Courtesan:
The cortigiane oneste were usually well-educated and worldly (sometimes even more so than the average upper-class woman), and often held simultaneous careers as performers or artists. They were typically chosen on the basis of their "breeding"—social and conversational skills, intelligence, common-sense, and companionship—as well as their physical attributes. It was usually their wit and personality that set them apart from regular women. They were prostitutes in the sense that sex was one of their obligations, but unlike the average prostitute, sex constituted only a facet of the courtesan's array of services. For example, they were expected to be well-dressed and ready to engage in a variety of topics ranging from art to music to politics.
Hetaerae:
In ancient Greek society, hetaerae were independent and sometimes influential women who were required to wear distinctive dresses and had to pay taxes. Mostly ex-slaves from other cities, these courtesans were renowned for their achievements in dance and music, as well as for their physical and intellectual talents. Unlike most other women in Greek society at the time, hetaerae were educated. Τhey were also the only women who actively took part in the symposia, where their opinion was welcomed and respected by men. Hetaerae should not be confused with pornai of the time, who sold sex by the act and worked on the streets or out of brothels. They were the only class of women in ancient Greece with access to and independent control over considerable amounts of money.
kisaeng:
Throughout the Goryeo and Joseon periods, kisaeng held the status of cheonmin, the lowest rank of society. They shared this status with other entertainers, as well as butchers and slaves. Status was hereditary, so the children of a kisaeng were also of cheonmin status, and the daughters automatically became kisaeng as well. Beginning in the Goryeo period, the governing offices in each district kept a registry of kisaeng, to ensure thorough oversight. The same practice was followed for conscripted slaves. Kisaeng could only be released from their position if a hefty price was paid to the government; this could usually only be done by a wealthy patron, typically a high government official.
Many kisaeng were skilled in poetry, and numerous sigo composed by kisaeng have survived. These often reflect themes of heartache and parting, similar to poems composed by scholars in exile. In addition, some of the most famous kisaeng poems were composed to persuade prominent scholars to spend the night. Indeed, the sijo style came to be associated with kisaeng women, while women of yangban status focused on the gassa form.
Nagarvadhu:
Women competed to win the title of a Nagarvadhu, and it was not considered a taboo. The most beautiful woman was chosen as the Nagarvadhu.
A Nagarvadhu was respected like a goddess, but in fact she was a courtesan; people could see her dance and sing. A Nagarvadhu's price for a single night dance used to be very high, and she was only within the reach of the very rich – the king, the princes, the lords.
Oiran:
Negative misconceptions are often attached to the oiran of Edo Japan due to the stigma given to modern prostitutes, but the two professions differed. As oiran were also entertainers they were valued for much more than just their looks and sexual prowess. In order to be considered an oiran, a woman had to be educated in a number of skills, including in the traditional arts of chadō (Japanese tea ceremony), ikebana (flower arranging), and calligraphy. In addition, clients expected them to be knowledgeable in scholarly matters, and so it was essential that courtesans had the abilities to carry witty and intelligent conversation and write eloquently. It was evident then that “the [popularity] of a bimbo, no matter how gorgeous, would have been limited [in Edo society]."
Geisha:
Traditional Japan embraced sexual delights (it is not a Shinto taboo) and men were not constrained to be faithful to their wives. The ideal wife was a modest mother and manager of the home; by Confucian custom love had secondary importance. For sexual enjoyment and romantic attachment, men did not go to their wives, but to courtesans. Walled-in pleasure quarters known as yukaku (遊廓、遊郭?
) were built in the 16th century, and in 1617 the shogunate designated "pleasure quarters", outside of which prostitution would be illegal, and within which "yūjo" ("play women") would be classified and licensed. The highest yūjo class was the Geisha's predecessor, called "Oiran", a combination of actress and prostitute, originally playing on stages set in the dry Kamo riverbed in Kyoto. They performed erotic dances and skits, and this new art was dubbed kabuku, meaning "to be wild and outrageous". The dances were called "kabuki," and this was the beginning of kabuki theater.
The appeal of a high-ranking geisha to her typical male guest has historically been very different from that of his wife. The ideal geisha showed her skill, while the ideal wife was modest. The ideal geisha seemed care somber and responsible. Geisha do sometimes marry their clients but they must then retire; there can never be a married geisha.
Geisha may gracefully flirt with their (often infatuated) guests, but they will always remain in control of the hospitality. Over their years of apprenticeship they learn to adapt to different situations and personalities, mastering the art of the hostess.
Yeah ... a combination of all that. No matter the time period or culture ... we've always been around in some form or another. Women who were meant to please Men.
Wiki for more information.
