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The role of women in greek literature
The role of women in greek literature
The gender role of women in greek society
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Female Deception in Aristophanes
The sly, deceptive nature of women in Ancient Greece is a prominent theme in the comic plays of Aristophanes. Like many other Grecian writers, his depiction of crimes committed by women slanders their reputation and reinforces the negative female stereotypes of the times. Yet when one looks at the issue through the eyes of the female characters in his plays, women’s deception appears to be not only natural, but even praiseworthy for its reliability and aide in leadership, and is relatively insubstantial compared to the crimes committed by men. In particular, his two plays Women at the Thesmophoria and Assemblywomen show that female attitudes about deception were varied depending on the crime, and that if a woman’s deception was for a good cause it was pardoned in the eyes of her fellow matrons.
In Women at the Thesmophoria, a Kinsman of Euripides disguises himself as a woman and sneaks into the festival of the Thesmophoria in order to defend the tragic poet, who the women want to kill because he slanders them in his plays. In her speech against him at the festival, Mika complains that he calls them “lover-bangers, nymphos, wine-oglers, disloyal, chattery, unwholesome, the bane of men’s lives” (lines 431-432). On the one hand, these women do not deny the charges Euripides brings against them but seem only to want to continue getting away with them without being caught, ironically giving proof to their deceptive nature. In lines 384-396 the female Herald actually admits that these types of crimes do occur in the household. However, the women’s acceptance of them varies. While they defend the practice of baby-swapping, they denounce women who betray lovers, elderly women who steal youn...
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...n of deceit in women by no means lessens the restrictions on gender roles and norms in Ancient Greek society, it suggests that women’s opinions on deception were much more tolerant if the circumstances behind the deceit made it excusable. Women seem to view their own deception as innate, useful in certain situations, and insignificant compared to the vulgar, selfish acts of men. The combination of these female attitudes with those of the male characters gives women’s deceit both positive as well as negative connotations. Whether a male comedian’s perception of women’s attitudes about deceit reflects actual female opinion or not is still to be contested, but even by poking fun at women’s ability to rule Aristophanes is giving the Athenian women some voice about their own deceptive characteristics and creates a more well-rounded look at female deception as a whole.
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,
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 three dynamic pieces of literature, the desperate yet hopeful characters gallantly endure the struggles of achieving their dreams as they experience the pain of desolation and the life-fulfilling happiness of a friendly companion. Through hostile resentment, the intense repulsion created by generations of territorial disputes tears apart two vengeful foes, Ulrich and Georg, in Saki’s captivating tale. Whereas in Remarque’s gory war novel, the pure terror of battle brutally slaughters the once innocent minds of soldiers as they undergo changes in their heart and soul within themselves. Although impervious to the influence of the reclusive residents tied to the ranch, as they quest for their shared aspirations, George and Lennie forge an invincible friendship in Steinbeck’s calamitous novelette.
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
Oedipus began Oedipus Rex as a king, only to end the tale as a blinded beggar. Oedipus' fall from his kingly status was not by accident or because of some other person. Oedipus is the only one that can be blamed for his misfortune. Oedipus' character traits are shown most clearly during his spiraling downfall, thinking he is "a simple man, who knows nothing", yet knowing more than he realizes by the end of the story.
As a ruler of the state one must be viewed as masculine and in control, however there are many examples in Euripides writing that leads one to believe deep inside he is not who he claims to be. One way in which this is evident during the play is that Pentheus is constantly negating his own viewpoints on masculinity and his outlook of women outwardly. However there are many actions he might not openly say that may lead one to believe he is confused about his gender identity. In the beginning of the play Pentheus criticizes the feminine appearance of Cadmus and Dionysus, however he finds himself dressed as a women and enjoyed it. Pentheus initially has a deep hatred for the women who abandoned their homes for the mountains to commit what he thinks are vile sex acts. Yet as the play progresses he becomes extremely curious about what the women on the mountainside are doing under Dionysus’ order and when the opportunity presents itself to spy on the women he is ecstatic. Pentheus makes it seem as if he needs to witness these women, not for the sake of the state, but for his personal voyeurism. His obsession with the women’s hidden behavior may reflect not sexual interest, but a desire to know more comprehensively a group with which he identifies himself as, but the social norms in society have restricted him from expressing. Between his
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.
John Locke explains the state of nature as a state of equality in which no one has power over another, and all are free to do as they please. He notes, however, that this liberty does not equal license to abuse others, and that natural law exists even in the state of nature. Each individual in the state of nature has the power to execute natural laws, which are universal.
Many different interpretations can be derived from themes in Euripides's The Bacchae, most of which assume that, in order to punish the women of Thebes for their impudence, the god Dionysus drove them mad. However, there is evidence to believe that another factor played into this confrontation. Because of the trend of male dominance in Greek society, women suffered in oppression and bore a social stigma which led to their own vulnerability in becoming Dionysus's target. In essence, the Thebian women practically fostered Dionysian insanity through their longing to rebel against social norms. Their debilitating conditions as women prompted them to search for a way to transfigure themselves with male qualities in order to abandon their social subordination.
Oedipus is the son of the king and queen of Thebes. A prophet tells the king and queen that his son will kill him. This causes the king and queen to become worried of the possibilities so they decide to kill their son in order to prevent the predictions of the prophet from becoming true. However, Oedipus did not die and instead was rescued and eventually adopted. As time progresses Oedipus is told that he will kill his father and this frightens Oedipus so he decides to get as far as possible from his parents. During Oedipus’s journey he stumbles upon his biological father and he was unable to control his anger so he killed his father. As time goes on he eventually marries the queen of Thebes also known as his mom. He found out that her husband was killed a long time ago so Oedipus decided to investigate. A prophet tells Oedipus that he was the one that killed the king who was his father. Oedipus is angered and is told to stop trying to solve the mystery. Oedipus eventually discovers that what the prophet told him was true and is angered. He eventually meets his end. In this case Oedipus’s biggest flaw is his anger. His anger eventually causes him to face defeat. “Who would not feel his temper rise at words like these with which you shame our city” (Sophocles 1572). The quote comes directly from a conversation he was having with the prophet that told him he was
Play is such an important part of the learning and growing, especially for children. Children engage in many different types of play, but the play I saw the most when I observe the children of my daycare is sociodramatic play. The book Understanding Dramatic Play by Judith Kase-Polisini defines sociodramatic play as “both players must tacitly or openly agree to act out the same drama” (Kase-Polisini 40). This shows that children play with each other and make their worlds together as equal creators. Children also work together without argument. There is also some personal play involved in their sociodramatic play. The children involved in the play worked to make a family having dinner, which is great example of how this will prepare them for
Aristophanes stereotypes women as bickering, self-centered, unintelligent people in the beginning. They are sex driven and selfish. Lysistrata is upset that the women are late for the very important meeting "Here I've called a meeting to discuss a very important matter, and they're all still fast asleep" (180). Calonice sums up what women are thought to do all day, and also what they represent to their households; "The women! What could they ever do that was any use? Sitting at home putting flowers in their hair, putting on cosmetics and saffron gowns and Cimberian see-through shifts, with slippers on our feet?" (181). It is in fact these very frivolous ideas that are used to bring peace to the two cities. Throughout the play Aristophanes begins to knock down ...
Aristophane’s Lysistrata is a flawed classic filled with the power struggle between man vs. woman. It is entirely focused and written from the male perspective, in which male-privilege dominated and disregarded the women’s outlook entirely. This “classic” is full of misogynistic perspectives, and should be disregarded as a great piece in Athenian literature.
Walcot, P. “Greek Attitudes towards Women: The Mythological Evidence.” Greece & Rome 2nd ser. 31.1 (Apr., 1984): 37-47. Cambridge University Press on Behalf of The Classical Association Article Stable. Web.
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).