Odalisque By Jules Lefebvre (1874)

An odalisque (, ) was an enslaved chambermaid or a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan. In western European usage, the term came to mean the harem concubine, and refers to the eroticized artistic genre in which a woman is represented mostly or completely nude in a reclining position, often in the setting of a harem. It was part of a fascination with Orientalism, particularly in Great Britain and France.

Etymology

The word "odalisque" is French in form and originates from the Turkish ''odalık'', meaning "chambermaid", from ''oda'', "chamber" or "room". It can also be transliterated ''odahlic'', ''odalisk'', and ''odaliq''.

Joan DelPlato has described the term's shift in meaning from Turkish to English and French:

Origin as the Turkish ''odalık''

An ''odalik'' was a (slave) maid who tended to the harem, but she could eventually become a (slave) concubine. She was ranked at the bottom of the social stratification of a harem, serving not the man of the household, but rather his concubines and wives as their personal chambermaid. ''Odalıklar'' were usually slaves given as gifts to the sultan by wealthy Turkish men. Generally, an ''odalık'' was never seen by the sultan, but instead remained under the direct supervision of his mother, the Valide sultan.

If an ''odalık'' was of extraordinary beauty or had exceptional talents in dancing or singing, she would be trained as a possible concubine. If selected, an ''odalık'' trained as a court lady would serve the sultan sexually. Only after such sexual contact would she change in status, becoming thenceforth one of the consorts of the sultan.

Later Western usage of the term

During the nineteenth century, ''odalisques'' became common figures in the artistic movement known as Orientalism, being featured in many erotic paintings from that era.

W. S. Gilbert refers to the "Grace of an odalisque on a divan" in Colonel Calverley's song "If You Want a Receipt for That Popular Mystery" from the 1881 Gilbert and Sullivan opera ''Patience.''

By the later nineteenth century, Turkish writers such as Melek Hanum used the word odalisque to refer to slave-concubines when writing in English:

If any lady possesses a pretty-looking slave, the fact soon gets known. The gentlemen who wish to buy an odalisque or a wife, make their offers. Many Turks, indeed, prefer to take a slave as a wife, as, in such case, there is no need to dread fathers, mothers, or brothers-in-law, and other undesirable relations.

The word ''odalisque'' may also refer to a mistress, concubine or paramour of a wealthy man.

In 2011, the Law Society of British Columbia brought a disciplinary hearing against an unnamed lawyer for referring to another lawyer's client as living with an odalisque. The Law Society found that the word's use, though an extremely poor choice, did not rise to the level of professional misconduct: " 8… A lawyer, more than anyone, should be aware of the importance of using words carefully, alive to their nuances. Whether his failure to do so is the product of naïveté, as suggested by his counsel, stupidity or lack of care, it is at least unintelligent and certainly inexcusable."The Law Society of British Columbia: "Decision of the Hearing Panel on Facts and Determination"
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See also

*Ottoman Imperial Harem
*Culture of the Ottoman Empire
*Hammam
*Islamic views on slavery
*Köçek
*Ottoman Turkish language

References

Sources

* Jeffrey Eugenides (2013) Middlesex; pg 495 "... Stretched across the couch, a Pisceasn Odalisque..."
* ''The Imperial Harem'' by Leslie Pierce
* ''The Nature of the Early Ottoman State'' by Heath W. Lowry

{{Authority control

Ottoman imperial harem
Orientalism
Women slaves in the Ottoman Empire