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An odalisque (Turkish: Odalık) was a female slave in an Ottoman seraglio. She was an assistant or apprentice to the concubines and wives, and she might rise in status to become one of them. Most odalisques were part of the Imperial Harem, that is, the household of the sultan.
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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.
An odalisque was not a concubine of the harem, but it was possible that she could become one. Odalisques were 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 personal chambermaids. Odalisques were usually slaves given as gifts to the sultan, bought or given by wealthy Turkish men. Generally, an odalisque was never seen by the sultan, but instead remained under the direct supervision of his mother, the Valide sultan. If an odalisque was of extraordinary beauty or had exceptional talents in dancing or singing, she would be trained as a possible concubine. If selected, an odalisque trained as a concubine would serve the sultan sexually, and only after such sexual contact would she change in status, becoming thenceforth a concubine. In the Ottoman Empire, concubines encountered the sultan only once—unless she was especially skilled in dance, singing, or the sexual arts, and thus gained his attention. If a concubine's contact with the sultan resulted in the birth of a son, she would become one of his wives.
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 Gilbert and Sullivan opera 'Patience'.
In popular use, the word odalisque also may refer to a mistress, concubine or paramour of a wealthy man.
During the 19th century, odalisques became common fantasy figures in the artistic movement known as Orientalism, being featured in many erotic paintings from that era.
In 2011 the Law Society of British Columbia brought a discipline hearing against an unnamed lawyer for referring to another lawyer's client as living with an odalisque. The Law Society found the use of the word, though an extremely poor choice, did not rise to the level of professional misconduct. [1]
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The Odalisque is a famous 1885 painting by awarding Filipino painter and hero Juan Luna. It is one of Luna's so-called "Academic Salon portraits" that followed the standards of proper proportion and perspective, and realistic depictions with "an air of dignity and allure". Although less polished compared to Luna's other works of art, the Odalisque is typical of the well-planned characteristic of the artist's portraits, meaning it was painted in a personal studio while expertly studying the desired effects, and with finesse. The Odalisque is one of the paintings that made Luna as an officially accepted artist at the Salon of Paris because it shows Luna's skill at draftsmanship, his "talent to draw and to draw well". The Odalisque was formerly a part of the painting collection of Philippine national hero José Rizal. It is currently a component of the Don Luis Araneta Collection in the Philippines.
Odalisque is a 2005 fantasy novel by Fiona McIntosh and the first in the Percheron series.
The story begins with a slave driver attempting to sell his latest finds, including a foreign captive known only as Lazar. Hot tempered and confident, Lazar invokes his right to a fight to the death that, if he wins, will grant him his freedom. Zar Joreb, Percheron's leader decides to attend the fight and is so impressed by the demonstrated fighting skills that he offers Lazar the elite position of Spur.
Writing for The Sun-Herald newspaper, Genevieve Swart gave Odalisque a positive review, stating "the book races off to a good start, leaving us on tenterhooks awaiting the next page-turner", while also noting that McIntosh's "torture scenes might want to come with a warning, so horrifying are the descriptions of medieval-style brutality". Reviewing the novel for the The Age newspaper, Cameron Woodhead described the series as "competent" and "fast-paced", but was critical of how accurately Islamic history was portrayed.
They've come to find you, Odalisque
As the light dies horribly
On a fire escape you walk
All rare and resolved to drop
And when they find you, Odalisque
They will rend you, terribly
Stitch from stitch 'til all
Your linen limbs will fall
Lazy lady had a baby girl
And a sweet it made
Raised on pradies, peanut shells and dirt
In a railroad cul-de-sac
And what do we do with ten baby shoes
A kit bag full of marbles and a broken billiard cue?
What do we do?
What do we do?
Fifteen stitches will mend those britches right
And them rip them down again
Sapling switches will rend those rags alright
What a sweet sound it makes
And what we do with ten dirty Jews
A thirty-ought full of rock salt and a warm afternoon?
What do we do?
What do we do?
Lay your belly under mine
Naked under me, under me
Such a filthy dimming shine
The way you kick and scream, kick and scream
And what do we with ten baby shoes
A kit bag full of marbles and broken billiard cue?
What do we do?
What do we do?