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Augustine begins his work with a short prayer praising God. Augustine tells of his faith in God and his need to allow God to “live in” him. Augustine repents his childhood sins and asks God for forgiveness while continuously praising Him. Augustine describes his adolescent self as being “wild with lust” and consequently claims that fornication is purely for procreation between married peoples, an opinion expressed by his mother. Augustine tells of his father’s excitement regarding Augustine’s lust and his ability to create grandchildren as it contrasts with his mother’s advice “not to commit fornication and above all not to seduce another man’s wife.” At the time, he viewed his mother’s advice as “womanish” and did not adhere to it. Augustine …show more content…
The history as a whole took over forty years to write. In the story of the Rape of Lucretia, Lucretia exists as the exceedingly virtuous wife of Tarquinius Conlatinus. The story begins as Conlatinus is bragging of his wife’s virtue among his peers. Eventually, eager to settle the debate of the better wife, Conlatinus exclaims, “young and vigorous as we are, why don 't we go get out horses and go and see for ourselves what our wives are doing? And we will base our judgment on whatever we see them doing when their husbands arrive unannounced.” While the other wives were discovered among friends, “preparing for a night of fun”, Lucretia was discovered “working on her spinning, with her servants.” This show of chastity was enough to garner the attention of Sextus Tarquinius. Several days later, Sextus Tarquinius returns to stay at the house of Conlatinus. Once everyone is asleep, Tarquinius gathers his sword and sneaks to Lucretia’s room, stating, “Quiet, Lucretia; I am Sextus Tarquinius, and I have a sword in my hand. If you speak, you will die." Supposedly unafraid in the face of death, Tarquinius resorts to threatening Lucretia’s reputation by creating a rumor of a servant affair upon her death. With his fear tactics proving successful, Tarquinius rapes Lucretia and quickly leaves. Lucretia sends messengers to both her husband and father, begging them to come “at once, with a …show more content…
The play takes place during the Peloponnesian War and details a woman of the name Lysistrata. Lysistrata has concocted a plan to end the war through the unrecognized influence of women. She arranges a meeting between the wives of the men fighting for Sparta, Thebes, and other surrounding areas. In this meeting, Lysistrata plays on the women’s emotions regarding their “children’s fathers” going “endlessly off soldiering afar in this plodding war” and promptly states that Greece will be “saved by women” through their refraining “from every depth of love.” The women quickly refuse, exclaiming that they would rather “let the war proceed”, before being convinced that a “sex strike” is within the best interests of Greece. Thusly, a battle of the sexes ensues with the “Chorus of Old Women” proving to be the winners. The attempts to arrest the women are thwarted, leaving the men speculating “how this ferocity [could] be tamed.” Lysistrata continues to berate the men, detailing her silence though “well all the while [Lysistrata] knew” of the politics of war. She commands the men to “hold tongue” and “listen while [the women] show the way to recover the nation.” She compares the repair of Greece to the tasks daily preformed by women, those “trivial tricks of the household, domestic analogies of threads, skeins and spools”, in order to “unwind such political problems.” The men retreat, pride intact but slowly
In her essay on, “Athenian Women,” Sarah Ruden points out that Aristophanes in Lysistrata portray women as supportive of Athenian institutions and eager to save them. But she cautions, “To do this now they must flout law, religion, and every notion of public decency – and this is definitely no reflection on women’s attitudes, but mere satirical farce and fantasy” (Ruden 107). An important element of “satirical farce” in this spirit would be a heavy use of repetition to make people laugh at the weakness being satirized. One example would not be enough, and the audience might not be amused by less than three or four examples. So in important episodes that fill out the action of the play, we have 4 examples of women beating guards,
St. Augustine’s Confessions is written through the Christian perspective of religion. Christianity is founded on the idea that there is one God who oversees all actions. Though all actions are observed by a higher power, God instills in us a free will. As Christians we are free to make our own decisions whether right or wrong. In his Biography St Augustine expresses that he feels like a sinner. He struggles with the fact that he is a thrill seeker. He loves to watch blood sports. He watches gladiators fight to the death and commit murder. Not only does he watch, but he enjoys observing these acts. He is also expressing his sins in his biography when he writes about stealing, which is another sin. He steals pears for fun. St Augustine doesn’t even eat the pears he steals, but throws them to the pigs to eat. Through the story St Augustine struggles interna...
Augustine remarks that he sees man as seeking what gives him glory rather than what brings glory to God. When talking about self Augustine shares that he enjoyed studying Latin in school simply because it came easy to him, not because it brought glory to God. As he grew, he was, in the eyes of his society, an upstanding citizen, he did nothing inherently wrong. However, Augustine believes he did considerable wrong; rather than living for and seeking after the Lord, he was living for and seeking after his own desires. These claims exemplify mankind’s tendency to turn its back on its beliefs and the One in whom they
7-12- Again Augustines thoughts on God reflect that of the religious teachings of his day, namely those of the Neoplatonists. For example he refuses to speculate on how the soul joins the body to become an infant and even follows Plato when he suggests that this life could possibly be some kind of “living death”. He then goes into an examination of his infancy, which he depicts as a quite pitiful state. He described himself as a sinful and thoughtless creature who made demands on everyone, wept unceasingly, and gave everyone a hard time that took care of him. Though very brutal in his self examination, he later states that he does not hold himself accountable for any of these sinful acts because he simply can’t remember them.
Lysistrata is portrayed as a typical commander of war that gives orders and does not take part in the war. While being the mastermind behind the sex strike, she is able to separate her self from the other women in her ability to resist her attraction for men. The women are used as pawns by this cunning and powerful, Lysistrata, who is victorious in establishing peace in Greece.
The second circle of hell, a realm for those who fell victim of their carnal desires, is another level at which to place Augustine’s soul for he was consumed by lust in his pre-conversion days. He was encouraged by his family to learn the art of persuasion and making of fine speech when he was only sixteen. He used these skills, which he developed very well, along with his good looks to seduce as many women as possible. It was “in that sixteenth year of my life in this world, when the madness of lust. . . took complete control of me, and I surrendered to it” (Confessions, 987). He was in love with being in love. Yet, he was unable to discern between love and lust.
In a modern day production of Lysistrata, a director’s role would involve the overseeing of the whole play making course and ensuring that all the cast members realize the vision of the production. This role covers all the steps of production from the interpretation of the script to the final performance. This means that the director has a say over a range of disciplines and has to have artistic vision. Lysistrata was produced in 411 B.C., at a time when Athens and Sparta had just concluded a two-decade long war and the general population was in despair. Comedies such as these were used then to communicate instructions to the people (mbc.edu). This essay will focus on the scene where Lysistrata has gathered all the women to convinces the to withhold sex from their husbands until they sign a peace treaty.
Lysistrata, on the contrary shows women acting bravely and even aggressively against men who seem resolved on ruining the city- state by prolonging a pointless and excessively expending reserves stored in the Acropolis. The men being away at war would come home when they could, sexually relieve them selves and then leave again to precede a meaningless war. The women challenge the masculine role model to preserve traditional way of life in the community. When the women become challenged themselves they take on the masculine characteristics and defeat the men physically, mentally but primarily strategically. Proving that neither side benefits from it, just that one side loses more than the other. It gives the impression that the women are heroes and the men are ignorant, which contradicts what Euripides said but is chiefly written to entertain.
Medea and Lysistrata are two Greek literatures that depict the power which women are driven to achieve in an aim to defy gender inequality. In The Medea, Medea is battling against her husband Jason whom she hates. On the other hand, in Aristophanes' Lysistrata, the protagonist Lysistrata plotted to convince and organize the female gender to protest against the stubbornness of men. In terms of defining the purpose of these two literatures, it is apparent that Euripedes and Aristophanes created characters that demonstrate resistance against the domination of men in the society.
St. Augustine's sordid lifestyle as a young man, revealed in Confessions, serves as a logical explanation for his limited view of the purpose of sexuality in marriage. His life from adolescence to age thirty-one was so united to passionate desire and sensual pleasure, that he later avoided approval of such emotions even within the sanctity of holy union. From the age of sixteen until he was freed of promiscuity fifteen years later, Augustine's life was woven with a growing desire for illicit acts, until that desire finally became necessity and controlled his will. His lust for sex began in the bath houses of Tagaste, where he was idle without schooling and "was tossed about…and boiling over in…fornications" (2.2). Also during that time, young Augustine displayed his preoccupation with sexual experience by fabricating vulgarities simply to impress his peers. In descript...
... convey deeper themes of life and death, the struggles between power and class structure and also the societal differences between men and women. Aristophanes uses humor to hook his audience into his play, and then undermines the surface humor with much bigger thematic issues. If this play had simply been about women withholding sex for other reasons such as wanting more money for shopping or other frivolous ideas it would not then be considered a satiric comedy. Satire requires more than physical humor. An issue must be raised such as the life and death theme that is seen in the war in Lysistrata, and a solution must then be made. Aristophanes created the women in the beginning to be bickering, unintelligent, and self-centered people. But in the end it was their idea and compromise that ended the war.
A large part of Augustine’s life before his baptism consisted of his sins of bodily pleasures, especially his sexual desires. Augustine comments on how his bodily pleasures may have started from a young age, because as a baby he “knew nothing more than how to suck (breast) and to be quietened by bodily delights, and to weep when I was physically uncomfortable” (Confessions 7). Although he does not remember his own infancy, he says that sucking on his nurse and mother’s breasts was a sin because it accounts for a bodily pleasure that could have led to sexual desires later on in life. While he seems to be acting as a natural baby who needs to be breast-fed, Augustine thinks that he and other babies commit a sin with this action. When Augustine reaches adolescence, his sexual desires spike as he fornicates with many women: “The single desire that dominated my search for delight was simply to love and to be loved” (Confessions 24). His bodily desires take up his teenage years, and he cannot see the difference between “love’s serenity and lust’s darkness” (Confessions 24). Right there, he is confessing ...
In Aristophanes play Lysistrata, the women of Greece take on the men to stop the raging war between the Athenians and the Spartans. To stop the war, the women withhold sex from their male counterparts, and take over the Acropolis for themselves. The women are indeed triumphant in their goals to stop the war, and the Athenians and Spartans come to an understanding. What is blatantly ignored, however, is that Aristophanes creates a gender war that, although seemingly rejoices the actions of the women, instead mocks the women’s power-struggle in a male dominated society, focuses on the male-privilege seen throughout the entirety of the play, and should be disregarded in the fact that this play is not even from a women’s perspective.
“Lysistrata” is a tale which is centered around an Athenian woman named Lysistrata and her comrades who have taken control of the Acropolis in Athens. Lysistrata explains to the old men how the women have seized the Acropolis to keep men from using the money to make war and to keep dishonest officials from stealing the money. The opening scene of “Lysistrata” enacts the stereotypical and traditional characterization of women in Greece and also distances Lysistrata from this overused expression, housewife character. The audience is met with a woman, Lysistrata, who is furious with the other women from her country because they have not come to discuss war with her. The basic premise of the play is, Lysistrata coming up with a plan to put an end to the Peloponnesian War which is currently being fought by the men. After rounding up the women, she encourages them to withhold sex until the men agree to stop fighting. The women are difficult to convince, although eventually they agree to the plan. Lysistrata also tells the women if they are beaten, they may give in, since sex which results from violence will not please the men. Finally, all the women join Lysistrata in taking an oath to withhold sex from their mates. As a result of the women refraining from pleasing their husbands until they stop fighting the war, the play revolves around a battle of the sexes. The battle between the women and men is the literal conflict of the play. The war being fought between the men is a figurative used to lure the reader to the actual conflict of the play which is the battle between men and women.
Lysistrata, first produced in 411 B.C. is a play that represents the frustrations that Athenian women faced due to the Peloponnesian War. Lysistrata, an Athenian woman is the play's heroine; her name is significant in itself, as it means "she who disbands the armies" (Page 467, footnote 2). With the aide of other Athenian women, Lysistrata organizes a "sex strike" in an effort to cease further violence and bring peace between Athens and Sparta. Eventually, her campaign is adopted by the women of Greece, and the efforts of the Athenian women are successful. Lysistrata is not only a leader for Athenian women; she is also bold and does not represent the stereotype of traditional, domestic Athenian women.