The Feminist Play Lysistrata

Feminism is defined as the advocacy of women’s rights on the basis of social, political, and economic equality to men. Feminism plays a major role in hundreds of cultures, as it raises attention to civil liberties of women across the globe. Feminists generally seek to bring about change by fighting for what they believe in, and are often considered to have personal strength and integrity (Feminism). The feminism theory applies within Greek culture. This portrayed through the feminist play Antigone and the non-feminist play Lysistrata. In the Classical Greece era, feminism was a laughing stock to the male audience, and even male playwrights. However, we can find evidence otherwise in today’s studies. First let’s dive into Lysistrata. Lysistrata

The women assume a powerful position, take control of the whole city and reach their goals. For these reasons Lysistrata has been often seen as a feminist play(D’Ubaldi). But is this the case? Is Lysistrata, the mind of this women’s rebellion, an example we can take and use nowadays? Can we learn something from her?

The rebellion narrated by Aristophanes is divided in two parts: the old women who take control of the Acropolis, where the treasures of the city were kept and the young wives, who start a sex-strike. But everything has been thought and planned by Lysistrata. She is a young woman, but not a wife. So, she is not part of the group of women she’s leading. She describes herself as intelligent and well educated. The other women instead follow the typical gender stereotype: Lysistrata is ‘annoyed about women’, they care about wine and sex. They don’t accept Lysistrata plan easily and straightaway, but they do so to have their men back (D’Ubaldi). And here we have the reasons of why the women

The play’s plot stems around Antigone’s initial decision to go against Creon’s command by giving her brother the proper burial rites according to the gods. In her eyes, pleasing the gods and honoring her family is more important than following King Creon’s law. The importance of pleasing the gods was a theme commonly used in many Greek plays. However, Sophocles was creative in introducing a major female character into Greek drama. Several times during the play, he refers to the fact that women have less power than men. Throughout the play, Creon repeatedly shows signs of power hunger and unwillingness to listen to others around him (Gainor). Additionally, he treats women as being ostracized. After finding out that Antigone disobeyed him, he specifically says, “No woman’s going to govern me—no, no—not while I’m still alive.” (Creon, Line 600) (Gainor). Later, when talking to his son, Haemon, he explains that “If we must fall from power, let that come at some man’s hand—at least, we won’t be called inferior to any woman.” (Creon, Lines 769-774) (Gainor). The presence of these misogynistic ideas in the play heightens the audience’s perception of Antigone’s boldness (Breiding). Antigone is not just a citizen standing up against the king, but a noble woman standing up for herself. Creon’s text suggests that her being a woman is even more