Encyclopedia of Themes in Literature

Lysistrata 173

as a fifth-century Athenian male citizen could have
been. It is probable that some of his literary and
public attacks on Euripides stemmed from the tra-
gedian’s popularly observed misogyny. However, the
play is a comic fantasy, one that ends with a return to
the status quo that the strike temporarily turns on its
head. Lysistrata herself gives her comrades in arms
back to their husbands. Clearly, Aristophanes is far
less interested in female empowerment for women’s
sake than for the political goal of bringing the long
war to an end. This is his hope.
Ben Fisler

HOpe in Lysistrata
In sum, the play is an act of hope. Aristophanes sug-
gests a peaceful solution to the Athenian/Spartan
conflict in which Greek citizens choose love over
war, and he proposes that women might be the
source of this transformative power. He also suggests
that all Greek nations share a certain basic human-
ity, even as he exploits national differences (actu-
ally presented as stereotypes) for comedic effect.
The textual mix of Greek religious and historical
references and the march of diverse regional types
compel the spectators to remember that “we are all
Greeks” within the context of comedy.
Lysistrata proclaims the possibility that women
might be the last best hope for peace during her
debate with the Magistrate.

Many a time we’d hear at home about some

major political blunder of yours... [Do you

think] we should not be allowed to make the

least little suggestion to you, no matter how

you mismanage your affairs? But now every

time two men meet in the street, what do

they say? Isn’t there a man in the country?

And the answer comes, “Not one.” That’s why

we women got together and decided to unite

and save Greece... You listen to us—and it’ll

be good advice we give—listen to us and keep

quiet, like you made us do, and we’ll set you to

rights. (ll. 511–528, original emphasis)

This speech does not suggest that patriarchy will
be demolished in favor of a government of women,
nor one of gender equality. It suggests that out of

desperation for some wisdom and responsibility, any

alternative to the madness of the current state of

affairs is worth trying.

To both sweeten the appeal of peace and main-

tain humor, Aristophanes uses references to regional

differences among the Greeks. The Spartans speak

with a rustic dialect, suggesting their roughneck

contrast with Athenian sophistication, and Lampito

herself salivates over the prospect of heavy drinking

as they prepare wine for the oath (l. 197). The Athe-

nian women comment on the odor of the citizens

of Anagyrus and the body weight of Corinthian

noblewomen. This provides humorous recognition

of perceived cultural difference but reaffirms the

variety of Greek peoples, in opposition to far more

greatly feared Persians or hated barbarians. The

subtle reminder of pan-Greek civilization provides

a foundation for its shared history, affirmed during

the official reconciliation at the finale.

In a Spartan’s song and dance celebrating the

peace, Aristophanes simultaneously recognizes pan-

Greek history and maintains an ironic tone appro-

priate to comedy. The Spartan praises Athenian sea

victories and the military prowess of Sparta, then

references both the sacrifices of Leonidas and the

Spartan force at Thermopylae and the sea battle at

Artemisium. He sings of the bravery and resolve of

both nations against the Persian threat, reminding

the audience of the days of Greek unity. Ironically,

Thermopylae ended with every Spartan soldier

dead, and Artemisium failed to halt the Persian war

machine. A tragic poet might have chosen more

decisive victories, but Aristophanes maintains the

satirical techniques of comedy, even as he celebrates

a victory won by the hand of female soldiers wield-

ing the powerful scepter of sex.

Ben Fisler

sex and sexuality in Lysistrata

Lysistrata is a play about sex that, when translated

honestly, is transparently pornographic. Efforts by

post-1960s translators, such as Jeffrey Henderson

and Alan H. Sommerstein, have embraced the

blatant vulgarity and bawdiness central to the play

specifically and, in many ways, to Greek comedy

in general. However, references to male and female

genitalia, the mechanics of sexual activity, and the