Many Angry Men

Lysistrata’s meeting with the Spartan and Boiotan women proves to be very effective as they finally come to a consensus to “withhold all rights of access or entrance” (p.32) from their men. This means that they swear off having sex with the males in the play as a sign of passive protest for the war. They then drink wine to complete the “oblation” (p.31) from Aischylos’ shield as standard tradition. Kleonike, Lampito and the rest are all eager to drink, but later have to secure the Akroplois near “the Gates” (p.35) from Athene’s Citadel. Little do they know that they’re in for a big surprise later on.

The opposite sex – the men – storm the gates in their “Koryphaios” (p.36), and they’re not very happy. In fact, they are livid or “pissed” which Aristophanes probably intended to project the demeanor of the play’s mood. As soon as they come in, an immediate shift is felt from the calm and caring to heated and agitated as the focus is changed from the guys to the girls. What is most notable, however, is the use of chorus and the “semichorous” that is employed by the formation of old Athenian men as they march along to “light a spark of justice under every woman” (p.37) as payback for being locked out. The men are determined to continue the war, but even more determined to show their wives who’s boss – by asserting justifiable dominance and machismo. The only problem is that they don’t know how to get into the Citadel that the women locked….. and they don’t care either.

 

This quote comes from the strong favorite for the 2016 RNC Presidential Nominee and also world renown business magnate/mogul Donald Trump. Trump's quote is surprisingly relevant, not as a political quote per se, but because it shows how much male ego matters to the male sex - something that women may never understand. Trump is a pariah for many, a cult of personality for others, but one thing is for certain: he's the 'Don' of simplicity. In his view, you're either a winner or a loser .... and it all comes down to choice.

blog post # 4

The hyper sexualization of women is prominent in all of history and even displayed in Lysistrata. Woman are often seen as materialistic objects rather than as people. For a majority of history, women were merely used as a means creating offspring, maids, or for sex. It would very rare occurrences in which they would fit outside this stereotype. The sexual objectification of women is clearly foreshadowed to due to the fact that in order to prove a point, they refused to have sex with their husbands. In this Greek tragedy, the Peloponnesian War is ravaging regions of Greece and the main protagonist wishes to put an end to it; eventually coming to the agreement with the other women to withhold sexual privileges. In a way, the husbands felt obligated to listen to what the band of women had to say in order to please their sexual desires. Since they can't the attention that they desire, they are left in a culture shock. And at the conclusion at the play, the men ultimately listen to the women and call for a truce amongst all of the regions. Thus suggesting that women are only needed for sexual practices and that if the objectification of women is withdrawn, men will do whatever it takes to it that way once again.

The political cartoon shown above visual creates the theme of men often objectifying and hyper sexualizing women. Instead of seeing the women as something more like a future president or doctor, they are just an object, which in the end are at the disposal of the man. Whether it's the the year 2016 or 411 BCE deeming women as objects is clearly displayed in all mass media. 

 

Solidarity

The unity amongst the Chorus of Women is one reinforced by the sturdy stalls of solidarity; a bond unbreakable. Upon face to face contact with the Chorus of Men, Lysistrata and her faction of femme fatales remain calm, cool, and collected, symbolizing the relaxed nature of the woman. Even in the face of violence, “By Artemis” (48) the women stand their ground in defence of one another. The commissioner and his archers are frightened by the militant prowess demonstrated by Lysistrata and her group of lady-killers, thus resulting in their quick withdrawal from conflict with the Chorus of Women.  

The importance in this particular scene lies within the Women and their willingness to defend one another without hesitation! Almost instinctively, each lady soldier rushes to her comrade's aid, thus leaving “Athens’ finest--finished.” (50) and essentially, demonstrating the great lengths to which Lysistrata and her women are willing travel in order to achieve their ultimate goal of peace.

This image represents solidarity amongst women all across the globe, which parallels the central concept within the story as Lysistrata attempts to unite women from different backgrounds in hopes to put an end to the war. Too often are women viewed as second rate/second class citizens, incapable of logical thought, and It’s imperative that we break this cycle of false thinking, for women “are not slaves. They are freeborn Women, and when scorned, they’re full of fury. Never underestimate the power of a woman.” (51)

Happy Ending

Frustration builds as women continue to tease men without giving them sex. “Life with women is hell. Life without women is hell too” (96). On one hand women satisfy men but on the other  women drive men to insanity. For example, Myrrhine gathers everything needed “to make love” (88) from the cot, to blanket, to perfume and then “runs off” (90). Kinesias begs Myrrhine to “come to bed… and please stop bringing things!” (89) stating that “the ground’s enough for us” (85). This points out that men do not need objects but rather company.

The men could not hold out any longer. Sex was no where to be found, not even from “little old gals on the moosey” (93). In Kinesias’ word “she left our home, and happiness went with her” (81). As a result men reluctantly “conclude a truce” (96). It was evident that sooner or later the men needed to vote for a truce, the women were not going to surrender.

In conclusion, the play ended with a "happy ending" (112). Both sexes are happier when united, “each man stands by his wife, each wife stands by her husband” (112). When the two sexes are undivided there is dancing and singing as the citizens were calling “all the gods to witness. Blissful Peace” (112). This was such a disaster that no one wanted to unfold again. Lysistrata stated “let's not make the same mistakes again” (112). The quote below summarizes the play. When the wife is happy everything else falls into place. 

Two Wars?

Aristophanes emphasizes the theme of war throughout the entire play- two wars in fact. The battle of the sexes, and the battle of the Greeks. His message is simple: war is bad. He is concerned of the war and its aftermath.  While the Athen and Spartan men fight it out on the battle field, the women are left to suffer. The Gender differentiated effects on war are largely ignored. While the women commence their strike, the men suffer. The men fight physically, yet the women fight against gender roles. There is a clear parallel between the two wars. Clearly, the war has brought extreme hardship to both sides. It teaches us that women had a significant role in the war, in contrast to the stereotypes. Lysistrata states that the "salvation of all Greeks lies in the women's hands". Women are as just strong as the men.  The stakes were incredibly high- Greek will be ultimately demolished if the war does not cease. 

Blog Post 4

Throughout Lysistrata, stage cues and directions have been major aids in determining whom someone is talking to, how they are acting, or what the tone of their message is.  Towards the end of the play, these stage directions played an immense part in the understanding of what was going on between the Koryphaios of women and the Koryphaios of men.  The two were arguing about what to do regarding this “war between the sexes” (page 94). After discussing for a bit, the Koryphaios of women offers to help the Koryphaios of men look decent once again.

While helping him dress in his tunic, she offers to “extract the beast in [him]” (Page 95). This beast is a made believe bug—an excuse for him to cry without being ridiculed for it—and this is clearly shown through the stage directions. When she first suggest doing so, the Koryphaios of men is lost and “searching himself” wandering what beast she is talking about. However, he finally understands what she’s hinting at, and as the stage directions clarify, “play[s] along dubiously” (page 95). However, the most helpful of the stage cues was when she “[removed] the imaginary insect” (page 95). This explication blatantly let readers in on the joke.

This stage cues better helped readers to pick up on the, otherwise, undetectable humor. They allow insight into when someone is giving a sarcastic rebuttal or glaring look. Without stage cues, this comedy wouldn’t be very funny; the stage cues are necessity to the understanding and comprehension of what is truly being said.

Lysistrata: a Tale of Perseverance (blog post 4)

 

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Success is not an accolade easily achieved. To become triumphant, determination is a necessity. The most difficult part of Lysistrata’s plan is perseverance. The women's success is largely a result of Lysistrata’s perseverance herself. She knows her plan is risky due to the amount of sacrifice the women must make however, she consistently encourages the wives to avoid their husbands and suppress their inner desires. The women withhold a tainted reputation of perseverance. In their past efforts, “perseverance” eventually lead to either apathy or stubbornness. Women became too lazy to follow through or demanded that peace was not worth the expense. Nonetheless, Lysistrata continues her course of action even when she believes she has “lost [her] grip on the girls- they’re mad for men!” (70).  Many of the wives face this temptation, enough to even lie to Lysistrata about why they were in such a hurry to return home. They formulate creative excuses: wool in need of protection from moths, flax in need of shucking, and a fetus in need of birth (70-71). She relentlessly opposes these fallacies until she proves to the Magistrate and the other men who try to squash their efforts that the woman will prevail. To further ignite the willpower of the women, Lysistrata reads from the oracle, “But when the swallows… stoutly eschew their accustomed perch on a pole… then shall Thunderer Zeus… establish a stop, by making the lower the upper” (74). Myrrhine eventually transforms into the epitome of persistence when she “[sears] him with kisses, coyness, caresses, everything- but [stops] where [their] Oath begins,” (78).