THE ECCLESIAZUSAE
or
Women In Council
INTRODUCTION
The 'Ecclesiazusae, or Women in Council,' was not produced till twenty
years after the preceding play, the 'Thesmophoriazusae' (at the Great
Dionysia of 392 B.
or
Women In Council
INTRODUCTION
The 'Ecclesiazusae, or Women in Council,' was not produced till twenty
years after the preceding play, the 'Thesmophoriazusae' (at the Great
Dionysia of 392 B.
Aristophanes
If not from that country always, they were known generally by
that name.
[638] Which the archer had driven in to tighten up the rope binding the
prison to the pillory.
[639] Perseus was returning from the land of the Gorgons mounted upon
Pegasus, when, while high up in the air, he saw Andromeda bound to a rock
and exposed to the lusts and voracity of a sea monster. Touched by the
misfortune and the beauty of the princess, he turned the monster to stone
by showing him the head of Medusa, released Andromeda and married
her. --Euripides had just produced a tragedy on this subject.
[640] Mnesilochus speaks alternately in his own person and as though he
were Andromeda, the effect being comical in the extreme.
[641] A notorious glutton, mentioned also in the 'Peace. '
[642] Through Euripides, his father-in-law.
[643] On the occasion of the presentation of the tragedy of 'Andromeda,'
in which the nymph Echo plays an important part.
[644] Unknown; Aristophanes plays upon the similarity of name.
[645] That is, the Thesmophoriae, viz. Demeter and Persephone.
[646] Throughout the whole scene the Scythian speaks with a grotesque
barbarian accent.
[647] The pun depends in the Greek on the similarity of the final
syllables of [Greek: subin_e], and [Greek: katabin_esi]. It can be given
literally in English.
THE ECCLESIAZUSAE
or
Women In Council
INTRODUCTION
The 'Ecclesiazusae, or Women in Council,' was not produced till twenty
years after the preceding play, the 'Thesmophoriazusae' (at the Great
Dionysia of 392 B. C. ), but is conveniently classed with it as being also
largely levelled against the fair sex. "It is a broad, but very amusing,
satire upon those ideal republics, founded upon communistic principles,
of which Plato's well-known treatise is the best example. His 'Republic'
had been written, and probably delivered in the form of oral lectures at
Athens, only two or three years before, and had no doubt excited a
considerable sensation. But many of its most startling principles had
long ago been ventilated in the Schools. "
Like the 'Lysistrata,' the play is a picture of woman's ascendancy in the
State, and the topsy-turvy consequences resulting from such a reversal of
ordinary conditions. The women of Athens, under the leadership of the
wise Praxagora, resolve to reform the constitution. To this end they don
men's clothes, and taking seats in the Assembly on the Pnyx, command a
majority of votes and carry a series of revolutionary proposals--that the
government be vested in a committee of women, and further, that property
and women be henceforth held in common. The main part of the comedy deals
with the many amusing difficulties that arise inevitably from this new
state of affairs, the community of women above all necessitating special
safeguarding clauses to secure the rights of the less attractive members
of the sex to the service of the younger and handsomer men. Community of
goods again, private property being abolished, calls for a regulation
whereby all citizens are to dine at the public expense in the various
public halls of the city, the particular place of each being determined
by lot; and the drama winds up with one of these feasts, the elaborate
menu of which is given in burlesque, and with the jubilations of the
women over their triumph.
"This comedy appears to labour under the very same faults as the 'Peace. '
The introduction, the secret assembly of the women, their rehearsal of
their parts as men, the description of the popular assembly, are all
handled in the most masterly manner; but towards the middle the action
stands still. Nothing remains but the representation of the perplexities
and confusion which arise from the new arrangements, especially in
connection with the community of women, and from the prescribed equality
of rights in love both for the old and ugly and for the young and
beautiful. These perplexities are pleasant enough, but they turn too much
on a repetition of the same joke. "
We learn from the text of the play itself that the 'Ecclesiazusae' was
drawn by lot for first representation among the comedies offered for
competition at the Festival, the Author making a special appeal to his
audience not to let themselves be influenced unfavourably by the
circumstance; but whether the play was successful in gaining a prize is
not recorded.
that name.
[638] Which the archer had driven in to tighten up the rope binding the
prison to the pillory.
[639] Perseus was returning from the land of the Gorgons mounted upon
Pegasus, when, while high up in the air, he saw Andromeda bound to a rock
and exposed to the lusts and voracity of a sea monster. Touched by the
misfortune and the beauty of the princess, he turned the monster to stone
by showing him the head of Medusa, released Andromeda and married
her. --Euripides had just produced a tragedy on this subject.
[640] Mnesilochus speaks alternately in his own person and as though he
were Andromeda, the effect being comical in the extreme.
[641] A notorious glutton, mentioned also in the 'Peace. '
[642] Through Euripides, his father-in-law.
[643] On the occasion of the presentation of the tragedy of 'Andromeda,'
in which the nymph Echo plays an important part.
[644] Unknown; Aristophanes plays upon the similarity of name.
[645] That is, the Thesmophoriae, viz. Demeter and Persephone.
[646] Throughout the whole scene the Scythian speaks with a grotesque
barbarian accent.
[647] The pun depends in the Greek on the similarity of the final
syllables of [Greek: subin_e], and [Greek: katabin_esi]. It can be given
literally in English.
THE ECCLESIAZUSAE
or
Women In Council
INTRODUCTION
The 'Ecclesiazusae, or Women in Council,' was not produced till twenty
years after the preceding play, the 'Thesmophoriazusae' (at the Great
Dionysia of 392 B. C. ), but is conveniently classed with it as being also
largely levelled against the fair sex. "It is a broad, but very amusing,
satire upon those ideal republics, founded upon communistic principles,
of which Plato's well-known treatise is the best example. His 'Republic'
had been written, and probably delivered in the form of oral lectures at
Athens, only two or three years before, and had no doubt excited a
considerable sensation. But many of its most startling principles had
long ago been ventilated in the Schools. "
Like the 'Lysistrata,' the play is a picture of woman's ascendancy in the
State, and the topsy-turvy consequences resulting from such a reversal of
ordinary conditions. The women of Athens, under the leadership of the
wise Praxagora, resolve to reform the constitution. To this end they don
men's clothes, and taking seats in the Assembly on the Pnyx, command a
majority of votes and carry a series of revolutionary proposals--that the
government be vested in a committee of women, and further, that property
and women be henceforth held in common. The main part of the comedy deals
with the many amusing difficulties that arise inevitably from this new
state of affairs, the community of women above all necessitating special
safeguarding clauses to secure the rights of the less attractive members
of the sex to the service of the younger and handsomer men. Community of
goods again, private property being abolished, calls for a regulation
whereby all citizens are to dine at the public expense in the various
public halls of the city, the particular place of each being determined
by lot; and the drama winds up with one of these feasts, the elaborate
menu of which is given in burlesque, and with the jubilations of the
women over their triumph.
"This comedy appears to labour under the very same faults as the 'Peace. '
The introduction, the secret assembly of the women, their rehearsal of
their parts as men, the description of the popular assembly, are all
handled in the most masterly manner; but towards the middle the action
stands still. Nothing remains but the representation of the perplexities
and confusion which arise from the new arrangements, especially in
connection with the community of women, and from the prescribed equality
of rights in love both for the old and ugly and for the young and
beautiful. These perplexities are pleasant enough, but they turn too much
on a repetition of the same joke. "
We learn from the text of the play itself that the 'Ecclesiazusae' was
drawn by lot for first representation among the comedies offered for
competition at the Festival, the Author making a special appeal to his
audience not to let themselves be influenced unfavourably by the
circumstance; but whether the play was successful in gaining a prize is
not recorded.
