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 (hĭ-tîr′ə) also he·tai·ra (-tīr′ə)
n. pl. he·tae·rae (-tîr′ē) or he·tae·ras also he·tai·rai (-tīr′ī′) or he·tai·ras
An ancient Greek courtesan or concubine, especially one who was highly educated or refined.

[Greek hetairā, feminine of hetairos, companion; see s(w)e- in Indo-European roots.]

he·tae′ric adj.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(hɪˈtɪərə) or


n, pl -taerae (-ˈtɪəriː) or -tairai (-ˈtaɪraɪ)
(Historical Terms) (esp in ancient Greece) a female prostitute, esp an educated courtesan
[C19: from Greek hetaira concubine]
heˈtaeric, heˈtairic adj
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(hɪˈtɪər ə)

n., pl. -tae•rae (-ˈtɪər i)
1. a highly cultured courtesan or concubine, esp. in ancient Greece.
[1810–20; < Greek hetaíra (feminine) companion]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.


a female companion or paramour of ancient Greece, a sort of professional prostitute.
See also: Greece and Greeks
-Ologies & -Isms. Copyright 2008 The Gale Group, Inc. All rights reserved.


n pl <-rae or -ras> → Hetäre f
Collins German Dictionary – Complete and Unabridged 7th Edition 2005. © William Collins Sons & Co. Ltd. 1980 © HarperCollins Publishers 1991, 1997, 1999, 2004, 2005, 2007
References in periodicals archive ?
Ora nos temos as prostitutas (hetairai) para o prazer; as concubinas (pallakai) para as necessidades quotidianas do corpo; as esposas (gynaikes) para conceberem filhos legitimos (gnesioi) e para serem fieis guardias do lar.
(39) Plutarch divides hetairai into two categories: (1) bad ones who are fleeced when their young men come to their senses and (2) good ones who are land and constant and will be rewarded with the restoration of citizen parents or the ability to live a decent life.
In her thorough examination of the question 'whether these mute female characters were played by costumed male actors or by nude hetairai' (1992:78) Bella Zweig cautiously comes to an agnostic conclusion (1992:81).
While dismantling this philological myth, one could get an alternative reading, turning us "from Victorian fantasy and modern reconstructions to the one indisputable fact about Sappho," namely that "she was a poet," and that she called "her comrades philai and hetairai." "She should therefore be seen, not in a thiasos (whatever that might be) but, like Alcaeus, in a hetairia, an association of friends." (Parker 1993: 348)
Andocides' trial exposed the demos' distrust of the aristocrats and their hetairai, or private associations, while Nichomachus' tribulation dealt with the struggle to re-establish the law.
Hetairai Johnson Liz Mikel Lysistrata Jones Patti Murin Michelangelo "Mick" Jackson Andrew Rannells Lampito Kanagawa Katie Boren Mhyrinne Moore, Tiffany Carla Duren Robin Smythe Lindsay Nicole Chambers Cleonice Sanchez Noemi Del Rio Cinesias Ray Telly Leung Xander Lee Curtis Holbrook Statyllis "Tyllis" Carter Justin Keyes Gustaf Angstrom Preston Sadleir Uardo Cortez Xavier Cano Musical numbers: "Right Now--Opening," "Change the World," "No More Givin' It Up," "Lay Low," "I Don't Think So," "The Steps Along the Way," "You Go Your Way," "Cantata," "Where Am I Now," "The Writing on the Wall," "Don't Judge a Book," "Right Now--Operetta," "When She Smiles," "Hold On," "Give It Up!"
The symposium is singled out for its special place in Graeco-Roman society: the arrival of the Eastern custom of reclining on couches in the 6th century BC, the expensive furniture, tableware, utensils, frescoes and mosaic floors adorning triclinia, which became the centre of both private meals and organised feasts on special occasions (68-73); the elements of equality and sharing in the Greek meal, whether private, sympotic or sacrificial, in contrast with the Roman context where status difference was maintained between patron and client or emperor and people (73-74); the attendance of women of status at symposia, slaves and hetairai being more usual (75); the changing structure of the Greek symposium in Roman dining, and variations in different periods, places and social strata (77-78).
The identification of these women as water nymphs, hetairai, or what the Athenians would have considered respectable women is unclear, although the context of the scene, an outdoor bathing scene taking place in nature, suggests that they might be nymphs.
(4) A man's parallel household violation, such as the sexual exploitation of young slaves or hetairai, was not similarly punished.