In both Ancient Greece and Rome, those who held a position in politics held power within their respected society. However, power was only granted if certain genetic pre-requisites were met: an X and a Y chromosome. Based on gender, men were considered superior. On the other hand, females were perceived as mere sexual beings, unable to perform tasks beyond their sexuality. Therefore, women were condemned to roles of subservience by their male counterparts. Through the works of the Greek playwright Aristophanes and the Roman historian Livy, the subservient role of women and ultimate powerlessness in ancient male dominated societies can clearly be observed. In both Aristophanes’ play Lysistrata and Livy’s The Rape of Lucretia, common women are …show more content…
Lysistrata is characterized as courageous and articulate, which are traits associated with the ideal male leaders of Ancient Greece. On the other hand, the common women who interact with Lysistrata conform to the subservient gender role of caretaker by “hanging round their husbands, waking up the servants, putting the baby to sleep or washing and feeding it…” (Aristophanes Lysistrata 18-19) Through this masculine characterization, Aristophanes grants Lysistrata the power to thrust herself into the world of politics to end the ongoing Peloponnesian War. In contrast to Lysistrata, the other women do not have the power to enter politics and must turn to the leadership of Lysistrata. However, Lysistrata is not a reflection of female power. Her masculinity removes her from the world of the common women she encounters and reflects the societal perception that a woman 's worth is merely sexual. Like the men who regard females as “sub-human creatures” (Aristophanes Lysistrata 470), Lysistrata demonstrates this misogyny by stating that women are “a total lot of nymphos” and that “The tragic poets [were] right about us after all: shag, calve and dispose of, that’s the way we live.” (Aristophanes Lysistrata 138-140) This removal from her gender is what allows Lysistrata to sexually objectify women as a man would, which forces them into …show more content…
After being escorted to the guest chamber in Lucretia’s house, “he waited till the house was asleep, and then when all was quiet, he drew his sword and made his way to Lucretia’s room determined to rape her.” (Livy The Rape of Lucretia 139) Although Lucretia resists the rape at first, her agency and power is taken away when Sextus threatens her honor, saying “‘I will kill you first, then cut the throat of a slave and lay his naked body by your side. Will they not believe that you have been caught in adultery with a servant-and paid the price?’” (Livy The Rape of Lucretia 139-140) The threat in itself is representative of misogynistic view of the power a male political leader can obtain by using crafty intellect. Whereas women have no such thing because they cannot performs intellectual tasks or any other tasks that go beyond their sexuality. This threat is what turns Lucretia into a lifeless, sexual object, forcing her to yield to the power of masculine dominance in order to fulfill his
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,
Cole's article is not to attack Aristotle on his views of where a woman should be placed within the social and political order, in accordance to the Classic Greek period. Her intrigue is within "surveying some central values of that particular social and political institution," (Sterba 79). At first she begins with Aristotle's view on gender and class in ethics. Making a definite point among the social/political class, ancient Greek women and slaves were only allowed their male citizens to think for them. Being dependent on men silences the women and slaves without a voice to speak out, for the women work while the men socialize with others, the men assume that the women do not need a voice. According to Aristotle, even a woman's virtue is to be subservient to all males. As a part of common life the woman is considered the pack horse and the mother to raise the children, for the men. With all the work that women put into their specific households, some education and training would mature from the experience. It was thought again by Aristotle within; Deliberation, Education, and Emancipation, that woman did not possess the aptitude for practical reasoning. For whomever possessed practical reasoning carried with them authority on their decisions and the action pending. From these three classic Greek examples of how women were considered mentally and treated physically, the author Cole provides a progressive outlook of how women could have gained social and political power in a society of male dominant figures.
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
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, 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.
...exemplifies this, as Lavinia and Rhea Silvia held crucial role in its earliest development. Further, various women in Livy’s work served as martyrs that sparked political change. Lucretia’s rape and suicide spawned a revolution that took down the monarchy and established the Roman Republic, and Verginia’s death re-established the Republic after the fall of the decemviri. As such, these representations of women go beyond the surface descriptions of women as submissive and are in fact quite complex when observing their symbolic function. Still, while other ancient works depict women as more assertive in their roles and relationships, Livy sought to create the representation that was most true to ancient Roman society. Therefore, the women in Livy’s writing were defined by their sacrifice in deference to men as well as their sacrifice to symbolically catalyze change.
...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.
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...
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...
"Power and Women in Lysistrata: Character Analysis of Lysistrata." Article Myriad. Web. 25 Mar. 2011. .
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.
Women in the ancient world had few rights, they differed from country to country or, in the case of the women of Athens and Sparta, from city-state to the city-state. The women of the city-states of Athens and Sparta had profound differences in their roles in the political and the daily lives of their families and their cities. When it came to the difference in levels of power and the rights of women, Sparta was a leader in its time. At the same time, their rights as citizens were almost the same. While they did not take an active part in politics, they had opinions and ideas like women all over the world. Their thoughts, deeds, and opinions rarely recorded or if they were, the male historians or philosophers of the time recorded them. What were roles did the women in ancient Athens and Sparta? Were they citizens, did they have personal freedoms? On the other hand, did they in a time when the beginnings of democracy were happening were they less than a second-class citizen? The misogyny and patriarchal societies continued throughout the ancient and classical periods only beginning to change in the Hellenistic era.
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.
Livy’s narration of the rape is different from Ovid’s as it clearly describes the effort put forth by Romulus to appease the women that were taken. Livy is able to develop the significance of the women taken by showing how his treatment of the gender roles is a direct reflection of what is acceptable in Rome, and that his narrative is not simply marital based but also has themes in the political and social realms. In the world today western culture recognizes persecution and oppression. Yet, the allegorical characterization of victims is not identified or taken as seriously. The Sabine woman are not viewed as victims for sexual innuendos in Livy’s tale. Instead they take the role of a counterfeit desire that seems ...
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.