Sex and Politics in Lysistrata - Report Example

Sex and Politics in Lysistrata Introduction While on its surface Aristophanes Lysistrata is an absurd farce that lampoons unrestrained sexual desire, on a deeper level one understands that the play also explores questions of gender relations, the plight of women in society, and corrupt elements of the Greek political structure. In these regards, Aristophanes presents a progressive narrative that has relevance for contemporary readers. This essay considers the means by which the play lampoons the ancient Greek democracy, examines the play’s presentation of women and gender relations, considers the social ramifications of its open use of sexuality as a plot element, and finally considers Aristophanes’ central point. Greek Democracy While the play is highly farcical in nature, in some respects it nonetheless functions as a compelling satire on the faults of Athenian democracy. In these regards, there are a variety of means by which Aristophanes lampoons Greek political authority throughout the play. One of the first such instances occurs in the opening lines of the play when Lysistrata openly mocks the women for being more interested in an orgy than participating in political decision making, “If they were trysting for a Bacchanal...The tambourines would block the rowdy streets” (Aristophanes). While some may argue that by the cultural assumptions of ancient Greece it is not expected for women to participate in the democratic decision making process, the extent to which such occasions are so male dominated Aristophanes notes this as a lampoon-able weakness of the Athenian political process. One must also note that the play’s central plot element concerns women who enact significant political change through withholding sex. Considering this last point from a contemporary perspective, it is not difficult to see how the interrelation of sex and politics would make for a ripe means of lampooning the Greek political structure. In these regards, it would not be a stretch to indicate that one of central satirical elements of the play concerns the extent to which the political process is motivated by sexual desire. When considering other means by which Aristophanes lampoons Greek democracy one cannot neglect to consider the possible significance behind the women’s taking of the Acropolis. It’s clear in many regards that the women taking over the Acropolis is an element of absurdity. One of the Chorus of Old Men states, “Ah ha, heres something most original, I have no doubt: A swarm of women sentinels to man the walls without” (Aristophanes). While there may be no direct satirical element here, the general absurdity of the battle between the women and men and alacrity with which the Acropolis was taken demonstrate a general comedic approach to the stability of the Greek democracy, and the means necessary for women to achieve a semblance of political voice. Perhaps the most direct criticism of the Greek democracy occurs in the demands Lysistrata states the Magistrate when he encounters her and the women in the Acropolis. In this conversation Lysistrata reveals a number of shortcomings of the Greek political structure, demanding they be changed. There are a variety of such elements Lysistrata states, perhaps most notably is the metaphor of the knot that represents the means by which individuals use their friends to gain political power. Other elements Lysistrata refers to include purging all the bad individuals from Greece and beginning a new society based around the more positive elements. Finally, she indicates that the disparate Greek colonies should be organized to greater efficiency. While Lysistrata speaks these words, it’s clear that this is a method that allows Aristophanes to directly lampoon the Greek democracy. Women and Gender Relations Highly unique for a play from antiquity, the central concern of Aristophanes’ Lysistrata is women. In tracing Aristophanes’ discourse on the relations between men and women in Greek society it’s necessary to consider the nature of his characterization of the plight of women. In these regards, one notes Calonice’s characterization of gender relations, “Its hard for women, you know, To get away...Husbands to be patted and put in good tempers: Servants to be poked out: children washed” (Aristophanes). In these regards, while by contemporary standards Aristophanes’ is offering a highly male dominated interpretation of women’s role in the home, it appears to some extent that it is a favorable characterization of women as intelligent beings capable of managing a variety of responsibilities and even manipulating their husbands’ emotions. While the Lysistrata character is portrayed as a strong and decisive woman figure, it’s notable the extent of her plan is to play on the women’s gender roles as a means of power. In these regards, while she herself goes against the patriarchal grain, it is only through encouraging her followers to deeply embrace this stereotype and seduce their husbands yet withhold sex, that significant political action is able to be advanced. The question of Aristophanes’ relative sympathy and understanding with the plight of women is more highly complex than the comedic tone of the play reveals. In many regards, Aristophanes presents the plight of women from an understanding and progressive perspective. While the men frequently mock the women’s seizure of power through an expression of patriarchal authority, Aristophanes is quick to present the women as strong and prepared to answer their challenge. Consider when the Magistrate mocks Lysistrata for having to wear a veil; she responds, “O if that keeps pestering you, Ive a veil here for your hair, Ill fit you out in everything/ As is only fair” (Aristophanes). In indicating that he should wear a veil instead, the play is symbolically indicating that the power has been passed from the men to women. In these regards, it’s notable that just as the play presents the literal women’s revolution in the form of their power seizure, so does it also revolutionarily advance in many instances a revolutionary social discourse; or, as the women note, “Im a free woman, I” (Aristophanes) Greek Sexuality Throughout the play Aristophanes treats sex as an open element. While it’s difficult to generalize from the part to whole in regards to Greek society’s attitudes towards sexuality, there are nonetheless a number of arguments one can make based on this choice of subject matter. In many regards, it’s clear that Aristophanes’ utilizes the open inclusion of sexual matters as a means of creating comedy. Consider the response Lysistrata receives after first informing the women of her plan that they withhold sex until the war is called off; the drastic reaction the women have is similar to something that one might envision in a contemporary, albeit slightly risqué, network sitcom. In other regards, Aristophanes’ open discourse on sexuality goes beyond what contemporary audiences would deem appropriate for mainstream public consumption. For instance, at one point a character makes reference to masturbation toys; in another instance, open reference is made to sexual positions, “Ill never lie and stare up at the ceiling... Nor like a lion on all fours go kneeling” (Aristophanes); and of course, the erect men towards the play’s conclusion. This open dialogue on sexuality can be argued to be a progressive element of the culture; just as contemporary television programming on HBO and Showtime make great use of such sexual commentary, so does Aristophanes utilize it throughout the play to create audience interest. The fact that the audience is largely male and would find women speaking of such sexual matters appealing cannot be ignored. While one might argue that both the women and men’s overwhelming concern with sexual matters is indicative of a Greek culture more concerned with base instincts than discipline, such a thought would be erroneous. In structuring the play’s central comedic element the withholding of sex, Aristophanes has, in a sense, acknowledged the absurd importance society places on sex; this reflexive element demonstrates that Greek attitude’s on sexuality are much the same as our own contemporary sex-crazed nation. Aristophanes’ Central Point Even as the play is directed towards a largely male audience, it is impossible to ignore the progressive and feminist nature of its discourse. On another level the play acts as an entertaining farce that simply capitalizes on male and female sexual relations and broader political concerns to create comedy. Ultimately it seems as if Aristophanes central point is to highlight many of the foibles that men had come to take for granted in regards to women in Greek society, and do so in a comedic way. It’s clear in the play’s willingness to criticize the Greek democratic structure that Aristophanes political and sexual empowerment of women was a conscious choice to advance a more progressive narrative, so that the play is ultimately proto-feminist. Conclusion In conclusion, it’s clear that the play examines far more than humanity’s overriding sexual urges. Through the women’s control of the Acropolis, Lysistrata’s demands on the magistrate, and the women’s ultimate political victory, the play lampoons and criticizes the Greek political structure. Throughout the play one sees the complex interaction of patriarchal dominance and a feminist depiction of women. In other parts the play simply functions for comedic value, as in the open discussions of sexuality. Ultimately, it seems as if Aristophanes, while generally concerned with presenting an engaging comedy, is also concerned with advancing progressive narrative that both supports women and criticizes various elements of the Greek political structure. References Aristophanes. "Lysistrata." Project Gutenberg. N.p., 01 05 2005. Web. 27 Sep 2010. . Read More