Over this past summer, one of my more feminist friends bet me that I couldn’t name a single Hollywood film in which two women have a conversation about something other than men. Luckily, I was able to win the bet, but her point was well taken: I could only name a small handful of films where this was true. Therein lies the true problem behind Lysistrata, a film seemingly about powerful females who break the conventions of power in a male-dominated society. However, this is unfortunately not quite the case. While it is true that the women are able to take over the poorly guarded treasury in order to stop the flow of money towards the war effort, the real power behind Lysistrata’s actions lies with the withholding of sex the women impose on their war-hungry husbands. It is only when the men have gone days dragging along their never-subsiding mega-erections that they finally give in and allow for peace to take hold. Thus only through the use of their bodies as sexual object do the females exert any real power or have any influence on their husbands. After the strike ends, the females will return to their traditionally subservient roles as housekeepers and life will go on as normal, only now the Peloponnesian War will have ended.
Thus the question is raised: is the use of the body as means of control a positive or negative thing for womankind? Some may say that this is simply falling back on stereotypes and that a truly strong woman will be able to exert power without using sex whatever, but is this necessarily always the case? If a male-dominated society will only view a woman as sexual object, then a woman taking advantage of this narrow-minded outlook to manipulate men is simply seeing what she has and using it. Without delving into the moral repercussions of sex as a means of manipulation, one can't fault an generally oppressed group using any means they can to their advantage. While Aristophanes was certainly no feminist, his characterization of Lysistra and company is a little more questionable - while he may portray the women by their stereotypes, he nonetheless makes them the protaganists who eventually succeed in their aims. Thus the question of how the play is to be read is still not entirely clear and more often than not depends on who is doing the reading.
Monday, September 21, 2009
Man-Eater
It wasn’t hard to pick up on the crude nature of Aristophanes’ Lysistrata and understand why this has been banned. I agree completely with Katie’s argument. Although it seems that Lysistrata is a powerful role model for her female companions in reality she is exacerbating a stereotype in order to get what she wants. By first glance the reader will take this story as it appears; a group of women fed up with their husbands’ demands and the war led by a strong, independent woman. A closer look reveals that the main concern of the women is their husbands’ absence and inability to have sex with them when they desire it most. They are just as sexually frustrated as the men.
It seems as though Aristophanes is poking fun at women, making a claim that the only way women are able to get ahead in public society is because of their sexuality. Lysistrata does not do much to help this cause but instead she objectifies women more than the men do in this play, an example being when she brings the goddess Peace in while she is making her final argument to the men. The men are clearly not listening to Lysistrata’s demands but rather focusing on how beautiful Peace’s body is. At the top of page 43, Lysistrata states the demands of the women in a large, detailed paragraph and Magistrate ignores her entirely, “(devouring the goddess with his eyes) Good god, this erection is killing me!” (pg. 43). I also noticed that there was a lot of “big talk” between the two sexes. The men would speak of beating the women, knocking down the gates, and dousing the women with fire but any violence between the men and women rarely occurred.
In the scene where Myrrhine “seduces” Cinesias he uses their child as a bribe to bring Myrrhine down the stairs. It is obvious at this point in the story that both the men and the women are playing to each other’s weaknesses. Cinesias is playing with Myrrhine’s heart by bringing in her child and Myrrhine is tantalizing Cinesias’ privates by constantly running to and from the bed. By the conclusion of the work peace is resolved. I find it funny that the chorus of Athenian men believes that they are victorious in all of this, “as in honour of a victory won!” (pg. 47). It is here that Aristophanes may be poking fun at his own sex a bit, that no matter how peace came about the men still take credit for achieving it thanks in no part to the women. I don’t believe that Aristophanes is trying to paint Lysistrata as a credible female figure, but instead use her to demonstrate the stereotypical “man-eater” women are depicted as.
It seems as though Aristophanes is poking fun at women, making a claim that the only way women are able to get ahead in public society is because of their sexuality. Lysistrata does not do much to help this cause but instead she objectifies women more than the men do in this play, an example being when she brings the goddess Peace in while she is making her final argument to the men. The men are clearly not listening to Lysistrata’s demands but rather focusing on how beautiful Peace’s body is. At the top of page 43, Lysistrata states the demands of the women in a large, detailed paragraph and Magistrate ignores her entirely, “(devouring the goddess with his eyes) Good god, this erection is killing me!” (pg. 43). I also noticed that there was a lot of “big talk” between the two sexes. The men would speak of beating the women, knocking down the gates, and dousing the women with fire but any violence between the men and women rarely occurred.
In the scene where Myrrhine “seduces” Cinesias he uses their child as a bribe to bring Myrrhine down the stairs. It is obvious at this point in the story that both the men and the women are playing to each other’s weaknesses. Cinesias is playing with Myrrhine’s heart by bringing in her child and Myrrhine is tantalizing Cinesias’ privates by constantly running to and from the bed. By the conclusion of the work peace is resolved. I find it funny that the chorus of Athenian men believes that they are victorious in all of this, “as in honour of a victory won!” (pg. 47). It is here that Aristophanes may be poking fun at his own sex a bit, that no matter how peace came about the men still take credit for achieving it thanks in no part to the women. I don’t believe that Aristophanes is trying to paint Lysistrata as a credible female figure, but instead use her to demonstrate the stereotypical “man-eater” women are depicted as.
Does Lysistrata Really Take a Stance for Females?
Aristophanes’ play, Lysistrata may seem to demonstrate a story about a bold, independent woman ready to transform society, but when examining the play a little closer it becomes clear, that Lysistrata’s argument only helps confirm that women fit a certain stereotype.
In the final scene of the play Lysistrata makes her point by bringing in Peace, a naked female. This is the one part of the play where she is able to present her case and make her point, instead she brings in a naked girl. Not only does this naked female distract the men from listening to Lysistrata’s main concerns, but Peace now serves as a bribe. The men are sexually frustrated and this gesture does not even the playing field, it only sets Lysistrata at a lower level of merit.
Also by bringing Peace, Lysistrata demonstrates that she is ok with the degradation and objectification of women. This can also be seen when Lysistrata welcomes Lampito “how well and handsome you look” (4) Lysistrata then proceeds to open Lampito’s robe baring her breasts. I found this very ironic because the females are putting each other on display as they objectify each other.
Even though Lysistrata takes place during a war, the battle between the men just hides in the background because there is much controversy involving Lysistrata. This play may seem to be a battle between the sexes, but the true controversy lies within the female sex as they battle the stereotypes given to them by each other and the males. Even though Lysistrata may “blush for our sex” (1) she also claims “men will have it we are tricky and sly” (1). Her personality may depict her as a leader, but it’s just a facade because Lysistrata is doing nothing to transform society; all she is doing is bringing attention to the sexually frustrated women.
In the final scene of the play Lysistrata makes her point by bringing in Peace, a naked female. This is the one part of the play where she is able to present her case and make her point, instead she brings in a naked girl. Not only does this naked female distract the men from listening to Lysistrata’s main concerns, but Peace now serves as a bribe. The men are sexually frustrated and this gesture does not even the playing field, it only sets Lysistrata at a lower level of merit.
Also by bringing Peace, Lysistrata demonstrates that she is ok with the degradation and objectification of women. This can also be seen when Lysistrata welcomes Lampito “how well and handsome you look” (4) Lysistrata then proceeds to open Lampito’s robe baring her breasts. I found this very ironic because the females are putting each other on display as they objectify each other.
Even though Lysistrata takes place during a war, the battle between the men just hides in the background because there is much controversy involving Lysistrata. This play may seem to be a battle between the sexes, but the true controversy lies within the female sex as they battle the stereotypes given to them by each other and the males. Even though Lysistrata may “blush for our sex” (1) she also claims “men will have it we are tricky and sly” (1). Her personality may depict her as a leader, but it’s just a facade because Lysistrata is doing nothing to transform society; all she is doing is bringing attention to the sexually frustrated women.
Sunday, September 20, 2009
Lysistrata: A Critique of Women
Lysistrata was probably originally banned for its depiction of the male race as animalistic and easily susceptible to females and to lust. But at the same time, it is not necessarily a feminist theatrical work; Aristophanes’ play was most likely banned later on for its degrading treatment of women. The play does not readily promote women’s rights but actually portrays women as merely having a physical influence over men, an influence based only on the sexual appeal of their bodies. The female characters in the play do not even try to prove otherwise, for they see no problem in using their physical appearances to their advantage. Although written by a man, the play shows that women themselves help to demote their role in society; in using sex and seduction to their advantage, women allow men to further see them as merely physical objects of worth. Aristophanes’ depiction of the male and female roles raises this common historical argument regarding women and their own maltreatment of their rights.
Aristophanes’ character of Lysistrata, for which the play was named, initially comes off as a strong, sensible woman for her desire to overrule the men and find a way to end the war. Unfortunately, her motives and way of going about this goal are prime examples of the anti-feminist movement. Her main argument behind the women’s abstinence movement is that she does not like to see her fellow females left lonely at home while their husbands fight: “…instead of enjoying the pleasures of love and making the best of our youth and beauty, we are left to languish far from our husbands, who are all with the army. But say no more of ourselves; what afflicts me is to see our girls growing old in lonely grief” (24). This motive proves that Lysistrata is not concerned so much with the war but with the absence of the husbands, claiming that the women left behind can only grow old and lonely and therefore basing the happiness of the female population on the status of the men. Lysistrata’s plan to appeal to the physical temptations of the men further takes away from the portrayal of women’s rights, for Lysistrata assumes that the only influence that the women can have over their husbands is the influence of their bodies. She does not even bother coming up with a plan that focuses on the intellect of the women, proving that she herself does not believe in the equality, both mentally and physically, of women and men. Lysistrata, although willing to make a societal change, ultimately succumbs to the historical female role of an object of pleasure and reproduction.
Although the women get their way (and the men eventually sign a treaty of peace), their success is based solely on their bodies, not on their minds. The woman of Peace herself is a symbol of physical temptation, proving that the women do not try to persuade the men with their intellect and that the men do not even view the argument of the women in an intellectual sense: “LYSISTRATA: … Now, where is the gentle goddess Peace? (The goddess, in the form of a beautiful nude girl is brought in by the Machine.)…MAGISTRATE (devouring the goddess with his eyes): Good god, this erection is killing me!” (43). The figure of Peace, although literally a symbol of peace and a means to end the war, is also a symbol of the way that both men and women view the feminine role in society as a role based only on physical appearances. The women do not win the argument because of their intelligence but because the men want to end the war and once again lay with their women. The worst part is that the female characters do not even have a problem with this.
Aristophanes’ character of Lysistrata, for which the play was named, initially comes off as a strong, sensible woman for her desire to overrule the men and find a way to end the war. Unfortunately, her motives and way of going about this goal are prime examples of the anti-feminist movement. Her main argument behind the women’s abstinence movement is that she does not like to see her fellow females left lonely at home while their husbands fight: “…instead of enjoying the pleasures of love and making the best of our youth and beauty, we are left to languish far from our husbands, who are all with the army. But say no more of ourselves; what afflicts me is to see our girls growing old in lonely grief” (24). This motive proves that Lysistrata is not concerned so much with the war but with the absence of the husbands, claiming that the women left behind can only grow old and lonely and therefore basing the happiness of the female population on the status of the men. Lysistrata’s plan to appeal to the physical temptations of the men further takes away from the portrayal of women’s rights, for Lysistrata assumes that the only influence that the women can have over their husbands is the influence of their bodies. She does not even bother coming up with a plan that focuses on the intellect of the women, proving that she herself does not believe in the equality, both mentally and physically, of women and men. Lysistrata, although willing to make a societal change, ultimately succumbs to the historical female role of an object of pleasure and reproduction.
Although the women get their way (and the men eventually sign a treaty of peace), their success is based solely on their bodies, not on their minds. The woman of Peace herself is a symbol of physical temptation, proving that the women do not try to persuade the men with their intellect and that the men do not even view the argument of the women in an intellectual sense: “LYSISTRATA: … Now, where is the gentle goddess Peace? (The goddess, in the form of a beautiful nude girl is brought in by the Machine.)…MAGISTRATE (devouring the goddess with his eyes): Good god, this erection is killing me!” (43). The figure of Peace, although literally a symbol of peace and a means to end the war, is also a symbol of the way that both men and women view the feminine role in society as a role based only on physical appearances. The women do not win the argument because of their intelligence but because the men want to end the war and once again lay with their women. The worst part is that the female characters do not even have a problem with this.
war and sex: the power of women in Lysistrata
Lysistrata depicts the complexities of war and sex as well as the influential power the latter has over man. In comparison, war and sex are opposites. War yields death while sex can potentially bring about life. War is unnatural while sex is very natural. But both war and sex have been integral components throughout the history of mankind. For years men have waged war and, of course, sex is not a novel concept or construct. Lysistrata portrays women in a powerful role, namely in control of their sex and sex in general. They have authority over the men. When the absurdities of war have taken their men away, the women use sex as a weapon in order to obtain peace. By withholding sex, women come to essentially control their men. The men eventually succumb to the women and yield in their determination to carry out a war. This is interesting because in Ancient Greek tradition, the women are placed in a domestic role where they yield to their husbands. But Lysistrata turns the table and leaves the men at the mercy of the women.
In wartime, life is taken away. Not only are men (and women) killed, but if the men are away at war such as in this case, no new babies will be born and society overall will suffer. But in peacetime, life flourishes and society is perpetuated and renewed. Toward the close of the play, the women, specifically Lysistrata, determine the manner in which the women will return to their husbands. The women decide details and dictate how everything will be conducted: “…you will exchange oaths and pledges; then each man will go home with his wife” (45). The men want to reunite with their wives as quickly as possible, but the women will not have it until the men carry out their wishes according to their instruction. Women, through their sex, are portrayed as a driving force within society. Sex essentially controls everything in this case. It can end wars. Women can end war and are sources of power within Lysistrata.
In wartime, life is taken away. Not only are men (and women) killed, but if the men are away at war such as in this case, no new babies will be born and society overall will suffer. But in peacetime, life flourishes and society is perpetuated and renewed. Toward the close of the play, the women, specifically Lysistrata, determine the manner in which the women will return to their husbands. The women decide details and dictate how everything will be conducted: “…you will exchange oaths and pledges; then each man will go home with his wife” (45). The men want to reunite with their wives as quickly as possible, but the women will not have it until the men carry out their wishes according to their instruction. Women, through their sex, are portrayed as a driving force within society. Sex essentially controls everything in this case. It can end wars. Women can end war and are sources of power within Lysistrata.
desire
“Lysistrata” by Aristophanes helps to show both the reality and misconceptions of the relationship between desire and rationality.
The play beings with a group of women who are discussing how to create peace in a time of war. Their answer is to control the men by withholding sex. From the very beginning, the women make it known that just as the men, they have their own desires for sex, and are at first very unwilling to make the sacrifice. “Cleonice: Anything, anything but that! Bid me go through the fire, if you will,-but to rob us of the sweetest thing in all the world, Lysistrata darling!” In this quote, Cleonice states that she rather walk through fire than give up her sexuality. This shows that like men, women can reason through their passions, thinking first of their desires, and then of the rational.
As the play goes on, Lysistrata is able to convince the other women that her plan is the best course of action, and it works. All of the men are at first controlled by their desires, and beg the women to succumb to their needs. Lysistrata is able to understand that it is through controlling desire, that peace can be achieved. In this liberating play, Lysistrata claims that war ist just as much business as a man. Through the use of sarcasm and quick conversation, Aristophones is able to create a quick paced emotional scene as Lysistrata must argue defending her own competence and rationality, using the power of desire to make herself heard.
“May gentle Love and the sweet Cyprian Queen shower seductive charms on our breasts and our thighs. If only we may stir so amorous a feeling among the men that they stand as firm as sticks, we shall indeed deserve the name of peace-makers among the Greeks. “ She must use the power of sexual desire in order to have the men of the time hear women’s concerns with war. She argues that women are left at home alone, with no physical satisfaction, only to have their husbands returned to them old, looking for a younger love. She demands that the war be ended to have their husbands returned to them and their loneliness ended. In effect, Lysistrata is achieving more physical contact and connection, by denying physical contact and connection. In taking away the physical act, it increases the men’s desire for it, allowing for the overall goal of peace to be successful.
The play beings with a group of women who are discussing how to create peace in a time of war. Their answer is to control the men by withholding sex. From the very beginning, the women make it known that just as the men, they have their own desires for sex, and are at first very unwilling to make the sacrifice. “Cleonice: Anything, anything but that! Bid me go through the fire, if you will,-but to rob us of the sweetest thing in all the world, Lysistrata darling!” In this quote, Cleonice states that she rather walk through fire than give up her sexuality. This shows that like men, women can reason through their passions, thinking first of their desires, and then of the rational.
As the play goes on, Lysistrata is able to convince the other women that her plan is the best course of action, and it works. All of the men are at first controlled by their desires, and beg the women to succumb to their needs. Lysistrata is able to understand that it is through controlling desire, that peace can be achieved. In this liberating play, Lysistrata claims that war ist just as much business as a man. Through the use of sarcasm and quick conversation, Aristophones is able to create a quick paced emotional scene as Lysistrata must argue defending her own competence and rationality, using the power of desire to make herself heard.
“May gentle Love and the sweet Cyprian Queen shower seductive charms on our breasts and our thighs. If only we may stir so amorous a feeling among the men that they stand as firm as sticks, we shall indeed deserve the name of peace-makers among the Greeks. “ She must use the power of sexual desire in order to have the men of the time hear women’s concerns with war. She argues that women are left at home alone, with no physical satisfaction, only to have their husbands returned to them old, looking for a younger love. She demands that the war be ended to have their husbands returned to them and their loneliness ended. In effect, Lysistrata is achieving more physical contact and connection, by denying physical contact and connection. In taking away the physical act, it increases the men’s desire for it, allowing for the overall goal of peace to be successful.
Hobbesian Portrayal of Males in Lysistrata
While reading Lysistrata, I felt very troubled by Aristophanes' depiction of male figures. Not only are they driven solely by impulse, but they are portrayed as being brutish, lustful, and abusive. They employ a mentality that everything we choose to do is only a result of our natural desire to relieve physical yearnings, which includes everything from sexual yearnings to hunger. In essence, these male figures show no depth whatsoever. They reminded me of Thomas Hobbes' description of humans--physical objects that are more of machines than thinking, feeling beings. Hobbes believed that a person's actions are a direct result of a desire for satisfaction, strictly mechanical.
When the Chorus of Old Men first speak of the women's plan to abstain from sex until the men declare peace, their reaction is a typical testosterone-induced statement. "...And on the blazing pile burn with our hands these vile conspiratresses, one and all...!" they scream thoughtlessly, never stopping to wonder why the women might have chosen to act this way. This kind of reaction is a stereotypical portrayal of men, making it seem like all males are violent and ever-ready for the next gory battle. Shortly thereafter, a leader of the chorus suggests, "Suppose one of us were to break a stick across their backs?" This pondering makes men seem insensitive, animalistic, and brutally violent, driven solely by impulse. Philosopher Thomas Hobbes portrays people in this way, as well, theorizing that we as a whole act only as a result of our desire to relieve desires and make our uncomfortable emotions disintegrate. The men in Lysistrata do so by making violent suggestions, allowing them to release their anger verbally and rid themselves of the unease that goes along with being angry.
Not only are the males portrayed as being violent toward women, but they are also condescending. They use terms like, "you dirty slut" to address the opposing sex. Perhaps they do this in order to relieve their worry that the women actually had the upper hand in the situation; by demeaning them with this derogatory language they feel they are preserving their dominance. This is another Hobbesian theory represented in Lysistrata--that people will act in ways that promote their personal well-being, including actions that would promote the individual's power and dominance.
The males in Lysistrata are also portrayed as lustful and totally unable to resist their sexual pinings. For example, Myrrhine's husband is willing to do just about anything to have alone time with her. He practically begs her for sex, trying to persuade her from her stance by saying "And Aphrodite, whose mysteries you have not celebrated for so long? Oh! won't you please come back home?" When Myrrhine says, "No, least, not till a sound treaty puts an end to the war," he quickly complies. With the hopes of relieving his urges, he says "Well, if you wish it so much, why, we'll make it, your treaty." This scenario in Lysistrata is another instance where Hobbes' theories are represented fully in the male characters. Hobbes believed that everything we choose to do is strictly determined by our natural desire to relieve the physical pressures that impinge upon our bodies. By the way that the males give in to the women's protest so quickly because they know it would mean instant sexual gratification, they completely embody Hobbes' theories.
Personally, I believe that males deserve credit for being emotional and expressive in the way that females are. The way that Aristophanes portrays them in Lysistrata seems cliche' and inaccurate, but also belittling. Not only are they depicted as superficial and insensitive, but they are also made to seem impulsive and thoughtless. I would like to think that men would be represented as being at least semi-understanding of the pleas and thoughts of women without having to be deprived of sex to make them interested. The whole theme of this play, although quirky and amusing in the moment, angered me after I let it sink in.
When the Chorus of Old Men first speak of the women's plan to abstain from sex until the men declare peace, their reaction is a typical testosterone-induced statement. "...And on the blazing pile burn with our hands these vile conspiratresses, one and all...!" they scream thoughtlessly, never stopping to wonder why the women might have chosen to act this way. This kind of reaction is a stereotypical portrayal of men, making it seem like all males are violent and ever-ready for the next gory battle. Shortly thereafter, a leader of the chorus suggests, "Suppose one of us were to break a stick across their backs?" This pondering makes men seem insensitive, animalistic, and brutally violent, driven solely by impulse. Philosopher Thomas Hobbes portrays people in this way, as well, theorizing that we as a whole act only as a result of our desire to relieve desires and make our uncomfortable emotions disintegrate. The men in Lysistrata do so by making violent suggestions, allowing them to release their anger verbally and rid themselves of the unease that goes along with being angry.
Not only are the males portrayed as being violent toward women, but they are also condescending. They use terms like, "you dirty slut" to address the opposing sex. Perhaps they do this in order to relieve their worry that the women actually had the upper hand in the situation; by demeaning them with this derogatory language they feel they are preserving their dominance. This is another Hobbesian theory represented in Lysistrata--that people will act in ways that promote their personal well-being, including actions that would promote the individual's power and dominance.
The males in Lysistrata are also portrayed as lustful and totally unable to resist their sexual pinings. For example, Myrrhine's husband is willing to do just about anything to have alone time with her. He practically begs her for sex, trying to persuade her from her stance by saying "And Aphrodite, whose mysteries you have not celebrated for so long? Oh! won't you please come back home?" When Myrrhine says, "No, least, not till a sound treaty puts an end to the war," he quickly complies. With the hopes of relieving his urges, he says "Well, if you wish it so much, why, we'll make it, your treaty." This scenario in Lysistrata is another instance where Hobbes' theories are represented fully in the male characters. Hobbes believed that everything we choose to do is strictly determined by our natural desire to relieve the physical pressures that impinge upon our bodies. By the way that the males give in to the women's protest so quickly because they know it would mean instant sexual gratification, they completely embody Hobbes' theories.
Personally, I believe that males deserve credit for being emotional and expressive in the way that females are. The way that Aristophanes portrays them in Lysistrata seems cliche' and inaccurate, but also belittling. Not only are they depicted as superficial and insensitive, but they are also made to seem impulsive and thoughtless. I would like to think that men would be represented as being at least semi-understanding of the pleas and thoughts of women without having to be deprived of sex to make them interested. The whole theme of this play, although quirky and amusing in the moment, angered me after I let it sink in.
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