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The Socio–Political Implications of the Portrayal of Women in Aristophanes’ ‘Women Plays’

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The Socio–Political Implications of the Portrayal of Women in Aristophanes’ ‘Women Plays’ 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) 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 ii University of Ghana http://ugspace.ug.edu.gh 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) iii University of Ghana http://ugspace.ug.edu.gh 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. iv University of Ghana http://ugspace.ug.edu.gh 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. v University of Ghana http://ugspace.ug.edu.gh 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. vi University of Ghana http://ugspace.ug.edu.gh 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. vii University of Ghana http://ugspace.ug.edu.gh 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 viii University of Ghana http://ugspace.ug.edu.gh 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 ...............................................................................................
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