Muses for Poets: Prostitutes in Ancient China
Sex was off the table
Out of the 49,800 poems found in the Quan Tangshi (Complete Tang Poems) — the largest collection of Tang Dynasty (618–907) poetry — nearly 4000 of them were attributed to courtesans, with more than a hundred being written by the women themselves.
Prostitution in China dates back as early as 771 BC, consisting mostly of slave consorts or captured wives and daughters of enemies. It would take nearly 1400 years later — during the Tang Dynasty — for courtesans to become an integral part of society.
Ancient problems require ancient solutions
Characteristic of most ancient societies, women in ancient China were expected to be subservient to their male counterparts. Girls born in normal and noble families were often not granted an education as it was deemed unnecessary (the Imperial Examination only allowed men) and were instead taught about their role in society, obedience, and home duties.
On the flip side, girls who had either lost their family to war or been orphaned at an young age were sent to music and dance schools run by the government known as jiaofang (教坊). They would be taught music, dancing, and literature for future employment as entertainers or courtesans. These conservatories would serve as their foundation and became a fundamental structure for female employment.
Rise of the Courtesans
As marriages were often decided through socioeconomic status, many scholars were paired with women from noble families — a relationship sorely incompatible on a cerebral level.
To circumvent the dullness in their homes and to quench their thirst for the arts, many scholars, poets, and musicians visited brothels to trade verses or life stories with courtesans. Relationships between courtesans and customers were usually for mental pleasure and not physical, as a courtesan’s value would be diminished if it was made known she was having an affair.
One of the most famous poems from the Tang Dynasty period was crafted through such an encounter. “Pipa xing” (琵琶行) was a poem by Bai Juyi (白居易) a renowned poet and government official of that time. The story goes that on a slow evening along the Yangtze River — while having dinner and drinks with friends — they heard the distinct melody of a pipa. Bai instantly recognized the music was from Chang’an, the capital city. He was originally an official based in the capital city, but due to court politics, was exiled and forced to the distant city town of Xun Yang as administrator.
Upon hearing music from the capital again, his heart leaped with joy and along with his entourage, seeking the source of the music. They chanced upon the musician, a courtesan who was once famous in the capital but was forced to leave when her beauty faded. The poem was crafted around the chance encounter and encapsulated the similarities between both their lives. An excerpt from the poem:
我闻琵琶已叹息，又闻此语重唧唧。
同是天涯沦落人，相逢何必曾相识！When I listened to her music
I sighed for her
Now hearing her sad story
My sighs doubledLike you I am a forlorn soul
But now that we have met
Does it matter we never knew each other?
End of an Era
The last imperial dynasty of China, the Qing Dynasty, saw the rise of commercial entertainment troupes and public opera. Coupled with foreign influences and internal politics, jiaofang saw a decline in prestige and popularity, eventually leading to the complete abolishment of the system. Women of all classes were also given access to education, removing the symbiotic need for courtesans.
