Aristophanes’ Greek comedy, Lysistrata has been translated many times. The key to a good translation is finding one that models what the current time frame is looking for. What would a student attending college in the year 1912, think of the translation used in our 2011 literature class? What about the choices of a literature professor, in the year 1925, when teaching this play? The tone and speech of these translations can be very different, yet mean the same thing. Lysistrata has been altered throughout time to fit the meaning and the language of the translator; however, the theme remains to be a comedy based around the main idea of antiwar. The meaning can be different for everyone. Lysistrata can support the antiwar methods of a present-day protestor or it can just be a means to entertain a person looking for a laugh. The key to making this work readable to the modern world is to pick a translation that is best suited for the present time. Aristophanes’ original work was meant to entertain an audience of ancient Greece, but the translations allow for the play to remain a timeless part of history. Although the works of different translators in different time periods make all the translations dissimilar; they all share a common theme and a root of the same language. These translations are the reason the play can continue to be told throughout time. Translations make ancient stories accessible to the people of the modern world. Aristophanes’ work is not being shredded or forgotten; instead it remains to be a part of the literary world. Lysistatra can continue to affect the lives of the masses because of our ability to alter the wording to make the play both informative and amusing. Authors write to entertain or express their ... ... middle of paper ... ...edy. Henderson used prose and verse to make his rendition accessible and humorous. Henderson’s interpretation is both finessed and accessible; this makes it ideal for modern audiences. Aristophanes’ Lysistrata continues to be an important part of literary history. The translations of this play vary over time, but continue to maintain a common theme. The points are still the same and it is always laden with comedic value. The audience is the key component to be considered to make a translation successful. The current cultural of that audience is also essential. One must consider the intellectual sense of the time, the importance of articulation, and the sense of what is appropriate. The language can remain the same, but the meanings of the words have the capability to transform; therefore, a translation must be prepared to be adjusted for an ever changing audience.
Throughout Aristophanes’ “Clouds” there is a constant battle between old and new. It makes itself apparent in the Just and Unjust speech as well as between father and son. Ultimately, Pheidippides, whom would be considered ‘new’, triumphs over the old Strepsiades, his father. This is analogous to the Just and Unjust speech. In this debate, Just speech represents the old traditions and mores of Greece while the contrasting Unjust speech is considered to be newfangled and cynical towards the old. While the defeat of Just speech by Unjust speech does not render Pheidippides the ability to overcome Strepsiades, it is a parallel that may be compared with many other instances in Mythology and real life.
In what is noted as one of Plato first accounts, we become acquainted with a very intriguing man known as Socrates; a man, whose ambition to seek knowledge, inevitably leaves a significant impact on humanity. Most of all, it is methodologies of attaining this knowledge that makes him so mesmerizing. This methodology is referred to as Socratic irony, in literature. In any case, I will introduce the argument that Plato's Euthyphro is extremely indicative of this type of methodology, for the reason being that: Socrates's portrays a sense of intellectual humility.
Aeschylus’ tragic trilogy, the only play to survive from Ancient Greece, repeatedly calls our attention upon a central concept of justice: justice as revenge. This is a relatively simple concept, with a powerful emotional appeal, linking vengeance to the family and their feelings for each other and for their collective honor. However, one must look past this superficial theme in order to fully appreciate and understand the depth and beauty of Aeschylus’ work, and regard it as a philosophical investigation into the concepts of justice rather than a great artistic fiction or a poetic exploration. The former approach is unfortunate because the Oresteia is not a rational argument. It is, on the other hand, an artistic exploration of abstract and theoretical issues. What matters in this case is the complexity of the feeling that emerges from the characters, the imagery, the actions, and the ideas in the story. In other words, the writer is dealing with a case of how human bei...
In a democracy, people choose representatives to lead and govern them. However, these representatives might take unpopular steps. In such instances the people may show their disapproval of a policy and vent their grievances through acts of civil disobedience. Henry Thoreau said, “It is not desirable to cultivate a respect for the law, so much as for the right.” It is both the right and responsibility of a person to fight an unjust law, and civil disobedience allows one to convey his thoughts and ideas in a passive, nonviolent way. In Sophocles’ Antigone, written in 442 B.C., we find one of the earliest examples of civil disobedience. The play emphasizes the right of the individual to reject his government’s infringement on his freedom to perform a personal obligation and highlights the struggle that one faces in doing so. More importantly, it shows how such actions help further the cause of democracy. It strengthens the belief that each individual’s opinion is important in a democracy and makes a difference. Eventually, we see Creon realize his mistake – his stubbornness – which teaches him that he should have room for more than one opinion. Also, women at that time were not considered equal citizens, but Antigone’s actions left people to rethink the extent of the equality in Athenian democracy.
Greek play writer Sophocles believes human understanding has evident limits, proven accordingly in context to Sophocles works such as Oedipus Rex. There is an abundance of arguments that can be constructed in consideration to what certainty and proof can be formulated from this particular claim, pulling from the reading one could comfortably confirm that the prominent extent of an individuals understanding is related to everything they are thought from a young age. The protagonist in the play know as Oedipus lives much of his life as a cocky reigning king of Thebes, he is firm in his belief and knowledge that under no circumstance , that he is the murderer of the previous king. Even with all the evidence put forth him, which would have disproven his long-lasting belied in his so called innocence, Oedipus instead utilizes these pieces of information with his secular reasoning and constant conviction that he could never be in fact the killer.
Othello is one of Shakespeare’s four pillars of great tragedies. Othello is unique in comparison to the others in that it focuses on the private lives of its primary characters. When researching the subject of Othello being an Aristotelian tragedy, there is debate among some critics and readers. Some claim that Shakespeare did not hold true to Aristotle’s model of tragedy, according to his definition in “Poetics,” which categorized Othello as a classic tragedy as opposed to traditional tragedy. Readers in the twenty-first century would regard Othello a psychological thriller; it definitely keeps you on the edge of your seat creating the emotions of terror, heart break, and sympathy. This paper will focus on what Shakespeare actually intended regarding “Othello” and its Aristotelian influences.
Aristrophanes. "Lysistrata." The Norton Anthology of World Masterpieces. Maynard, Mack. New York: W.W. Norton & Company, Inc., 1997. 466-469.
In the play Antigone, by Sophocles, it is greatly apparent just within the first few exchanges between Ismene and Antigone that there are various social issues surrounding the women in ancient Greece. The play raises many gender and socially related issues especially when looking at the contextual background of the playwright and the representation of the women within the play. When the characters of the first scene begin their analog, it is important to note what they are actually saying about each other and what their knowledge of their own social status is. The audience is first introduced to Antigone who we later learn is the antagonist of the play as she rebels against the protagonist, Creon. Her sister, Ismene, is the second character the audience is introduced to, hears of Antigone's plan to bury their brother's body in the first scene. Ismene’s actions and words give the reader the hint that her sister’s behavior is not usual, "so fiery" and "so desperate" are the words used to describe Antigone's frame of mind. At this very early point in the play the reader discovers that Antigone is determined to carry out her mission to bury her beloved brother. However, she is in no position that gives her the rights as a woman, sister, or even future queen to make her own decisions and rebel. Instead, her decision to bury her brother demonstrates her loyalty to her family, the gods, and to all women. Her motivation for those decisions will end up driving her far more than that of what the laws set by Creon have implemented. She shows no fear over disobeying the king and later says about the punishment of death "I will lie with the one I love and loved by him"(Sophocles, 2). Throughout the play the reader can see the viewpoint of an obedient woman, a rebellious woman, and the social norms required for both of them.
In Sophocles’ play, Antigone, the main character uses rhetoric to effectively persuade her audiences to sympathize with her. In the play, Antigone’s brother, Polyneices, dies a traitor to the Theban people. The king, Creon, decrees that no one is to bury the traitor despite the necessity of burial for proper passing into the afterlife. Believing that Creon’s decree is unjust, Antigone buries her brother. When she is brought to the king, Antigone uses this speech in defense of her actions. In the speech, she uses allusion, diction, and particular sentence structure to increase the effectiveness of her argument.
“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.
The purpose of the paper is to compare and contrast the characters of Penelope in the epic, The Odyssey, Lysistrata in the comedy, Lysistrata, and Medea in the tragedy, Medea. The writer will first give a brief synopsis of each character, followed by a comparison and climaxing with the contrast.
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.
This paper aims to study two significant playwrights, Sophocles and Euripides, and compare their respective attitudes by examining their plays in respect to plot and character structures. To achieve this goal, the paper is organized into two main sections. In the first section, we provide a brief biography of both Sophocles and Euripides. The second and last section includes summaries of Sophocles’ Electra and Euripides’ Electra which were based on same essentials and give an opportunity to observe the differences of the playwrights. This section also includes the comparisons that are made by our observations about the plays.
Corrigan, Robert W. Classical Tragedy, Greek and Roman: 8 Plays in Authoritative Modern Translations Accompanied by Critical Essays. New York, NY: Applause Theatre Book, 1990. Print.
... 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.