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Prolonged role of women in euripides history
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Lysistrata “There is no beast as shameless as a woman'; Aristophanes was a craft comedy poet in the fourth century B.C. during the time of the Peloponnesian War. Aristophanes’ usual style was to be satirical, and suggesting the eccentric. The most absurd and humorous of Aristophanes’ comedies are those in which the main characters, the heroes of the story, are women. Smart women. One of the most famous of Aristophanes’ comedies portraying powerfully capable women is Lysistrata, named after the female lead character of the play. It depicts Athenian Lysistrata and the women of Athens teaming up with the women of Sparta to force their husbands to conclude the Peloponnesian War. The play is a comedy, which appears to be written for the amusement of men. The play can be seen as a historical reference to ancient Greece, but it seems highly unlikely that women would talk with such a crude sexual tone. Instead Lysistrata is strictly a satirical play written maybe even to make men doubt the innocence of a woman. If women were such beasts as Euripides stated then would women have managed to seize the Acropolis, and prevented the men from squandering them further on the war. Euripides might have referred to the vulgarity of the women’s thoughts and language: “It’s a sair thing, the dear knows, for a woman tae sleep alone wi’oot a prick – but we maun do it, for the sake of peace'; The language of the women is, as mentioned earlier, strictly for the humor. For Euripides to make such a quote seems rather incorrect. It is to a certain extent the men who are the shameless beasts who beat their wives and fight senseless wars. 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.
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,
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.
He proposes an experiment where he had a large group of students rate their self-esteem and how much it depended on what others thought. Then he picked a few individuals who- question after question- said they were completely unaffected by the opinion of others. He took those individuals plus the other individuals who admitted to being affected by what others had to say about them, to a lab a few weeks later and had them talk about themselves for five minutes, speaking into a microphone. At the end of each minute, they saw a number flash on the screen indicating how much the person in the other room wanted to interact with them. With ratings one to seven (seven being best), you can imagine how it would feel to see the numbers drop 4…3…2…3…2…etc. Not surprisingly, people who admitted that they cared about what others thought had huge reactions to the numbers, and their self-esteem sank. But the self-proclaimed mavericks suffered shocks almost just as big. They might not have thought that other people’s opinions mattered to them, but when it showed the numbers right in front of their face, the indeed had a negative reaction. Haidt’s quote “Our reasoning is less for our own benefit, and more to convince others of our stance” sums point number one
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.
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
...herself as a man and has misogynistic tendencies. Fortunately, the role of women in society today has changed very much from the roles that they played in classical mythology. Women are now seen as being able to play any role they desire, whether it is the role of a housewife or the role of a workingwoman with a successful career. It is no surprise that achieving the roles that women play today took such a long time when for so long even in mythology women’s roles in society were constantly pushed in the direction of domestics and when for so long women were portrayed as less then pleasant creatures. The fact that these sorts of roles were pushed on women in the Greco-Roman society was proof enough that it was a patriarchal society. It is astoundingly wonderful that the roles that women play in modern society have evolved so much since the times of classical myths.
The rebellion narrated by Aristophanes is divided in two parts: the old women who take control of the Acropolis, where the treasures of the city were kept and the young wives, who start a sex-strike. But everything has been thought and planned by Lysistrata. She is a young woman, but not a wife. So, she is not part of the group of women she’s leading. She describes herself as intelligent and well educated. The other women instead follow the typical gender stereotype: Lysistrata is ‘annoyed about women’, they care about wine and sex. They don’t accept Lysistrata plan easily and straightaway, but they do so to have their men back (D’Ubaldi). And here we have the reasons of why the women
One can hardly deny that in Euripides’ plays women are often portrayed as weak, uncertain, and torn between what they must do and what they can bring themselves to do. Other women appear to be the root of grave evils, or simply perpetrators of heinous crimes. In a day when analysis of characters and plot had yet to be invented, it is easy to see why he might have been thought to be very much against women. However, when looking back with current understanding of what Euripides was doing at the time, armed with knowledge of plot devices and Socratic philosophy, this argument simply does not hold up. In fact, a very strong argument can be made to the opposite, that Euripides was in fact very much in support of women’s rights, and thought they were treated unfairly.
... 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.
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...
“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.
Aristophanes may depict these four elements in unusual ways throughout the play, however, when everyone comes to peace once again, the elements can be seen quite easily. Many of the Greek ideologies have been passed on to the world we know today. The idea of gender roles plays a major part in Lysistrata and in life as we know it. Men and women are still, in the 20th century, not treated completely equally to men, and Aristophanes critiques this throughout his writing in Lysistrata. On top of this, generals from each country come into conflict regularly, causing various wars. These major themes which Aristophanes discusses are everywhere and from his writing people can learn about these issues, connecting them with concepts from the present. Lysistrata is quite an amazing piece of work and represents numerous critiques for people to learn from. But, it’s all Greek to
Imagine a day when youngsters would leave for school carrying nothing more than an electronic device weighing less than one pound. The advent and growing popularity of electronic textbooks may make this a reality sooner rather than later. No more students trudging around with 20 pound backpacks strapped to their backs. No more lockers jammed with textbooks and notebooks. The benefits of transitioning to e-textbooks are many and provide advantages for both students and educators.
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