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Gender in greek mythology
Gender in greek mythology
Femininity in the greek world
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Throughout ancient and medieval history, female power has rarely had a significant impact on the course of events. The lack of ability to hold public office or higher level religious positions was a result of women to be seen as the subordinate sex. Women in both Aristophanes’s Lysistrata and Farid Un-Din Attar’s The Conference of the Birds defy their structural roles as wives, mothers, and homemakers by making significant impacts in both genders’ lives and even the course of history. Female characters in Lysistrata and The Conference of the Birds leverage their sex as a way to change the course of events in the texts. In Lysistrata the use of sex has the goal of ending the Peloponnesian war. In The Conference of the Birds the exploitation …show more content…
So they decide to act in order to end the war themselves. Calonice asks, “What thoughtful thing could women ever do?” (Aristophanes 42). Calonice’s lack of faith in the ability of women shows that Lysistrata is an exception to other women, due to her informal education. Lysistrata responds to Calonice’s comment that she wants all the women to walk around in “Those dresses, and perfume, and rouge, and shoes, / and little see-through numbers that we wear” (Aristophanes 47-48) but deny men sex. The plan to use sexuality to convince men to return home from war is a cunning one. Control over sexuality is one of the few things a woman could use at the time to enact change. By using sexuality as a unifying tool, the women become more confident in themselves and their ability to make an impact. The women compliment each other’s appearance and decide that men can’t resist the temptation of sex, even if it means staying home from war. In many ways, this can be seen as a first step for the women in the text towards overthrowing the societal structure of their …show more content…
Lysistrata demonstrates how she thinks women are weak when she says, “Oh, gender fit for boning up the butt! No wonder we’re the stuff of tragedies” (Aristophanes 137-138). She tends to criticize women for being too weak because she is brave and isn’t afraid to go against the patriarchy of politics. Lysistrata acknowledges that she is a woman, but she distances herself from the expectations men have of women by having “a mind” (Aristophanes 1105) and a “first-class education/ Listening to Father and the elders year on year” (Aristophanes 1107-1108). Lysistrata received her education from men, which may be why she criticizes women frequently. Most women weren’t given the same opportunities that Lysistrata had, so she can’t be seen as just a common female character in the text. If there were more women who had been given the same opportunities as her, women would have been seen in a higher place in
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,
This paper will discuss the well published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomerory uses this book to educate others about the role women have played throughout ancient history. Pomerory uses a timeline to go through each role, starting with mythological women, who were called Goddesses. She then talks about some common roles, the whores, wives, and slaves during this time. Pomerory enlightens the audience on the topic of women, who were seen as nothing at the time. Men were seen as the only crucial part in history; however, Pomerory’s focus on women portrays the era in a new light.
Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that period. Women of the time, in other words, were to be seen and not heard. Their sole purpose was to please or to benefit men. As time passed, though, women earned more responsibility, allowing them to become stronger and hold more influence. The women who inspired Lope de Vega's early seventeenth-century drama Fuente Ovejuna, for instance, rose up against not only the male officials of their tiny village, but the cruel (male) dictator busy oppressing so much of Spain as a whole. The roles women play in literature have evolved correspondingly, and, by comparing The Epic of Gilgamesh, Sir Gawain and the Green Knight, and The Wife of Bath's Prologue, we can see that fictional women have just as increasingly as their real-word counterparts used gender differences as weapons against men.
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.
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.
...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 Role of Women in Greek Mythology In learning about the feminist movement, we studied the three articles, discussed and reviewed the different authors perspectives on the topic, and learned how important the role of woman in Greek mythology is. In presenting the feminist theory to the class, we analyzed the three articles, Women in Ancient Greece; Women in Antiquity: New Assessments; and Women in Greek Myth, and discussed how although the three articles provided different views on Feminism in mythology, they all essentially are aiming to teach the same basic concept. In order to understand the feminist theory, we have to understand the notion that although myths are invented and that they involve fantasy, the concept of mythology does not necessarily imply that there is no truth of history in them. Some of the humans may have lived while some of the events may have taken place. Most importantly, the social customs and the way of life depicted in the myths are a valuable representation of Greek society.
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 ...
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,” written following the trouncing of Athenian forces in Sicily in 413 BC, harkens back to this time of war. As is traditional in Athenian theater, males in drag played all of the female parts. This ritual increases the play’s absurdity. The play begins with the streets empty as the men are at war. The women speak to each other of both emotional and sexual starvation. They both
Euripides, one of Ancient Greece’s most famous playwrights, could be considered as one of the earliest supporters of women’s rights. With plays such as Alcestis and Medea, he clearly puts an emphasis on the condition of women, and even integrates them in the Chorus of the latter play, a feat that was not often done in Ancient Greece. Throughout the years, it has been argued that the two central characters in each of those plays offer conflicting representations of women in those times, and I can safely say that I agree with that argument. I will expand on my view by pointing out an important similarity between Alcestis and Medea, followed by a key difference, and will finish it off by contrasting them with the Ancient Greek depiction of an “ideal woman.”
"Power and Women in Lysistrata: Character Analysis of Lysistrata." Article Myriad. Web. 25 Mar. 2011. .
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
First, Lysistrata is clearly identifiable as a leader for Athenian women. In the beginning of the play, Lysistrata secretly organizes a meeting between all the women of Greece to discuss a strategy to end the Peloponnesian War "if the women will meet here - the Spartans, the Boeotians, and we Athenians - then all together we will save Greece" (Page 468, 40-42). During the meeting, which Lysistrata leads, Lysistrata suggests to the women of Greece to withhold sex from their husbands. The women are hesitant and some refuse "I won't do it! Let the war go on" states Myrrhine, an Athenian woman (Page 470, 132). However, with Lysistrata' encouragement, the women swear an oath to withhold sex from their husbands until a treaty of peace is signed. Also, throughout the play, Lysistrata continuously directs, instructs and coaches the women of Athens on how to behave. Furthermore, the men call upon Lysistrata to make the treaty between Sparta and Athens "Only Lysistrata can arrange things for us; shall we summon her?" (Page 494, 1...