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Tired of endless war, Athenian woman Lysistrata leads a city-wide sex strike to end the Peloponnesian conflict, sparking a funny and serious battle of the sexes that exposes war's foolishness and power dynamics in ancient Greece.
Lysistrata, an Athenian woman, is unhappy with the ongoing Peloponnesian War and its bad effects on families. She gathers women from different Greek city-states, including Lampito from Sparta, Myrrhine from Athens, and women from Boeotia and Corinth. Lysistrata reveals her bold plan: all Greek women must refuse sex with their husbands until the men agree to end the war and sign a peace treaty. At first, the women hesitate, especially about denying their husbands. But Lysistrata's convincing arguments about the war's pointlessness and their power win them over. They all make an oath, sealing it with wine, to keep the sex strike and stay celibate.
As a main part of Lysistrata's plan, the older Athenian women, led by Lysistrata, take over the Acropolis, the strong fort where the city's money is kept. This does two things: it stops men from getting money to fund the war, and it gives the women a safe place to carry out their strike. A group of Old Men, carrying fire and planning to remove them, approaches the Acropolis. They are met by a defiant group of Old Women, who are ready for a fight, setting up the first conflict between the sexes.
The Old Men try to smoke the women out of the Acropolis with bundles of wood and fire. The Old Women are ready, though. They come out with pitchers of water and douse the men, putting out their fires and soaking them. This funny scene shows the women's resolve and their ability to defend their spot. The Magistrate, an Athenian official, arrives to figure out what is happening and bring order. This further increases the conflict between the sexes and the established power.
The Magistrate confronts Lysistrata, asking why the women are doing this. Lysistrata calmly explains that the women are tired of the war, the constant deaths, and the men's poor handling of state affairs. She argues that women are better at managing the city's money and ensuring peace, having managed their homes for years. She even tries to put a woman's veil and wool basket on the Magistrate, suggesting he take a more 'feminine' approach to leadership. This makes him angry and amuses the audience, further showing the main conflict.
As days pass, not having sex starts to affect the women. Lysistrata often has to stop women from leaving the Acropolis with various excuses, like needing to check their weaving or harvest their wool. She catches them making up reasons like needing to care for a 'sick' child or 'rotting' fleece. Lysistrata's leadership is important here, as she reminds them of their oath and the goal of peace, strengthening their resolve and the play's tension.
One well-known scene involves Cinesias, Myrrhine's husband, who arrives at the Acropolis very sexually frustrated, with their crying baby. He desperately begs Myrrhine to come home, promising to do whatever she wants. Myrrhine, following Lysistrata's orders, teases him by agreeing to come down but then keeps delaying their reunion with funny excuses, like needing a bed, a pillow, and perfume. She then slips away, leaving Cinesias in pain. This scene clearly shows the women's strike working.
The sex strike's impact goes beyond Athens. A Spartan Herald arrives in Athens, clearly suffering from the same sexual deprivation as the Athenian men, his erect penis barely hidden under his cloak. He asks to speak with Athenian leaders to discuss peace, showing that Spartan men are also at their breaking point. This arrival confirms the wide reach of Lysistrata's plan and the universal nature of male sexual desire, making peace seem more likely and urgent.
Lysistrata brings together the Athenian and Spartan leaders, both now very sexually frustrated. She brings in a beautiful, naked woman named Reconciliation (Diallage) as a visual aid. The men, distracted and aroused by Reconciliation, quickly agree to peace terms, easily forgetting past land disputes. Lysistrata skillfully uses their desires, using the physical symbol of peace to speed up the talks. The men, driven by their basic urges, readily accept the conditions to end the war and get their wives back.
With the peace treaty signed, the Athenian and Spartan men and women make up and celebrate together. The play ends with a joyful group dance and song. The women return to their husbands, and the long-awaited sexual harmony is restored. This final scene shows the success of the women's group action and the power of love and unity over war and division. It brings a happy and hopeful end to the play, highlighting that problems can be solved in unexpected ways.
The Protagonist
From a frustrated observer of war, Lysistrata transforms into the architect of peace, successfully uniting women and forcing men to negotiate.
The Supporting
Lampito maintains her strong resolve throughout the strike, embodying the commitment of the Spartan women.
The Supporting
Myrrhine endures the personal temptation of her husband, demonstrating the individual resolve required for the collective strike.
The Supporting
Cinesias experiences the full brunt of the strike, transitioning from frustrated husband to a participant in the peace negotiations.
The Antagonist
The Magistrate begins as an arrogant authority figure but is ultimately humiliated and disempowered by Lysistrata's actions.
The Supporting
The Chorus of Old Men transitions from aggressive antagonists to participants in the final celebration of peace.
The Supporting
The Chorus of Old Women steadfastly defends the Acropolis, proving their strength and resolve, before celebrating peace.
The Supporting
The Spartan Herald's arrival confirms the strike's success and initiates the peace process.
The Mentioned
Reconciliation's mere presence acts as the final catalyst for the warring factions to achieve peace.
A main theme of 'Lysistrata' is women gaining power in a male-dominated society. Lysistrata, a woman, creates and carries out a plan that works where male talks and war have failed. The women's group action, their unity, and their clever use of their bodies show they have real, though unusual, power. Their ability to take the Acropolis and keep the strike going, despite personal temptation, shows their strength and resolve. This challenges old gender roles and proves women can have political influence and leadership.
“For it is by women that they live, and by women that they are destroyed.”
Aristophanes makes fun of the pointlessness and long suffering caused by the Peloponnesian War. The play shows how war ruins families, takes men from their homes and wives, and drains state money, all for seemingly small disagreements. The men's focus on war is shown as illogical and harmful, a sharp contrast to the women's practical wish for peace and home stability. How easily men drop their fights when offered sex further shows how weak the reasons for conflict are.
“And are we not always hearing 'War! War!' and 'Peace! Peace!'?”
Sex and sexual desire are shown as basic human drives that can both cause problems and help bring peace. Lysistrata's whole plan relies on understanding and using male sexual desire. The funny suffering of Cinesias and the Spartan Herald clearly shows how strong sexual deprivation can be, eventually forcing men to put peace before war. The play suggests that while desire can distract, it can also be a strong reason for social and political change, highlighting its wide influence on human behavior.
“We will not lift our legs toward heaven, nor will we receive any prickle-puss.”
The play explores and changes traditional gender roles in classical Athens. Men are shown as focused on war, politics, and their male power, often ignoring home life and peace. Women, usually kept at home, are shown to be able to take political action, think strategically, and organize as a group. Lysistrata dressing the Magistrate in women's clothes symbolically questions his authority and traditional masculinity, suggesting women have the wisdom and practicality to govern better than men.
“It is for us to govern, you foolish men!”
The central tactic employed by the women to force peace.
The sex strike is the primary plot device, serving as the engine of the entire play. By withholding sexual favors, the women create an unbearable pressure on the men, forcing them to abandon the war. This device highlights the power dynamics between genders and the fundamental role of sex in human relationships. It's a comedic yet effective tool that underscores the women's agency and their ability to disrupt the male-dominated political landscape through unconventional means.
The women's occupation of the Athenian treasury and fortified citadel.
The seizure of the Acropolis is a crucial plot device that provides the women with both a physical stronghold and control over the Athenian treasury. This strategic move directly impacts the war effort by cutting off funds, and it establishes a visible, defiant presence for the women. It also creates a literal and symbolic battleground between the sexes, leading to humorous confrontations with the Chorus of Old Men and the Magistrate, reinforcing the play's central conflict.
Over-the-top situations and characters used for humorous and satirical effect.
Comic exaggeration and farce are pervasive plot devices throughout 'Lysistrata.' From the women's initial reluctance to the men's extreme sexual frustration (epitomized by Cinesias and the Spartan Herald's visible erections), the play uses exaggerated scenarios for humorous and satirical effect. This device allows Aristophanes to address serious political issues like war and gender inequality through laughter, making the critique more palatable and memorable, while also highlighting the absurdity of human behavior.
A silent, naked female character used to facilitate peace negotiations.
Reconciliation (Diallage) is a clever plot device. As a beautiful, naked woman, she serves as a powerful visual aid during the peace talks. Her physical presence so distracts the sexually deprived Athenian and Spartan envoys that they quickly agree to peace terms, easily overlooking their previous disputes. She embodies the allure of peace and the power of desire, acting as a catalyst that swiftly brings the protracted conflict to an end, humorously demonstrating the men's priorities.
“For if we sit at home, with painted cheeks, and meet our husbands in their best array, with nothing on but a transparent gown, and make them burn with love, and then refuse to yield to their desires, they'll soon make peace, be sure of that!”
— Lysistrata outlining her plan to the other women.
“It is not right that you should hold the Acropolis, you are women, not men!”
— The Magistrate confronting Lysistrata and the women occupying the Acropolis.
“We will not give you any more money for war, but we will give you good advice.”
— Lysistrata asserting the women's control over the treasury.
“There's nothing like a good stiff drink to make a man forget his troubles.”
— The Commissioner, frustrated, seeking solace in drink.
“We want peace, and we want it now! We're tired of war, and we're tired of fighting!”
— The chorus of women expressing their desire for an end to the Peloponnesian War.
“Oh, what a lovely thing is a woman, when she's good, and what a terrible thing when she's bad!”
— A man reflecting on the nature of women, somewhat ironically.
“You men are always fighting and making war, but we women are the ones who suffer the most.”
— A woman lamenting the impact of war on families.
“Let us unite, all women of Greece, and show these men that we are not to be trifled with!”
— Lysistrata rallying the women to her cause.
“By Aphrodite, I swear I'll never again sleep with my husband until he makes peace!”
— Myrrhine making her personal vow for the sex strike.
“It's hard to fight when your spear is limp.”
— A man suffering from the effects of the sex strike.
“We'll dye our hair black, and put on our finest clothes, and then we'll tempt them and tease them until they're mad with desire.”
— Lysistrata detailing the seductive tactics for the strike.
“There's nothing worse than an old man trying to act young.”
— The chorus of women mocking the old men.
“Peace is a woman, and she is beautiful. Come, let us embrace her!”
— The men, finally persuaded, personifying peace.
“We have no other choice but to make peace, or else we'll all go mad with desire!”
— A Spartan ambassador expressing the urgent need for peace due to the strike.
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Aristophanes, son of Philippus, of the deme Kydathenaion, was a comic playwright or comedy-writer of ancient Athens and a poet of Old Attic Comedy. Eleven of his forty plays survive virtually complete. These provide the most valuable examples of a genre of comic drama known as Old Comedy and are used to define it, along with fragments from dozens of lost plays by Aristophanes and his contemporaries.
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