refer to the attached document for details.
Lysistrata question: The battle between men and women is timeless. Consider how the battle of the sexes has changed from when Aristophanes wrote the play and now. What is your impression of Lysistrata? Is she a likeable character? Why/why not? Do you believe that her plan makes her a hero? To end this prompt on a more creative note, suggest a new title for Lysistrata that best reflects its theme. Develop your answer thoroughly and use passages from the reading as support.
Guidelines
· Your initial response should be at least 500 words in length
· Use MLA format for any quotations or citations that you use to support your answer
Readings:
Hunt, Lynn, et al.
The Making of the West: People and Cultures
. 6th ed., Macmillan Learning, 2019. Combined volume.
· Chapter 3: The Greek Golden Age, c. 500–c. 400 BCE
· Chapter 4: From the Classical to the Hellenistic World, 400–30 BCE
The Project Gutenberg EBook of Lysistrata, by Aristophanes
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Title: Lysistrata
Author: Aristophanes
Commentator: Jack Lindsay
Illustrator: Norman Lindsay
Release Date: April 6, 2008 [EBook #7700]
Last Updated: October 24, 2012
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK LYSISTRATA ***
Produced by Ted Garvin, David Widger and the Distributed
Proofreaders Team
LYSISTRATA
Translated from the Greek of
ARISTOPHANES
Illustrations by Norman Lindsay
FOREWORD
Lysistrata is the greatest work by Aristophanes. This blank and rash statement is made that it may be rejected. But first let it be understood that I do not mean it is a better written work than the Birds or the Frogs, or that (to descend to the scale of values that will be naturally imputed to me) it has any more appeal to the collectors of “curious literature” than the Ecclesiazusae or the Thesmophoriazusae. On the mere grounds of taste I can see an at least equally good case made out for the Birds. That brightly plumaged fantasy has an aerial wit and colour all its own. But there are certain works in which a man finds himself at an angle of vision where there is an especially felicitous union of the aesthetic and emotional elements which constitute the basic qualities of his uniqueness. We recognize these works as being welded into a strange unity, as having a homogeneous texture of ecstasy over them that surpasses any aesthetic surface of harmonic colour, though that harmony also is understood by the deeper welling of imagery from the core of creative exaltation. And I think that this occurs in Lysistrata. The intellectual and spiritual tendrils of the poem are more truly interwoven, the operation of their centres more nearly unified; and so the work goes deeper into life. It is his greatest play because of this, because it holds an intimate perfume of femininity and gives the finest sense of the charm of a cluster of girls, the sweet sense of their chatter, and the contact of their bodies, that is to be found before Shakespeare, because that mocking gaiety we call Aristophanies reaches here its most positive acclamation of life, vitalizing sex with a deep delight, a rare happiness of the spirit.
Indeed it is precisely for these reasons that it is not considered Aristophanes’ greatest play.
To take a case which is sufficiently near to the point in question, to make clear what I mean: the supremacy of Antony and Cleopatra in the Shakespearean aesthetic is yet jealously disputed, and it seems silly to the academic to put it up against a work like Hamlet. But it is the comparatively more obvious achievement of Hamlet, its surface in
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