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Women in ancient Athens and Sparta
The role of women held in Sparta at the time
Women in ancient Athens and Sparta
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Zack Snyder’s 300 is a movie filled with offensive comments and brimming with controversy, yet it is the most refreshing sword and sandal film I’ve recently watched. It is not because of the blood, gore, or muscular men running around in black underwear and red capes. No, it is because this movie gave us Gorgo, Queen of the Spartans. Gorgo is not a standard weak woman who is isolated, glamourous, and on display (Mulvey, 753). She is “a loyal wife and Spartan patriot who fights the good fight on the home front” (Scott).
The movie begins with a Persian messenger requesting the submission of the Spartans to the Persian King Xerxes. During the diplomatic talk between the messenger and King Leonidas Gorgo intervenes by saying “Do not be coy or stupid, Persian, You can neither afford Sparta” (9:35). Outraged, the messenger replies, “What makes this woman think she can speak among men?” (9:39). Misogyny was not uncommon in antiquity. In Hesiod’s Theogony he writes that women are “a great infestation among mortal men” (Hesiod, 596). He also believed that Zeus “made women as a curse for mortal men,” calling women “evil conspirators” (Hesiod,
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Gorgo stood in front of a room filled with men without fear or uncertainty to plea for the council to send their army to aid Leonidas in the fight against King Xerxes. “Send the army for the preservation of liberty. Send it for justice. Send it for law and order. Send it for reason. But most importantly, send our army for hope -- hope that a king and his men have not been wasted to the pages of history” (1:30:36). Gorgo did the unthinkable when she, a woman, infiltrated a place where only men were allowed to speak and decide the law. Yet, by going against what was acceptable and voluntarily putting herself in a vulnerable position she showed how strong she is as a woman and the lengths she would go to help her husband and protect her
A major concern in both the film and the original text is the ‘status of women’. This is represented through the differing roles of women and their denigration within the Elizabethan society. For instance, Hero is accused of committing infidelity; consequently her image in society is tarnished, In addition to this, Claudio insults Hero publicly without even considering confirming the accusation of her being unchaste. This is illustrated through Claudio slandering Hero through the use of usage of Greek Mythological allusions “You seem to as Dian in her orb, but you are more intemperate than Venus in y...
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
In The Bacchae, I believe that Euripides uses the relationship of male and female to explore the alluring concept of feminine empowerment in a patriarchal society and to demonstrate the cost this empowerment subsequently has on ordered civilization. In this paper, I will argue that Euripides uses the conflictual relation between the genders to criticize the role of women in Greek society while also showing the consequences of a total feminine revolt. Through developing this conflict, Euripides is demonstrating how the path to the most successful civilization is through a balance of masculine rationality and feminine emotional freedom. I will prove this by analyzing the positions of Pentheus, the Bacchants, and Dionysus throughout the play. The character Pentheus
Athena was the Greek Goddess of many ideas, but she was famous mostly for her superior wisdom, her cunning skills in times of war, and her implausible talent for household tasks, such as weaving and pottery. She was celebrated more than any other God in ancient mythology, was the supposed inventor of countless innovations, and her figure gave reason for Greek woman to gain rights long before others of their time. The goddess of war, the guardian of Athens, and the defender of Heroes; Athena’s impact on the lives of Ancient Greeks is outstanding.
From the role of the wily seductress, to the submissive housewife, to the raging warrior, women were a focal point of Ancient Greek works. Although they are often looked over and considered, the roles they played in their culture were undeniably important. Women may have been thought to have far less worth than a man, however, their undeniable power and influence in Greek society cannot be overlooked. The substantial position they held is verified in numerous texts of the era, including the works of Homer, Virgil, and Ovid.
The speech itself highlights women's subordinate status in ancient Greek society, especially in the public eye." When Medea points out that women, especially "foreign" women, "require some knowledge of magic and other covert arts to exert influence over their husbands in the bedroom," she argues for a kind of alternative power that women can enjoy. A power that remains invisible to men and unknown by society, yet sways each with unquestionable force. Medea also supplies a method for interpreting her own character towards the end of her speech (lines 251-257): we should read her history of exile as a metaphoric exaggeration of all women's alienation; in fact, her whole predicament, past and yet to come, can be read as an allegory of women's suffering and the heights of tragedy it may unleash if left unattended. Under this model of interpretation, Medea portrays the rebellion of women against their "wretchedness." Such a transparent social allegory may seem forced or clichéd in our own contemporary setting, but in Euripides' time it would have been revolutionary, as tragedy generally spoke to the sufferings of a generic (perhaps idealized) individual, rather than a group. It would be a mistake, however, to claim that Medea's speech elaborates a clearly progressive political message, as her concluding remarks appeal to women's natural talent for devious manipulation (line 414). While Euripides' play manifests many revolutionary political sentiments, its social criticisms remain sporadic, forming just a part of some of the many trains of thought he follows.
Another example of women being controlled by a patriarchy in The Epic of Gilgamesh is the go...
The film Good Will Hunting starts by giving us a glimpse into a rather bleak moment in the life of Will Hunting, a college-aged janitor at the prestigious university called MIT. He lives the typical college life in many respects, from regularly meeting his friends at the bar to getting into a relationship built upon lies – with the glaring exception that he is not a college student whatsoever. In fact, he is portrayed as an undiscovered genius…at least until getting into trouble with the law leads to a bail out that eventually turns around his life for the better.
In each of these plays, the protagonist is a woman who has a very independent mindset, but is limited by society in how much she is able to do for herself. For example, after Antigone buries Polynices, she tries to defend what she did to Creon. However, he refuses to listen to her because he doesn’t want to seem like he would listen to a woman (Sophocles 37). His refusal shows that men are supposed to be dominant over women and a man who listens to a woman is not masculine. It also represents the idea that during this time period, women have no valuable opinion. Additionally, in A Doll’s House, Nora is criticized for taking out the loan on her own, like when Mrs. Linden says, “Why, a wife can’t borrow without her husband’s consent!" (Ibsen 151). This criticism demonstrates the idea that women are unable to make their own decisions and decide things for themselves. It also shows the belief that only men have the sense to make a business deal, and w...
In conclusion, it becomes obvious by these three plays that for a woman to achieve kleos in ancient Greece, she usually had to become more man-like in her role. The murders committed by Electra and Medea, the bravery of Antigone—all three of these were fulfilled by what would have normally been considered a man’s role. A woman could rarely be considered a hero unless she became like a man in her actions. Otherwise, she would be only a simple woman.
Women in the ancient world had few rights, they differed from country to country or, in the case of the women of Athens and Sparta, from city-state to the city-state. The women of the city-states of Athens and Sparta had profound differences in their roles in the political and the daily lives of their families and their cities. When it came to the difference in levels of power and the rights of women, Sparta was a leader in its time. At the same time, their rights as citizens were almost the same. While they did not take an active part in politics, they had opinions and ideas like women all over the world. Their thoughts, deeds, and opinions rarely recorded or if they were, the male historians or philosophers of the time recorded them. What were roles did the women in ancient Athens and Sparta? Were they citizens, did they have personal freedoms? On the other hand, did they in a time when the beginnings of democracy were happening were they less than a second-class citizen? The misogyny and patriarchal societies continued throughout the ancient and classical periods only beginning to change in the Hellenistic era.
The plays Medea, by Euripides, and Antigone, by Sophocles, are often analyzed as being supportive of feminist ideas. Yet, one wonders whether Euripides and Sophocles really could have been behind what would have been a very radical idea in their misogynistic society. A feminist is defined as “a person who supports the advocacy of women’s rights on the basis of social, political, and economic equality to men.” Key word: advocacy. Euripides and Sophocles portrayed ideas we now recognize as feminist, however, I do not believe they themselves supported or could even conceive of equal rights for women.
In Greek classics, it is common knowledge that in that era women and men were considered unequal. Men were superior, and in most cases women were not even fit for citizenship. It is in this atmosphere and time period that Aristophanes wrote Lysistrata. The play itself is supposed to be a comedy, although the actions of the women do not seem amusing. Instead, the women’s actions, especially the main character Lysistrata, seem incredibly brave. Lysistrata rounds up her “troop” of all the women in Athens and a Spartan woman. They take charge of the acropolis and refuse to settle for anything less than a peace treaty to end the war. The only problem with this is, in ending the war, they will be bringing back the men from their duty and end up in the same social caste system as they were from the beginning. Aristophanes seems to make the point that – the only power women hold is their sexuality (Rex Par. 7). The Athenian women can withdraw from their husbands for however long they like, they still end up givi...
The film that is being used for the movie analysis is “Enough”, this movie was chosen due to the fact that it is based on domestic violence towards women. The movie begins with in Los Angeles diner were a waitress named slim works with her best friend Ginny (Kazan, 2002). While working her shift slim has a customer that starts harassing her over the name she has, but the companion of the annoying customer defends slim, which in turn starts a romance, later to become a marriage between the two (Kazan, 2002). The couple is later blessed with a daughter they name Gracie, and at the beginning the marriage seems to be a fairy tale out of a story book (Kazan, 2002). The fairy tale becomes a nightmare as time moves forwards for the couple,
When American Sniper opened in theaters January 2015, the world was shocked and excited that a film about a war has finally shown the emotional and psychological pain a soldier goes through. To many this was a new concept but, what the public did not realize, was in 2014, a World War II film, Fury was released. Fury is an insightful film about a tank crew surviving through World War II through the emotional and psychological hardships. The film takes place in April 1945, five months before WWII ends (Fury, IMDb). There are many key points to which makes Fury a modern war film from the extent of backstory each character has, to the prescreening prep and training, to the research of the props. Though American Sniper and Fury differ in wars and