the left wall of the vestibule of the House of the Vettii.

文字写在维蒂家族前厅的左墙上。

The Vettii are usually thought of as brothers, Aulus Vettius Conviva and Aulus Vettius Restitutus, who were freed slaves who took on the name of their former master, Aulus Vettius.

维蒂一家通常被认为是奥卢斯·维蒂乌斯·康维瓦 (Aulus Vettius Conviva) 和奥卢斯·维蒂乌斯·雷斯图图斯 (Aulus Vettius Restitutus) 兄弟，他们都是获得自由的奴隶，并继承了前任主人奥卢斯·维蒂乌斯 (Aulus Vettius) 的名字。

Their names were on bronze seals found near a large wooden strongbox in the house, along with a ring with the initials ‘AVC’.

他们的名字印在房子里一个大木制保险箱附近的青铜印章上，还有一枚印有缩写“AVC”的戒指。

In graffiti on the outside of the house, Conviva is named as an Augustalis , a priestly position open to former slaves, while Restitutus urges voters to support one Sabinus.

在房子外面的涂鸦中，康维瓦被命名为“奥古斯塔利斯”，这是一个对前奴隶开放的牧师职位，而“恢复”则敦促选民支持萨比努斯。

Whether they were brothers, father and son, friends or coworkers can’t really be known, but they seem to have had some wealth and privilege, including their well-decorated town house.

他们是兄弟、父子、朋友还是同事已经不得而知，但他们似乎拥有一些财富和特权，包括装修精美的联排别墅。

The Priapus painting emphasises the Vettii’s wealth, as Priapus was a god of fertility – besides the member and the money, the painting shows his basket of fruit on the ground.

普里阿普斯的画强调了维蒂人的财富，因为普里阿普斯是生育之神——除了成员和金钱之外，这幅画还展示了他放在地上的篮子水果。

Two of the ‘funny’ stories associated with him, related by the poet Ovid, have him failing to rape the goddess Hestia and a nymph called Lotis.

诗人奥维德讲述了与他有关的两个“有趣”的故事，讲述了他未能强奸女神赫斯提亚和一位名叫洛蒂斯的仙女。

Priapus in the House of the Vettii.

维蒂家族中的普里阿普斯。

Photo courtesy Carole Raddato

卡罗尔·拉达托供图

The other paintings in the House of the Vettii may tell us more about the life of the house and its inhabitants, and shed light on Eutychis.

维蒂伊之家的其他画作可能会告诉我们更多关于这座房子及其居民的生活，并为尤蒂奇斯提供线索。

One careful analysis by Beth Severy-Hoven focuses in particular on the sets of paintings found in a pair of reception rooms, called ‘ n ’ and ‘ p ’.

贝丝·塞弗里-霍文 (Beth Severy-Hoven) 进行了一项仔细的分析，特别关注在一对接待室（称为“n”和“p”）中发现的一组画作。

The rooms and their decorative scheme seem to mirror each other.

房间及其装饰方案似乎相互镜像。

Room n has two violent paintings.

n号房间有两幅暴力画作。

On the back wall is a depiction of the punishment of Pentheus, who was killed by the female worshippers of Dionysus.

后墙上描绘了彭透斯被狄俄尼索斯的女性崇拜者杀害的惩罚。

The naked Pentheus is falling, arms spread wide as the women attack him from all sides.

赤身裸体的彭透斯倒下，双臂张开，女人们从四面八方攻击他。

On the wall on the right, the punishment of Dirce is shown.

右边的墙上画着迪尔克的惩罚。

She is tied, naked, under a bull to be trampled to death, a fate she had planned for another woman, Antiope.

她赤身裸体地被绑在一头公牛下面，等待被践踏而死，这是她为另一个女人安提奥普计划的命运。

Room p shows the punishment of Ixion at the back, who was tied to a fiery wheel for eternity for trying to rape Hera, and the punishment of Pasiphae, made (for her husband’s crimes) to lust after a bull, on the left.

p室在后面展示了对伊克西翁的惩罚，他因试图强奸赫拉而被永远绑在火轮上，而在左边则展示了对帕西法厄的惩罚，因为她丈夫的罪行而对一头公牛产生了贪欲。

Each room, then, shows the torture of a female and a male character from mythology.

每个房间都展示了神话中女性和男性角色的酷刑。

Those in room n were punished by humans, and those in p by the gods.

n号房间的人受到人类的惩罚，p号房间的人受到神的惩罚。

Severy-Hoven argues that we can read the decoration from the perspective of the Vettii being freed slaves and from a perspective of power.

塞弗里-霍文认为，我们可以从维蒂人被解放的奴隶的角度和权力的角度来解读装饰。

As we already noted, enslaved people were there to be used sexually and were likely to be punished in numerous ways, which may have been something the Vettii themselves experienced.

正如我们已经指出的那样，被奴役的人在那里被性利用，并且可能会受到多种方式的惩罚，这可能是维蒂人自己经历过的事情。

The Vettii’s choice of these images of punisher and punished to decorate their public dining rooms would call to mind the distinction between master and slave – both for themselves and for their slaves.

维蒂夫妇选择这些惩罚者和被惩罚的图像来装饰他们的公共餐厅，会让人想起主人和奴隶之间的区别——无论是为了他们自己还是为了他们的奴隶。

As Severy-Hoven puts it: ‘When the owner selected these images of eroticised torture, he was inscribing his own power to punish or to enjoy onto his very walls.’

正如塞弗里-霍文所说：“当主人选择这些色情酷刑的图像时，他正在将自己惩罚或享受的力量刻在他的墙上。”

W as Eutychis a house-slave of the Vettii?

尤蒂奇斯是维蒂家族的家奴吗？

It is possible.

这是可能的。

One clue from that graffito itself is that it may first have read ‘verna’ rather than ‘Graeca’ – that is ‘homeborn slave’ rather than ‘Greek lass’.

从这幅涂鸦本身可以看出，它可能首先读的是“verna”而不是“Graeca”——即“本土奴隶”而不是“希腊姑娘”。

If she was, it is not unlikely that she would have been a target of sexual advances by the Vettii and their friends.

如果是的话，她很可能会成为维蒂夫妇及其朋友的性挑逗目标。

Did the Vettii also pimp out their house slave Eutychis?

维蒂家族也给他们的家奴尤蒂奇斯拉皮条吗？

One ancient novel, The Golden Ass by Apuleius, tells of a young woman called Charite, who has been kidnapped by bandits.

阿普列乌斯的一部古代小说《金驴》讲述了一位名叫夏里特的年轻女子被强盗绑架的故事。

When she is caught trying to escape, one of the bandits suggests selling her to a brothel or to pimps in a nearby town.

当她试图逃跑时被发现，其中一名强盗建议将她卖给妓院或附近城镇的皮条客。

As he says to the bandits, ‘seeing her servicing men in a whorehouse will be sweet revenge for you’.

正如他对强盗们所说的那样，“看到她在妓院为男人服务，对你们来说就是甜蜜的报复”。

Sex in various ways could be a punishment.

各种方式的性行为都可能是一种惩罚。

Daily life as a slave in the House of the Vettii may have been a constant fight to remain unmolested and unpunished, a fight to retain a degree of control and dignity.

在维蒂家族中，作为奴隶的日常生活可能是一场为保持不受骚扰和不受惩罚而进行的持续斗争，一场为保持一定程度的控制和尊严而进行的斗争。

The house may have been home to Eutychis, but it was no brothel like the Lupanar.

这所房子可能是尤蒂奇斯的家，但它不像卢帕纳尔那样是妓院。

However, one thing that has puzzled scholars about the House of the Vettii is the existence of a little room behind and only accessible from the kitchen, known as x 1.

然而，让学者们对 Vettii 之家感到困惑的一件事是，其后面存在一个小房间，只能从厨房进入，称为 x 1。

This room is of interest because it is decorated with three large erotic paintings, yet it is hidden away in a service area.

这个房间很有趣，因为它装饰着三幅大型色情画，但它隐藏在服务区。

Was this the place where Eutychis had sex with customers, making more money on the side for the Vettii?

难道Eutychis就是在这里与顾客发生性关系，为Vettii赚更多的钱吗？

It is possible, but such an activity might not have benefitted the owner’s public reputation.

这是可能的，但这样的活动可能不会有利于所有者的公众声誉。

Or were the paintings a gift to a good cook or other slave, who had the use of the room?

或者这些画是送给一位好厨师或其他拥有这个房间的奴隶的礼物吗？

Alternatively, were they a reminder to the enslaved staff, who may have slept there, of their sexual availability and vulnerability and their lack of power in the house?

或者，它们是否提醒那些可能睡在那里的被奴役的工作人员，他们的性可用性和脆弱性以及他们在房子里缺乏权力？

Another idea is that such rooms, of which there are perhaps six at Pompeii, were private ‘sex clubs’, rooms that conjured up the brothel atmosphere but were not open to the public.

另一个想法是，这样的房间（庞贝古城可能有六个）是私人“性俱乐部”，这些房间让人联想到妓院的氛围，但不向公众开放。

Perhaps Eutychis was required to serve her masters in this grim fantasy.

也许尤蒂奇斯需要在这个残酷的幻想中为她的主人服务。

On the other hand, was the Eutychis graffito a real advert at all?

另一方面，尤蒂奇斯的涂鸦到底是不是一个真正的广告？

We can’t rule out the possibility that it was simply a malicious daubing, in a way familiar from subway graffiti today.

我们不能排除这只是一种恶意涂抹的可能性，就像今天的地铁涂鸦一样。

The Greek satirical writer Lucian, writing in his Dialogues of the Courtesans in the 2nd century CE, mentioned that graffiti could be used as a joke, to mislead or to stir up trouble between lovers.

希腊讽刺作家卢西安在公元二世纪的《妓女对话录》中提到，涂鸦可以被用作笑话、误导或挑起情人之间的麻烦。

Maybe Eutychis was a real Greek girl, perhaps even with sweet ways, but she need not have been a prostitute or even a slave.

也许尤提基斯是一个真正的希腊女孩，也许甚至举止甜美，但她不一定是妓女，甚至是奴隶。

A rejected suitor or jilted lover might have written it in a place that she, and those who knew her, would see it.

一个被拒绝的追求者或被抛弃的情人可能会把它写在她和认识她的人会看到的地方。

Perhaps this implies she did have some kind of connection with the House of the Vettii, but we cannot say for certain if she was a house-slave there.

也许这意味着她确实与维蒂家族有某种联系，但我们不能确定她是否是那里的家奴。

The single graffito we began with has taken us on a journey through some of the darker aspects of life in Pompeii: the grittiness of the Lupanar, the ever-present threat for the enslaved of sexual assault and violence, being chained to the floor of a basement in pain and terror, being owned and being used.

我们一开始的那幅涂鸦带我们踏上了庞贝生活中一些黑暗面的旅程：卢帕纳尔的坚韧，性侵犯和暴力奴役者永远存在的威胁，在痛苦和恐惧中被锁在地下室的地板上，被拥有和被使用。

It is difficult to conjure these horrors while visiting the sun-baked town with its busloads of bright-shirted and good-natured tourists, or marvelling at the beautiful art and architecture in glossy books.

当你游览这座阳光明媚的小镇，满载穿着鲜艳衬衫、心地善良的游客，或者惊叹于光鲜亮丽的书籍中美丽的艺术和建筑时，很难想象这些恐怖。

We will never really know for sure about Eutychis, beyond the fact that there was a woman attached to the name.

我们永远无法真正确切地了解尤提基斯，除了这个名字上有一个女人这一事实之外。

We may never know what life in the House of the Vettii was really like for its inhabitants, either.

我们也可能永远不知道维蒂家族的居民的生活到底是什么样的。

But we can keep trying to read the evidence to find the stories that bring the lives of Pompeii’s less fortunate into the light.

但我们可以继续努力阅读证据，找到让庞贝城不幸者的生活得以曝光的故事。

Prehistoric humans didn’t create art and architecture out of nothing.

史前人类并没有凭空创造艺术和建筑。

They took inspiration from the nonhuman world

他们从非人类世界中汲取灵感

In enigmatic burials, crafted to bind the bodies within, we can see how truly ancient our fears of the undead must be

在神秘的墓葬中，我们可以看到我们对不死生物的恐惧是多么古老。

We are just one branch of a diverse human family tree.

我们只是多元化人类家谱的一个分支。

Aside from Neanderthals, who were they – and why did we replace them?

除了尼安德特人之外，他们是谁？我们为什么要取代他们？

By turns benign and malign, powerful and vulnerable, earthbound and aerial, daimons across the world resemble one another

世界各地的恶魔时而善良，时而邪恶，时而强大，时而脆弱，时而在地上，时而在空中，彼此相似

The Norse ravaged much of Europe for centuries.

几个世纪以来，挪威人蹂躏了欧洲大部分地区。

They were also cosmopolitan explorers who followed trade winds into the Far East

他们也是跟随信风进入远东的国际化探险家

In Plato’s Symposium, Socrates shared a theory of love from the teachings of a ‘non-Athenian woman’.

在柏拉图的《会饮篇》中，苏格拉底分享了一种来自“非雅典女人”教诲的爱情理论。

Who was she really?

她到底是谁？