2.1: Professor's Introduction

You may have read, attended a performance of, or at least heard about Greek tragedies such as Oedipus Rex; Medea; and/or The Oresteia by fifth-century B.C.E. playwrights including Sophocles, Euripides, and Aeschylus. However, the only ancient Greek comic playwright whose work has survived to the present day is Aristophanes (ca. 450-385 B.C.E.). Of Aristophanes’ plays, one of the best-known and enjoyed is Lysistrata. Lysistrata, whose name means “Army Disbander” is the title character.

First performed in 411 B.C.E., Lysistrata is a timeless and appealing play about “the women of Athens and Sparta [who] decide to go on a sex strike in order to stop the Peloponnesian War” (“Aristophanes” The Norton Anthology World Literature, Volume A, 791).

The backdrop is somewhat based on reality at the time. According to the Norton Anthology:

[ . . .] the Athenian fleet had recently been destroyed . . . many citizens lost their lives, while

others were enslaved, and the economic as well as military consequences for the city were

disastrous. Athenian victory now seemed unlikely, and public sentiment had begun to turn

against the war. (792)

Also, Athens during this period was an extremely patriarchal society in which women “had no political rights – they were not citizens, and could not vote” (“Aristophanes” 792). Consider this when reading the play and reflecting on whether or not the situation and conflict within Aristophanes' Lysistrata could have been realistic.

Even centuries later, Aristophanes’ unique mix of bawdy jokes and biting satire makes readers and audiences laugh. It isn’t known how Athenian audiences of the time received the play, but it may have offered spectators temporary respite from a war that continued another seven years (“Aristophanes” 793). At that point, Athens’ final fleet was destroyed, the city vanquished by the enemy, and the empire dissolved.

Within this play, at the outset Lysistrata convinces the women of Greece to withhold sexual privileges from their husbands and lovers as a means of forcing them to negotiate peace. While the setting, situation, and plot are steeped in the historical and cultural context of ancient Greece, they also reflect a blend of realism and fantastical elements characteristic of Aristophanes’ comedy.

The setting is firmly rooted in classical Athens, and the play opens with Lysistrata summoning women from various Greek city-states, a realistic depiction of fragmented yet interconnected ancient Greece. Athens, Sparta, and other city-states are presented in a manner that would have been immediately recognizable to the play’s audience. The Acropolis, a significant location, serves, as it did then, as both a symbol of political power and a strategic stronghold. In reality, the Acropolis was a central and highly fortified area of Athens, making it a believable location for the women's occupation.

However, the play also employs elements of fantasy and exaggeration that deviate from strict realism. For instance, the ease with which the women take over the Acropolis and the immediate impact of their sex strike are dramatized for comedic effect. In reality, such a takeover would have faced considerable challenges, and the idea of a sex strike leading directly to peace negotiations is an improbable simplification of the complex social and political dynamics of the time.

The situation does, nevertheless reflect people’s weariness and frustration with the prolonged Peloponnesian War, which had been raging for over two decades by the time the play was written. Aristophanes captures the fatigue and the yearning for peace through the lens of a domestic sphere, highlighting the impact of war on women and families. This aspect of the play is grounded in the real experiences of the Athenian population, who suffered great losses and hardships.

Still, the premise of women uniting across enemy lines to enact political change through a sex strike is less-than-realistic. In ancient Greek society, women had limited political power and autonomy, making the prospect of them orchestrating such a large-scale and effective protest highly unlikely. Aristophanes uses this improbable situation to explore themes of power, gender dynamics, and the absurdity of war, creating a satirical commentary rather than a realistic depiction of political activism.

In that sense, the dialogue often reflects genuine concerns about the consequences of war, and the characters express authentic emotions related to love, duty, and despair. The portrayal of male and female characters, despite being exaggerated for comedic purposes, touches on real societal attitudes and gender roles of the time.

The play's resolution may reflect Aristophanes' idealism, since quick reconciliation between the warring parties and any restoration of marital harmony offers an overly simplistic solution to deep-seated issues of war and conflict. This idealized ending underscores the play's function as a comedic/hopeful vision rather than a realistic work.

Also, the title character Lysistrata contrasts sharply with the other female characters. Through her, Aristophanes not only crafts someone of exceptional intelligence and leadership but also contrasts her qualities against more traditional and stereotypical portrayals of women.

Lysistrata's exceptional leadership and intelligence set her apart. She masterminds the sex strike and the occupation of the Acropolis, which demonstrates her strategic thinking and deep understanding of the political situation. Her ability to articulate ideas and convince others underscores her intelligence and persuasiveness.

The other female characters initially appear less confident and more concerned with domestic matters. For example, when Lysistrata first proposes the sex strike, her friend Calonice is skeptical and preoccupied with the difficulties of abstinence, reflecting a more traditional view of women as primarily concerned with their roles as wives and mothers. This initial reluctance among the women serves to highlight Lysistrata's visionary abilities and her talent for inspiring and mobilizing others.

The main character's determination and resolve are also unwavering. Lysistrata is steadfast in her commitment to achieving peace, even with opposition from men and women alike. Her fortitude is clear in the scenes where she confronts male authority figures, like the Magistrate, and asserts the legitimacy of the women's actions. Her resilience and unyielding spirit contrasts with the other women's doubts and wavering resolve.

Characters like Myrrhine demonstrate hesitation and clearly struggle with the demands of the sex strike. Myrrhine's encounter with her husband Cinesias, during which she teases him but ultimately refuses to break the strike, highlights the sacrifices and internal conflicts the women experience. While Myrrhine ultimately supports the cause, her hesitant actions point to the difference between her hesitancy and Lysistrata's unflinching determination.

Further, Lysistrata, as the strike's organizer, possesses a complexity and depth that separates her from more one-dimensional characters. She is a nuanced character, and expresses a range of emotions, from frustration with the war to genuine concern for the well-being of men and women alike.

Other women characters often show more limited traits. For example, the Spartan woman, Lampito, is shown to have exaggerated physical characteristics and a strong accent. These emphasize her foreignness and also serve as a source of humor. Similarly, Calonice is portrayed with a focus on her sexuality and flirtatiousness. While these characters contribute to the comedy, they lack the depth and complexity Lysistrata herself shows.

Lysistrata's character also challenges gender norms. She steps into a role typically reserved for men, demonstrating political savvy, leadership, and a proactive approach. This is critical to the play's commentary on gender roles. Other female characters largely conform to traditional expectations of women.

The central premise of the play lends itself to a wealth of humor. For instance, conversations between characters are laced with sexual references and jokes. When Lysistrata is explaining her plan to the women, the dialogue contains many humorous references to their sexual relationships. The men’s exaggerated reactions, filled with desperation and lust, also add to the comedy.

Aristophanes also employs slapstick and physical comedy. Interactions between characters often involve exaggerated physical actions and reactions that are inherently humorous. For instance, the scene where the women take control of the Acropolis shows a mix of strategic cunning and farcical action. The men’s attempts to break the blockade, only to be thwarted in increasingly ridiculous ways, provide additional comedy.

Work Cited

“Aristophanes.” The Norton Anthology World Literature, Volume A. Edited by Martin Puchner et al. 4^th ed., W.W. Norton, 2018, 791-3.