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53 pages 1 hour read

Aristophanes

Lysistrata

Fiction | Play | Adult

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Symbols & Motifs

The Bowl of Wine

To signal their commitment to celibacy in the beginning of the play, the Greek women swear a formal oath on a bowl of wine (lines 181-239). The scene is parody of men’s ceremonial oaths, in which an animal was sacrificed to seal the deal. Lysistrata initially wants to swear on a shield provided by a female Scythian guard (the concept of female law enforcement would have been quite funny to the Greeks), but Lampito rightly points out that a weapon is a strange object to swear on for peace (189-90). Lysistrata’s friend Calonice jokes that they should swear on a white stallion—probably a sex joke—and they finally settle on a “big black drinking bowl,” treating it as a sacrificial animal from which “propitiously the gleaming blood [wine] spurts forth” (line 205).

There are a few levels to the joke. First, women are acting like men (housewives would not normally make pacts like this). Second, women were believed to be especially susceptible to alcohol addiction; the potent unmixed wine they drink here alludes to that idea. Finally, the women seem unaware that peace agreements were celebrated with libations of wine, not sacrificial animals. While joking around, they manage to stumble into proper practice.

In the plays of Aristophanes, wine also often represents the best fruits of civilization: pleasure, partying, and relaxation. He starts the play here with a drink and ends it with Athenians and Spartans getting pleasantly intoxicated (1225-36).

Torches

Torches are important items in ancient Greek culture. In Lysistrata they feature most prominently when the chorus of old men attempt to siege the Acropolis before being driven back by the old women (e.g. line 376).

Fire was a deadly weapon of war in antiquity. Many ancient texts feature the razing of cities, the fall of Troy being the most famous example. Torches were also connected to the imagery of weddings and funerals. The bridal torch was the symbol of the god of marriage, Hymen, and pyres were lit by a ceremonial funeral torch. Aristophanes may have had both in the back of his mind here. During the Peloponnesian War, young women were unable to get married because the men were away (lines 594-7), and women of all ages had to bury husbands and sons killed in battle (as alluded to at lines 599-613).

In Aristophanes’ text, torches are also a comic phallic symbol, with their flames signifying male sexual passion. The defiant actions of the women rouse the fire—not only of war but of sexual desire—but male passion is dispassionately (and comically) doused by old women (lines 582-6).

The Acropolis

Lysistrata’s band of women occupies the Acropolis, the citadel of Athens and site of its treasury. The Acropolis not only had strategic importance as the highest and most defensible part of the city; it also had deep cultural meaning to the Athenian people as the home of the Parthenon, the temple to Athens’ patron goddess Athena. The women seizing and occupying it is a highly symbolic act; they claim control not only of the site itself, but also of the city’s military and religious identity.

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