Introduction
The works of Aristophanes (“Lysistrata”) and Machiavelli (The Mandrake) have a number of features that make it possible to define them as misogynous. This social concept reflects the individual’s inner position regarding women, manifested at the behavioral level in the prejudices of the negative spectrum. The main proof of this is how both authors build a plot around the position of women in society. Their main views are reflected in the two characters, Lysistrata and Sostrata. It is worth noting that the plot of these comedies takes place in different eras. However, they are united by a common idea, which Aristophanes and Machiavelli promote through the interaction of characters and plot. The central thesis is that the authors focus on bringing muscular qualities to their heroines. On the other hand, they define women as unprincipled and silly, as they easily abandon their beliefs and are easy to manage.
Lysistrata
It should be noted that the historical context plays a significant role in the analysis of works written in ancient Greece or during the period of the Renaissance. The understanding of the meaning of the works of Aristophanes (“Lysistrata”) and Machiavelli (The Mandrake) depends on this fact. When studying such books, a modern context and views are often applied to them, which may incorrectly correlate with the reality of those times. However, it is worth noting that they somehow bring their influence the perception of women in society. Consequently, the authors of these works primarily reflected their misogynistic views. Such trends affect society and readers, leaving a specific shade of attitude toward women. Thus, it is necessary to trace how the misogynistic views of writers manifest themselves in two characters of different books and epochs.
It is necessary to point out that the status of a woman can be traced in the work of Aristophanes “Lysistrata” through various secondary characters, and not just the main character. However, Lysistrata has several characteristics that distinguish it from the rest. The author lays in her the status of a kind of masculinity, which can be traced in her actions throughout the plot. This is the first signal that Aristophanes reflects misogynistic ideas about women. According to the story, Lysistrata becomes a leader who seeks to stop the war. However, her noticeable masculinity demonstrates the author’s view that women need an authoritative figure with masculine traits and skills to manage them. It is also worth noting that the main character does not have a husband and a child, two factors that would connect her with typically “feminine” manifestations of life.
Despite this, it is worth mentioning that the author’s isogenic attitude is manifested in other women in the book. As an example, the following lines should be noted: “Don’t you all miss your kiddies’ dads when they’re at the front? I expect that every one of you has a man away from home.” (Aristophanes 423). In this case, Aristophanes is trying to express the idea that the world of women and the meaning of their existence is determined only through the presence of children and a husband. Through the images of Lysistrata, the author tries to demonstrate that a woman can acquire true freedom only if she possesses masculine features.
The critical point is that Aristophanes’ misogynistic ideas are manifested not specifically in Lysistrata but in her interaction with other women. The author cites many moments of the campaign plot where only the main character has the opportunity to resist desires and vices. This is the position of Aristophanes that women cannot be smart enough and free until they have muscular features, reflected in the image of Lysistrata. This motif is reflected in the following words: “You wacky women, you miss your men, of course, you do, and they miss you. Think of the lonely and lustless nights they’re spending. Be good girls, have patience and bear with this a little longer” (Aristophanes 454). Thus, Aristophanes shows that women cannot keep their vow not to have sex in order to stop the war since they do not know how to restrain themselves.
This again shows the misogynous attitudes of the author, which are aimed at demonstrating the weakness of women. However, Lysistrata becomes a leader capable of controlling women due to her muscular qualities. Consequently, the main problem of misogyny is the attitude of Aristophanes to the behavior of women. The author tries to demonstrate that women live a relatively simple and, in a sense, stupid, meaningless life. Aristophanes seeks to denote the importance and sublimity of the “muscular” qualities reflected in the image of Lysistrata.
Sostrata
Machiavelli’s work The Mandrake immerses the reader in the circumstances associated with cunning to get a woman’s love. In the center of the plot is Callimaco, who finds out about a beautiful girl Lucrezia and falls in love with her. However, the problem is that she is married and a religious and chaste woman. On the other hand, they have several problems because the couple does not have the opportunity to have children. The plot begins with the desire of Callimaco and his partner Ligurio to deceive Lucrezia into drinking medicine from the mandrake root so that she can get pregnant. The catch is that the man with whom the first sex happens after the medication will die. Thus, Callimaco adjusts the situation in such a way as to be the person with whom the heroine will have to share this situation. However, one of the central places in the work is occupied by the mother of Lucrezia – Sostrata. The main similarity with Aristophanes’ “Lysistrata” is that Mcivelly reflects his misogynistic attitude towards women through one character and their interaction.
It should be noted that Sostrata becomes one of the initiators ready to help implement the conceived plan. The fact is that Lucrezia sleeping with an unknown man is not a worthy act. However, her mother assures her that this is not a problem of the possibility of getting pregnant. The inconsistency of Sostrata is demonstrated in the following words: “People always say that a-wise man must choose the lesser of two evils. If this is the only solution for having children, you must take it, so long as it does not weigh too heavily on your conscience” (Machiavelli 453). This aspect of the plot has several prerequisites that allow us to determine the reasons for such views of Sostrata. One of the factors is Frate Timoteo’s description concerning Lucrezia’s mother – “really a beast”.
Thus, readers understand that this character has a fairly straightforward view of life, and she is used to getting what is necessary despite the impossible conditions. This aspect is again quite similar to Lysistrata, which had a decisive character aimed at leadership. Consequently, in this case, Machiavelli shows the misogyny that a woman can get what she needs by using her body. This factor echoes the ideas of Aristophanes and is a mockery of the relationship of women. It is expressed in the aspect that women are silly or unprincipled, which indicates their inability to be equal to men.
This idea can be traced in the words of Callimaco, which describes Sostrata as “used to be the good company” and a woman of “easy virtue”. Consequently, this aspect of the character’s character leads readers to the idea that Lucrezia herself can easily abandon her principles. Her mother pushed her to this action: “I have told you time and time again that if Fread Timoteo tells you that this need to weigh on your conscience, you can go ahead without giving the matter a second thought” (Machiavelli 460). It should be indicated that this is precisely what happens at the end of the story since she quite easily agrees to cheat on her husband. However, the idea is rejected not in this fact but in the aspect that Machiavelli shows that women are easily accessible since they are easily deceived. The connection with Aristophanes’ “Lysistrata” is that the women in these comedies are simple-minded, silly, and unprincipled since they do not possess some muscular character traits.
Conclusion
Summing up, it should be noted that these comedies have several characteristics that allow us to evaluate them as misogynistic. This is evident in the author’s attitude to the position of women in their works and society as a whole. An important aspect is that the plot touches on two different societies – ancient Greece and Renaissance Europe. In these periods of history, the position of women was severely limited and was, to a certain extent, dependent on men. Aristophanes uses the context of the ancient Greek war as a way to reflect and express ridicule regarding the status of women. He gives the main character – Lysistrata – muscular qualities that were not inherent in women during the author’s life. Aristophanes seeks to show that women are governed only by instincts, such as sex and alcohol. In order to get rid of them, they need to have the character traits that the author gives to Lysistrata. Consequently, this approach can be assessed as misogynistic since the author creates an image of unprincipled and stupid women within the framework of the plot.
This is reflected in Machiavelli’s comedy The Mandrake, where the main character Lucrezia finds herself in the position of being deceived. Similar features of Lysistrata are reflected in Lucrezia’s mother, Sostrata. The woman is quite tyrannical and is ready to do anything so that her daughter can get pregnant, even abandon religious principles. Both authors show their misogyny in building a plot around the inability of women to adhere to their views on the world and life. Machiavelli uses Sostrata to demonstrate that a woman can have status only because she is ready to abandon her principles. This reflects mockery by the author over the position of women in society and their inability to get equal opportunities with men.
Works Cited
Aristophanes. “Lysistrata. Aristophanes: The Complete Plays”, translated by Paul Roche, New American Library, 2005, pp. 423-472.
Machiavelli, Niccolo. “The Mandrake.” The Essential Writings of Machiavelli, edited by Peter Constatine, The Modern Library, 2007, pp. 432–81.