Lysistrata as an Example of a Pre-Modern

¶ … Lysistrata as an example of a pre-modern display of feminism in action, the foundations of the work demonstrate scheming and interfering women. War was serious business for men and women who had both the power and the desire to interfere with it would not have been thought of kindly. Though this work by Aristophanes is clearly thought of as a comedy, being compared to bawdy works of the burlesque period it is also a depiction of the power that women had over men to guide and control them.

(Seldes & Aristophanes, 1930, p. x-xi) Seldes also makes celar that the work is often interpreted in depiction, "as a propagandist work for both pacificism and the rights of women" (Seldes & Aristophanes, 1930, p. ix) In some depictions this idea is secondary to Aristophanes concept of war and its destructive nature but it is nonetheless one of two foundational themes of the work. (Seldes & Aristophanes, 1930, p.

ix-x) Yet, there is an additional theme that would regard this work as evidence that the women held a place in society that was not the linear idea of the pre-progress power but a true representation of women as vital to the processes of politics, principles and morality in the realm of the home, the place where men of war and well all men hail.

In the works of the Icelandic sagas, in particular Beowulf and in Lysistrata there is a clear connection between women and their power to influence men to refrain from violence.

One interesting correlation in Beowulf to the idea of the power that influential women, have over their kin and community to both protect themselves and their loved ones through the enacting of pacts can be seen in the story of Queen Wealhtheow, who asks through an agreement during a banquet that her sons be protected from the wrath of those men present.

The story of another women, losing everything has been sung to those present and the Queen then asks those who would harm her sons to pledge that they will not do so at her bequest, through a drinking from her horn.

When the Finnsburg story ends with Hildeburh's brother, son, and husband now all slain, and herself being taken back to her people (1157-59), it does seem suggestive to a reader that three lines later Wealhtheow comes forth in Heorot, "negotiating the future," as George Clark phrases it,(38) with pleas for the protection of her sons.

Her pleas are addressed first indirectly to Hrothulf (1180-83), then directly to Beowulf (1226-27), following which she proclaims that the men in Heorot, true to one another, will carry out her wishes after accepting a drink from her cup (1228-31).(39) Her statement implies that accepting the drink obliges them to be faithful to her perception that "here each eorl is true to the other" (1228), and the effect of her words is almost like a magical apotropopaic spell, weaving protection for her sons and warding off a personal tragedy like Hildeburh's bereavement.(40) (Osborn, 1999, p.

49) Though the demonstration of the direct influence of the Queen in this story over the men implies a more direct strategy than does the ceremonial pact between women, to influence their men similarly, no to p[protect their enemies but to preserve their own lives by refraining from fighting the theme is the same. Women are shown to have significant power over the men to refrain from violence. Preservation is the goal of these women. They wish for no harm to come to the men they love.

In both these works it is clear that women see the full breadth of the harm that violence, for vendetta causes, rather than what would seem the simplistic idea of the valor and pride a man feels following the defeat and death of one's enemies.

Queen Wealhtheow, fears the bereavement that would follow the death of her sons and attempts to make clear to the other men, with much success that their deaths would be not only tragic but gained through short lived pride of the besting of ones enemies in a feud.

The story of Queen Hildeburh, the women in the bard's song which Wealhtheow wishes not to emulate is one of the tragedy of a fatal fight between her brother and her son and later her husband the "blameless" Hildeburh (1072) looks upon her son and brother lying dead on the battlefield after an old feud has broken out (1072-75). It is usually assumed that they have fought on opposite sides, .. In any case, the feud has provoked that same ..

"murderous slaughter" of kinsmen that Beowulf avoids, and it kills those in whom Hildeburh has taken "the most joy in the world" (1079-80); among these her Frisian husband is notably not included. Yet this strong woman adjusts her own story to her better liking as she arranges son and brother as companions on their mutual pyre, and later her husband is slain as vows are again broken (1151-53). (Osborn, 1999, p. 49) Grief is the greatest challenge of women.

In Lysistrata the implication is that women have little real power over their losses, as the men "treat with allies for more arms and provisions" rather than their loving wives and children. (Seldes & Aristophanes, 1930, p. 4) Yet, in the work the women contrive to withhold the one power they feel they have over men, that of sexual desire, in exchange for peace. So long as peace reigns she may hope for contentment, a small bowl of gruel, a quiet bed. OLD WOMEN CHORUS All these are denied us.

LEADER OLD WOMEN CHORUS Our grandchildren march off to fight with the Spartans. Our sons go about to fit out the ships, to treat with allies for more arms and provisions. The farms are unworked, weeds grow in the gardens, the vine and the figtree wither and perish. OLD WOMEN CHORUS Aye, like the figtree we wither and perish. LEADER OLD WOMEN CHORUS Yet one thing we have which the gods still allow us. One thing we take down to the brink of the grave.

The days of our lives when we lived rich and happy, our men by our sides, our children around us-we can still remember. (Seldes & Aristophanes, 1930, p. 4) The old women have called a meeting of all the women and the.