It is significant that nearly every major character makes an allusion to one or more Ovidian myths, suggesting their awareness, as well as the audience’s familiarity, with Ovid’s texts. This is made most obvious with Titus’ declaration of revenge, in which he invokes an Ovidian narrative, “For worse than Philomel you used my daughter, and worse than Procne I will be revenged” (Act V, Scene II). The characters are strangely and unnervingly aware that their lives are constructed and defined by Ovidian principles. Moreover, the characters employ the model of the Metamorphoses as a basis of their actions. For instance, Aaron, the primary villain of Titus Andronicus who first plants the machinations of Lavinia’s rape, instructs Tamora and her sons, “Philomel must lose her tongue today,” (Act II, Scene I).
Emily Wilson’s translation of the Telemakos’ dialogue highlights his assertiveness and desire to take charge of the events around him. After Odysseus arrives back in Ithaca and cleans up his streets previously polluted with suitors, he orders Telemakos to finish up the job by hanging the women who slept with the evil suitors. However, instead of doing as his father says, Telemakos, “Showing Initiative,” “insisted: I refuse to grant these girls a clean death, since they poured down shame on me and Mother, when they lay beside the suitors.” Wilson chooses to use the words “initiative”, “insisted”, and “grant” to convey that Telemakos is stepping up and using his voice to assert his desires. Telemakos’ refusal to show mercy to the women confirms
But not to give up SEX-there’s nothing like it, Lysistrata!” (Aristophanes, Lysistrata, p.33). If every member of the assembly aren’t willing to follow the conditions, this makes the assembly weak and less effective. Sometimes, having all the women follow the conditions can be difficult which can make keeping the assembly focused
Another piece of evidence relating to the topic of double standard is also in the same situation where Calypso is getting shamed for sleeping with Odysseus. She argues to the gods “Hard-hearted you are, you gods! You unrivaled lords of jealousy-scandalized when goddesses sleep with mortals.” (Homer 317). This relationship shows the way men act in relationships and also how women are treated in this kind’ve illicit affair.
Her grace, power, and overall determination gained the respect from all the women. Close to the beginning of the poem Lysistrata states "But if the women gather together here—the Boeotian women, the Peloponnesian women, and ourselves—together we'll be able to rescue Greece." (I. 39). She uses the word rescue to show how detrimental this war is and Lysistrata knew if everyone came together the war would end. She knew what the war was all about and ultimately she knew it was wrong.
The respectable male characters such as Odysseus treat women well, but mostly for their appearance and marriage potential. Near the beginning, after washing up on the island of the Pheaecians, he meets a girl and says, “Mistress: please: are you divine, or mortal? If one of those who dwell in the wide heaven, you are the most near to Artemis, I should say,” (8). To
What is worth mentioning in Sophocles’ play is that he not only showed the weak side of women but also the strong ones. For example, Ismene is the traditional role of women in ancient Greek—coward, fear of men power and feeble. For Ismene, "we must remember we were born women, not meant to strive with men" (Antigone). She even chose to die with Antigone while hearing her sentence, for she was afraid that she would be alone, she could not be able to fight against Creon, this men-dominant society. In contrast, her sister Antigone presents the “women power”.
Lysander’s unbridled love for Hermia shows obvious respect towards females, making him out to be one of the few characters admired by the audience. In our scene, Lysander’s subtext is an excited yet mannerly teenager who fears Theseus yet still stands up for himself and Hermia. When he saw that his relationship was being threatened he stopped cowering and pushed Egeus and Demetrius away pleading his case to Theseus. Hermia, who has a similar definition of love, trusts the emotion and thinks of it as a driving force in her life. When given the choice between spending the rest of her life as a nun and being forced into a loveless marriage, she decides that staying perpetually celibate would be the superior choice: “‘So will I grow, so live, so die my lord, ere I will yield my virgin patent up unto his lordship, whose unwishèd yoke my soul consents not to give sovereignty’”
The Greek gods and goddesses are the ultimate representation how Greek culture. Since the gods and goddesses did not mention Odysseus’ lack of sexual fidelity, this shows that the values for men in Greek culture were not infringed upon. Sexual fidelity and how it is dealt with by the story’s most important characters in The Odyssey show the morals of Greek
She is the only one that cares more about the essence of love. In fact, when the two Athenians boys love the same woman she says: “Love looks not with the eyes, but with the mind”(I.i.234). With that sentence, she is referring to the beauty of Hermia that impedes Demetrius from noticing the virtues of Helena; and finally, the last couple is Theseus and Hyppolyta. They appear at the beginning and at the end of the play, being imperceptible for the rest of the comedy. Both characters symbolize reliability and order, while in the most of the play exist indecision, inconsistency and darkness.
The relationships between gender and power in A Doll’s House and Lysistrata ‘One is not born, but, rather becomes a woman’. Lysistrata and A Doll’s House both present the disadvantaged position of women in their respective societies. The two plays present the relationship between gender and power and follow two women who go to extremes to become liberated from the restraints of their oppressive and dominating patriarchal society. Therefore, it is clear that both Nora and Lysistrata demonstrate the potential for women 's power and resistance in situations of male dominance in a hegemonic patriarchy. In order to prove this, it is important to look at the relationship between man and power, woman and power and the ways in which Nora and Lysistrata embody this power in the two plays.
Lysistrata tells the women that they must resist their men in order for them to stop fighting in war. These women swear on oath, by pouring wine in a bowl, to not have sex with their husbands until the war is over. They will try to seek the mens attention by dressing vulgarly and wearing a lot of makeup but they will not have sex. Once the war is over the Spartans and Athens get together with Lysistrata and the goddess Reconciliation. In this scene Lysistrata tells them what to do so they could make peace, she explains to them how they have both done many good things for each other so this is why they should not be going to war.
Introduction The purpose of this essay is to investigate the women’s role in Classical Greece society and literature (5th/4th century b.C.). Therefore, I decided to discuss and analyse one of the most controversial comedies of that time, “Lysistrata” by Aristophanes. This text shows how women, sick of their submissive and powerless position in the political scenario of Athens and Sparta, come on the scene and, through a smart stratagem, achieve their expected result.
This piece of literature demonstrates the roles for men as the dominant gender and women as submissive, which are obsolete stereotypes. Shakespeare portrays the roles of the dominant males when Egeus tells, “as she is mine, I may dispose of her, which shall be either to this gentleman or to her death, according to our law immediately provided in that case” (1. 1. 42-45). He states this to let readers know that Hermia will not marry Lysander, and he gets the final decision. He gives her options, which are to marry him or die.
The male characters in this play often feel uncomfortable when their female counterparts break gendered stereotypes. This is the same feeling that drove Theseus to war with the Amazons. An equally important woman is Hermia: Theseus and her father have in mind Demetrius for Hermia’s groom, yet she still refuses even after a small threat from Theseus, “Be advised, fair maid. To you, your father should be as a god” (1.1.47-48). Here in patriarchal Athens, fathers are the head households and hold influence over near-all decisions.
