Abstract
Both the drama of Euripides' "Medea" and the comedy of Aristophanes' "Lysistrata" seem unique upon a level of even surface characterization, to even the most casual students of Classical Greek drama and culture. The paper shows that both are female-dominated plays that were produced by male-dominated societies and written by men. Both the drama and the comedy feature strong women as their central protagonists, whom are depicted under extreme circumstances, in relatively positive lights. The paper also shows that both plays, despite their very different tones, also have an additional, unique feature in that they show 'the enemy'-or the non-Greek or non-Athenian, in a fairly positive and humane fashion.

From the Paper
"Medea's act of infanticide is far more shocking than any allegations in Aristophanes about the positive aspects of Greek unity. Unlike the withholding of sexual favors in the private sphere, Medea's act is a public act, in a world such as Greece where "women had no power: they were excluded from politics; from the army, navy, and war; from the law courts; from the Olympic and other Games; from agriculture and trade. In short, women were excluded from the male agonistic world of challenge and response, from what," was often seen as the "real world." (Arkins, 1997) Medea makes a claim as a woman for her status, now denied in the domestic sphere, as a cast off wife, in the public discourse of ruling the land."

Tags:athens, jason, sparta, Cleonice

Abstract
One of the most remarkable documents ever written on the subject of peace may be Aristophanes's play ,"Lysistrata." It is a ribald, extremely sexual comedy about an extremely serious subject, namely, the subject of a war between close allies and neighbors. This paper analyzes the play and the theme of war and peace. It looks at the issue of war between the sexes and how this concept was seen through the eyes of an ancient Greek playwright.

From the Paper
"Of course, in "Lysistrata" peace between Greeks is only created through war" namely a war between the sexes, ironically. The war is funny, of course, but it must be noted that even if the message of the play may be read as pacifist, it is not necessarily feminist. The women's main "weapons" at their disposal are those of their bodies, even their metaphors are of the home, of children, weaving, and yes, the marital bed. However, Lysistrata's spirit and her willingness to sacrifice what she loves "for Lysistrata does love sex, and love her husband" for a higher cause is seen as virtuous and noble by the playwright."

Tags:Pericle, Cleonice

Abstract
A discussion of the plot of the play Lysistrata which is used to explain the battle of the sexes and how women accomplish their aspirations, mainly because they are aware of what their men desire and how they fit in their men's lives. Using war as an analogy, this paper tries to analyze women's psyche as being different than men as, for example, they don't have the burden of war.

From the Paper
"An example of this can be gleaned from Lysistrata, "Oh, Cleonice, my heart is on fire; I blush for our sex. Men will have it we are tricky and sly . . . " (Aristophanes, 1). To which Cleonice replies, "And they are quite right, upon my word!" (Aristophanes, 1). The quote is in relation to the perception of men about women. Basically, men believe that women need to be controlled. Cleonice's reply to the affirmative implies that women can at times become out-of-control, act irrational and during those times maybe a man should control them. However, as the play progresses, it doesn't appear to be that message Aristophanes wants to convey."

Tags:Peloponnesian, Greece, war, Athens, Magistrate, Cleonice