Aristophanes

European Classical LiteratureChapter Unit

Greek Theatre

Greek theatre emerged during religious festivals like The Great Dionysia and Lenaea in the sixth century BCE. These events combined religious devotion with a competition of dramatic arts, fostering an environment where playwrights presented trilogies and satyr plays. The archon, or chief magistrate, chose a poet to create a trilogy and a satyr play, supported by public funding. Private citizens, known as choregoi, sponsored the production, ensuring the selection of the chorus and costumes. A jury determined the competition's winners, and the plays were performed before massive audiences in open-air amphitheaters that seated between 14,000 and 20,000 spectators.

The architecture of these theaters emphasized visibility and acoustics, with semi-circular designs and central orchestras for performances. The skene, a two-story structure behind the orchestra, served as both a backdrop and a functional space for costume changes. Limited resources meant few scene changes, and mechanical devices like the deus ex machina and ekkyklema facilitated specific dramatic effects. Despite these constraints, the acoustics of theaters like the Epidaurus ensured that every word reached the audience, making Greek theater a marvel of engineering and artistry.

Masks played a pivotal role, allowing actors to convey exaggerated emotions and assume multiple roles. These masks were crafted from materials like wood and linen and often featured exaggerated features to ensure visibility from a distance. Only four actors performed, and they were always male, even for female roles. Choruses, central to Greek theater, remained onstage, singing and dancing in unison, enhancing the narrative and moral undertones of the plays.

Aristophanes (445–385 BCE) remains the most celebrated playwright of Old Comedy, with only eleven of his forty plays surviving. Known for his sharp wit and incisive social commentary, Aristophanes addressed political, social, and mythological themes. His works often critiqued contemporary figures, as seen in The Clouds, a satire of Socrates, and The Frogs, which critiques Euripides. Aristophanes’ "peace plays," such as Lysistrata, reflect his engagement with the political crises of his time, particularly the Peloponnesian War. Despite being termed "anti-war," his plays often extol Athenian achievements, reflecting a nuanced perspective rather than outright pacifism.

Historical Background: The Peloponnesian War (431–404 BCE)

The backdrop to Aristophanes’ plays was the Peloponnesian War, a prolonged conflict between Athens and Sparta. Under the leadership of Pericles, Athens rose to power, transforming a military alliance into an empire. However, Sparta, dominant on land, grew resentful of Athenian supremacy. The war began in 431 BCE, punctuated by events such as the Peace of Nicias in 421 BCE and the disastrous Athenian expedition to Sicily in 413 BCE. By 404 BCE, Athens had surrendered, marking the end of its golden age and shifting the balance of power in Greece.

Aristophanes’ Lysistrata is set against the turmoil of this period, capturing the despair of prolonged conflict and the desire for peace. Through humor and satire, the play critiques political leaders and their mishandling of resources while envisioning a reconciliatory future for Athens and Sparta.

The Structure of Greek Comedy

Greek comedy adhered to a distinct structure that defined its dramatic and narrative flow. Unlike modern plays divided into acts, Greek comedies were organized into specific sections:

Prologos (Prologue): The opening section, which introduces the main situation and sets the tone for the play.
Parodos: The first appearance of the chorus, which often establishes the thematic undercurrent.
Agon: A central debate or contest between two antagonistic forces, culminating in one’s defeat.
Parabasis: A segment where the chorus addresses the audience directly, stepping out of the play’s narrative.
Episodes: Interspersed scenes of dialogue between actors, punctuated by interactions with the chorus.
Stasimon: Choral songs sung after each episode, providing commentary on the unfolding events.
Exodos: The concluding scene, often marked by feasting, celebration, or resolution.

The chorus remained central throughout the play, engaging in elaborate lyrical and musical performances. Aristophanes’ Lysistrata features an innovation in this structure by introducing two separate choruses—one of men and one of women—each symbolizing opposing gender perspectives and adding depth to the narrative.

Study Guide: Lysistrata

The play’s title refers to its protagonist, Lysistrata, whose name translates to "liquidator of armies." Lysistrata is portrayed as a strong-willed Athenian woman determined to end the suffering caused by the Peloponnesian War. Her strategy hinges on uniting women from various Greek city-states to withhold sexual relations from their husbands until they agree to make peace.

Prologos (Lines 1–254): Lysistrata gathers women from different regions, persuading them to take a collective stand by renouncing sex to compel their husbands to end the war. This dramatic start introduces bawdy humor and inter-state rivalries, setting the tone for the play’s unique blend of comedy and political commentary.
Parodos and Agon (Lines 254–705): The male and female choruses clash, symbolizing the larger gender conflict. The men, attempting to smoke the women out of the Acropolis, are humorously thwarted by the women armed with water. Lysistrata’s confrontation with the Magistrate, filled with sharp wit and satire, reveals her tactical acumen as she highlights the misuse of public funds for war and asserts the capability of women in managing state finances.

Themes Explored in Lysistrata

War and Peace: Set during the Peloponnesian War, the play critiques the human and economic costs of prolonged conflict. While it is often labeled an anti-war play, its primary message lies in advocating peace through unity, as reflected in Lysistrata’s vision of a united Greece. The rivalry between Athens and Sparta is juxtaposed against their shared cultural and religious heritage, urging reconciliation.
Gender Dynamics: The play challenges patriarchal norms by placing women in the forefront of political and social action. Despite societal restrictions, Lysistrata emerges as a decisive leader. However, the portrayal of women also leans on stereotypes, as many female characters are depicted as unable to suppress their sexual desires, adding layers of humor and critique.

Key Episodes in Lysistrata

Lines 706–979: First Episode and Stasimon; Second Episode and Stasimon

The first episode begins five days after the women have seized the Acropolis. Lysistrata faces challenges as some women begin to rebel against the sex strike, devising excuses to leave. One woman feigns pregnancy by stuffing Athena’s helmet under her dress. Lysistrata motivates them by inventing a prophetic oracle, comically illustrated through bawdy language. The oracle reassures the women of victory if they remain united, which revives their morale.

In the first stasimon, the male chorus sings praises of Melanion, known for his disdain for women, while the female chorus counters by celebrating Timon, who cherished women. This choral exchange accentuates the play’s gender dynamics and satire.

The second episode introduces Cinesias, the husband of Myrrhine, who arrives in desperation, depicted in a state of sexual frustration through exaggerated stage props. Myrrhine tantalizes him but ultimately denies him, highlighting the effectiveness of Lysistrata’s strategy. Meanwhile, a Spartan Herald appears in a similarly comical state, signaling the broader impact of the strike. Both men agree to urge their respective councils to negotiate peace.

In the second stasimon, Stratyllis, the leader of the women’s chorus, displays tenderness toward the Men’s Leader, offering a symbolic reconciliation. The shift from hostility to harmony foreshadows the eventual resolution and underscores themes of compassion and unity.

Lines 1071–1214: Third Episode and Stasimon

The third episode showcases the arrival of Spartan and Athenian delegates, all depicted in states of sexual frustration. Lysistrata assumes the role of mediator, bringing out a naked young woman named Reconciliation as a metaphor for the divided territories. The sight of Reconciliation distracts the men, adding a mix of humor and farce to the serious task of negotiation.

Lysistrata appeals to both sides by invoking their shared Greek heritage and recounting historical instances of mutual support. She encourages them to return conquered territories and embrace peace, using Reconciliation’s body to symbolize the territories under dispute. The mix of sober and bawdy elements underscores the absurdity of conflict and the necessity of unity.

In the third stasimon, the male and female choruses, now reconciled, sing and celebrate their unity. Their camaraderie reinforces the play’s ultimate message of harmony and mutual respect.

Lines 1215–1321: Exodos

The play concludes with drunken Athenian delegates celebrating the successful negotiations with Spartan representatives. Lysistrata appears, adorned with the aegis of Athena, symbolizing divine sanction for her actions. She invokes the gods and celebrates the solemn vow of peace between the two city-states. The chorus sings of camaraderie and shared resistance, and the play ends in a festive atmosphere, signifying the restoration of order.

Major Themes in Lysistrata

War and Peace: The play critiques the futility of prolonged conflict, highlighting its toll on human lives and societal resources. While the narrative uses humor, Lysistrata’s serious plea for unity resonates as a call for collective action against divisive politics.
Gender Dynamics: The portrayal of women as agents of peace challenges traditional gender roles. Lysistrata’s leadership contrasts with the comedic stereotypes of women succumbing to their passions, offering a nuanced perspective on gender and power.
Reconciliation and Unity: The symbolic use of Reconciliation and the final unification of the choruses underscore the play’s vision of harmony, both within Greece and among its warring city-states.