Lysistrata

 Faith Tyranski

Dr. Ellis

28 Feb. 2022

Response to Lysistrata

The silent hierarchy; the power dynamic between man and woman throughout Lysistrata

            Throughout the entirety of the play, Aristophanes seemingly empowers women, thrusting them to the forefront of the way, without physically placing them on the battlefield, by utilizing them to work as the ‘mastermind’ which drives peace. Lysistrata, Lampito, and additional Athenian women finally develop power as the spearhead of the sex-strike, but also as a force of peace; nevertheless, although the women seem to come of power in these ways, I believe that Aristophanes play serves as a double-edged sword, where despite the women’s perception of holding the power, the silent gender-driven hierarchy continues to unbalance the power dynamic, in the favor of men, throughout Lysistrata.

            When Lysistrata calls for a gathering of women from her own town, and the neighboring enemies, she rejoices in her large-bodied reception. Albeit she initially expresses freight at the thought of a lack of participation stating, “oh no, I do not know, tell me why the women of Athens are not here,” and Keleonike echoes her doubts stating, “Lysistrata, women cannot end the war. The women of Greece have neither weapons nor armor of any kind,” the Athenian women ‘gather and chatter excitedly’ (Aristophanes 5-6); Lysistrata may relax, as she has the concrete evidence all they may think about is “sex and death,” and therefore, her plan logically serves as an option worth trying. Further, Lysistrata feels at power when Lampito aligns her interests with Lysistrata and agrees to her plan stating, “there is a greater need for peace. I stand by Lysistrata” (Aristophanes 14).

            Yet, despite Lysistrata gaining the momentum needed to initiate a sex strike, and ultimately drive the force which brings about peace and the end of the war. I propose that Lysistrata perceives her power, and the women readers perceive the power of women in the play as falsely greater than Aristophanes’ intends. Prior to Lampito’s agreeance with Lysistrata’s’ plan, the other women want to give up anything, “even if it kills me,” until Lysistrata proposes sex. The congregation diverts to cry that “that the war must go on! Let the war go on” (Aristophanes 13). Nevertheless, once Lampito agrees, the congregation seemingly forgets their epic cries, to swiftly align their interests with Lampito. Some may argue that their alliance results from Lampito’s status as woman from the enemy town. However, I propose that their alliance directly results from Lampito’s masculine physiology, and therefore, the women hold no more power than they did before Lysistrata’s proposal.

            The second that Lampito enters the congregation, Lysistrata swiftly notes her strength and larger physique stating, “What a figure you have, you look like you could strangle a bull… you are a piece of work” (Aristophanes 9). Aristophanes’ underscores the significance of Limpto’s physique by having the women rush over to feel Lampito’s breast, buttocks, and biceps’ paralleling the cliche of women rushing to feel the strongly controlled bodies of men in alternative plays. Establishing Lampito as a masculine figure opens the door for accompanying respect that only Lampito may access, as this respect stems from the ladies’ respect for the men in the town. Furthermore, through holding this unspoken title and admiration, Lampito unknowingly perpetuates the hierarchy of power. It is through her approval, as a figure perceived to hold a higher knowledge and deserving of more respect, that Lysistrata’s plan comes to act; but for Lampito’s role, as a manly figure, the women would not have the opportunity to carry out Lysistrata’s plan, and thus, they hold no more power than before.

From the earliest pages and throughout the entirety of Lysistrata, heavy undertones of lust, sexual innuendos, and outright displays of sexual interactions plaster the pages and stage of Aristophanes play; initially impressing the reader with a bold audacity to engage with such material ad, therefore, eluding me to understand Lysistrata as a play banned primarily due to the topic of sex. However, after briefly looking into the banned history of Lysistrata, Eulich published an article that underscores how Aristophanes’ “unacceptable anti-war drama touches on ‘offensive’ themes such as the power of women” (Eulich 2012). Yet, through understanding the unbalanced dynamic between men and women in the play, where 1) the men literally ignore the cries of the woman to stop the war, and 2) through Lampito, as a masculine figure, the women receive any power at all, I come to the understanding that if this play is banned due to the projection of women as powerful, then this play should not be banned at all; do you agree? Secondly, if the power of women is deemed offensive, why are plays with men primarily in power or epics like the Odyssey praised and not deemed offensive? A closer examination of Aristophanes’ projection of power and hierarchy may begin providing us with the foundation necessary to further engage these imperative questions.

 

Works Cited:

Aristophanes. CC. 2008. “Lysistrata.” Accessed 28 February 2022; Available at:

https://moodle.loyola.edu/pluginfile.php/4202662/mod_resource/content/1/Lysistrata_Draft04.pdf

Eulich W, Powers E. CC 2012. Censored: 5 Plays and novels banned around the globe.

Accessed 28 February 2022; Available at: https://www.csmonitor.com/World/Global-Issues/2012/0404/Censored-5-plays-and-novels-banned-around-the-globe/Lysistrata#:~:text=Lysistrata,-April%204%2C%202012&text=One%20of%20the%20oldest%20documented,the%20time%2C%20reports%20LA%20Weekly.