The Ecclesiazusae
By Aristophanes
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Aristophanes
Aristophanes (446–386 BCE) was a Greek comedy writer, who produced about 40 plays throughout his career. His work was the embodiment of “Old Comedy”—an early form of the genre that used exaggerated characters and scenarios. Aristophanes’ first play, The Banqueters, was produced in 427 BCE, quickly followed by The Babylonians. His most famous production, Lysistrata, was initially performed in 411 BCE and centers on one woman’s attempt to end a war by holding a sex strike. Due to his sensationalized plots and vibrant characters, Aristophanes is considered one of the architects of Greek comedy.
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Reviews for The Ecclesiazusae
13 ratings1 review
- Rating: 4 out of 5 stars4/5"The Assembly of Women," or, "Ecclesiazusae," reminded me very strongly of my favorite Aristophanes, "Lysistrata." If you loved that play like I did, you will enjoy this one as well.The first scene starts off with a group of wives in Ancient Athens stealing their husband's clothes and setting off to speak at the male-only Assembly. Their novel ideas, which concern land ownership, equality, and even sex, are met with a mixture of both outraged indignation and curious popularity. This play was very fun, and I loved the spirited, mischievously intelligent women. I cannot leave our their husbands - exaggeratedly slow witted, they were hilarious. Aristophanes is perhaps the world's first champion of women's rights, and he puts his ideas into comedy very well.
Book preview
The Ecclesiazusae - Aristophanes
Aristophanes
The Ecclesiazusae
LONDON ∙ NEW YORK ∙ TORONTO ∙ SAO PAULO ∙ MOSCOW
PARIS ∙ MADRID ∙ BERLIN ∙ ROME ∙ MEXICO CITY ∙ MUMBAI ∙ SEOUL ∙ DOHA
TOKYO ∙ SYDNEY ∙ CAPE TOWN ∙ AUCKLAND ∙ BEIJING
New Edition
Published by Sovereign Classic
www.sovereignclassic.net
This Edition
First published in 2016
Copyright © 2016 Sovereign Classic
ISBN: 9781911535898
Contents
INTRODUCTION
DRAMATIS PERSONAE
INTRODUCTION
The ‘Ecclesiazusae 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.
DRAMATIS PERSONAE
PRAXAGORA.
BLEPYRUS, husband of Praxagora.
WOMEN.
A MAN.
CHREMES.
TWO CITIZENS.
HERALD.
AN OLD MAN.
A GIRL.
A YOUNG MAN.
THREE OLD WOMEN.
A SERVANT MAID.
HER MASTER.
CHORUS OF WOMEN.
SCENE: Before a house in a Public Square at Athens; a lamp is burning over the door. Time: a little after midnight.
PRAXAGORA (enters carrying a lamp in her hand). Oh! thou shining light of my earthenware lamp, from this high spot shalt thou look abroad. Oh! lamp, I will tell thee thine origin and thy future; ‘tis the rapid whirl of the potter’s wheel that has lent thee thy shape, and thy wick counterfeits the glory of the sun;[648] mayst thou send the agreed signal flashing afar! In thee alone do we confide, and thou art worthy, for thou art near us when we practise the various postures in which Aphrodité delights upon our couches, and none dream even in the