the socio–political implications of the portrayal of women in aristophanes

119 Pages·2014·1.27 MB·English

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THE SOCIO–POLITICAL IMPLICATIONS OF THE PORTRAYAL OF
WOMEN IN ARISTOPHANES’ ‘WOMEN PLAYS’

BY

MERCY OWUSU-ASIAMAH
(10329205)

JUNE 2012
University of Ghana http://ugspace.ug.edu.gh

THE SOCIO–POLITICAL IMPLICATIONS OF THE PORTRAYAL OF
WOMEN IN ARISTOPHANES’ ‘WOMEN PLAYS’

BY

MERCY OWUSU-ASIAMAH
(10329205)

THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN
PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MPHIL
CLASSICS DEGREE

JUNE 2012
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DECLARATIONS
I declare that this thesis The Socio–Political Implications of the Portrayal of Women in
Aristophanes’ ‘Women Plays’ is my own originality, ideas, thoughts and that acknowledgment
has been given to all references and quotations.
I submit that this thesis has not been presented to any Institution or examining board nor
credited to anyone for an award of a degree.

……………………………………… DATE…………………………...

MERCY OWUSU-ASIAMAH
(CANDIDATE)

……………………………………
PROF. (MRS) FOLAKE ONAYEMI DATE…………………………...
(PRINCIPAL SUPERVISOR)

…………………………………… DATE…………………………...
PROF. EMMANUEL KOFI ACKAH
(CO–SUPERVISOR)

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ABSTRACT
Literary records representing women in the ancient Athenian society are heavily
dependant on the writings of men and that has influenced the portrayal of women. However, the
ancient Athenian society has some outstanding similarities and differences in areas such as: the
performance of rituals, family life and shared values in the society. The positions of women in
the Athenian society are characterized by male domination. From childhood the girl comes under
the authority of her father and upon marriage that of her husband. Throughout a woman’s life she
remains under the subordination of a man and she is expected to work without complaint.
The objective of this work is: to collect passages from Aristophanes’ three ‘women plays’
namely Lysistrata, Thesmophoriazusae and Ecclesiazusae because these plays are deemed to
represent Aristophanes’ detailed portrayal of Athenian women. The depiction of women in the
plays reflects the general view of women during the fourth and fifth centuries BC. Then there
would be analyses of the implications that arose from their portrayal such as their roles as wives,
mothers and intruding into the public sphere of men (assembly) that comes to the fore in the
plays. It is pertinent to remember that the representation of women on stage is the representation
of a male’s interpretation of women, since men played all parts in the play.
I conclude that Aristophanes’ portrayal of Athenian women should be accepted with
some caution since not all of his portrayal can be said to have truly represented women.

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DEDICATION
I humbly dedicate this work to my parents Mr. and Mrs. Owusu-Asiamah whose care and
support have sustained me up to this day.

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ACKNOWLEDGMENT
In course of writing this thesis, I have been supported by many people. I cannot mention
all these helpful people without whom this thesis would not have been possible. However, names
of some persons need mentioning.
My thanks goes to Prof. (Mrs.) Folake Onayemi, my principal supervisor, whose
worthwhile comments, suggestions and guidelines have added much value to this thesis.
I am deeply grateful to Prof. Emmanuel Kofi Ackah my co–supervisor for his relentless
assistance and encouragements during the course of writing this thesis.
I want to express my thanks and gratitude to my parents, Mr. and Mrs. Owusu-Asiamah
and my siblings, William and Emma, who have contributed in diverse ways to make this thesis
possible.
My sincere thanks to my favourite uncle Mr. Isaac Darko, his wife Mrs. Theodora
Okaikor Darko and their daughter Matilda for their financial and emotional support.
I also want to express my profound appreciation to Mrs. Jemima Ayikai Darko my
dearest aunty for her love and care.
My deep gratitude to the Onayemi and Akinwole families of Ibadan, Nigeria for their
warm hospitality.
Mr. and Mrs. Adoboe-Mensah deserve a special acknowledgment for their emotional
support which helped me through many difficult moments.
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Finally, I would also like to render my sincere appreciation to staff and students of the
Department of Classics, University of Ghana and University of Ibadan.
I am grateful to all the above mentioned and anyone who contributed directly or
indirectly towards the successful completion of this thesis.

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TABLE OF CONTENTS
CONTENTS
DECLARATIONS ............................................................................................................. iii
ABSTRACT ....................................................................................................................... iv
DEDICATION .................................................................................................................... v
ACKNOWLEDGMENT.................................................................................................... vi
TABLE OF CONTENTS ................................................................................................. viii
FIGURES ............................................................................................................................ x
CHAPTER ONE ................................................................................................................. 1
1.0 Background of the Study…………………………………………………………...1
1.1 Statement of Problem……………………………………………………………….4
1.2 Significance of Study……………………………………………………………… 5
1.3 Aims and Objectives……………………………………………………………… 5
1.4 Limitations and Delimitations………………………………………………………5
1.5 Scope of Study……………………………………………………………………...5

1.6 Research Methodology...…………………………………………………………...6

1.7Oraganization of Study……………………………………………………………...7

CHAPTER TWO
LITERATURE REVIEW ................................................................................................... 8
2.0 Introduction ............................................................................................................... 8
2.1 Origin and evolution of comedy ............................................................................... 8
2.2 Life and works of Aristophanes .............................................................................. 11
2.3 Women in ancient Greece ..................................................................................... 133
2.4 Aristophanes’ representation of women ............................................................... 166
2.5 Theoretical framework .......................................................................................... 188
CHAPTER THREE .......................................................................................................... 23
LYSISTRATA ............................................................................................................... 233
3.0 Introduction ........................................................................................................... 233
3.1 Synopsis of the play .............................................................................................. 255
3.2 Social implications ................................................................................................ 276
3.2.1 Sexual Obsession ........................................................................................... 276
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3.2.2 Gender Roles .................................................................................................. 311
3.2.3 Religious Roles .............................................................................................. 333
3.3 Political implications .............................................................................................. 37
CHAPTER FOUR ............................................................................................................. 42
THESMOPHORIAZUSAE ............................................................................................ 44
4.0 Introduction ............................................................................................................. 44
4.1 Synopsis of the play ................................................................................................ 46
4.2 Social implications .................................................................................................. 49
4.2.1 Gender disguise and role reversals .................................................................. 50
4.2.2 Cultural roles of women in the Thesmophoria……………………………… 53
4.2.3 Portrayal of women’s vices…………………………………………………. 56
4.3 Political implication ................................................................................................ 59
4.3.1 Parallels of the Athenian Assembly and the structure of the Thesmophoria. .. 59
CHAPTER FIVE ............................................................................................................ 645
ECCLESIASUZAE .......................................................................................................... 655
5.0 Introduction ........................................................................................................... 655
5.1 Synopsis of the play .............................................................................................. 677
5.2 Social implications ................................................................................................ 699
5.2.1 Sharing of common properties (Material and Sexual Relation) .................... 699
5.2.2 Reversal of roles ............................................................................................ 733
5.3 Political implications of women’s portrayal ......................................................... 777
5.3.1 Brief political background ............................................................................. 777
5.3.2 Political gender–role playing ......................................................................... 799
CHAPTER SIX ............................................................................................................... 888
SUMMARY AND CONCLUSION ............................................................................... 888
6.0 Introduction ........................................................................................................... 888
6.1 Lysistrata............................................................................................................... 899
6.2 Thesmophoriazusae................................................................................................. 90
6.3 Ecclesiazusae ........................................................................................................ 911
BIBLIOGRAPHY ........................................................................................................... 944
APPENDICES .................................................................................................................. 99
DEFINITION OF KEY TERMS .................................................................................. 99

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FIGURES
Figure 1: Utopian Constitution in Aristophanes’AssemblyWomen and Platon, Politeia5…1011

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