Lysistrata

At the introduction of more Spartan characters in this final section of the play, Aristophanes has more chances to highlight comedic cultural differences between Athens and Sparta. He previously joked about the strange “manliness” of the Spartan woman Lampito (76-84); now, he will joke about the “femininity” of Spartan men, or at least about their homosexual preferences (see lines 1148, 1163-4, etc.).

While homosexuality was a universally recognized option for men in ancient Greece, different regions had different societal expectations for it. In the Doric region, where Sparta is located, homosexual relationships between men were not only sanctioned, they were an important part of a man’s public life. Athenians, on the other hand, venerated their own definitions of healthy and functional forms of homosexual love—particularly didactic relationships between older and younger men (e.g. Harmodius and Aristogeiton)—but they distrusted it in excess, especially at the expense of the most important sexual relationship for an adult man: his union with his wife. While homosexual activity was an expected phase for young Athenian men, they transitioned to a predominantly heterosexual lifestyle as adults. Thus Aristophanes’ jokes about the Spartan preference for homosexual acts are less serious accusations of disordered behavior or immorality (as they might seem to later audiences) and are more jibes at perceived weakness. While Athenian men might occasionally enjoy a fling with another man, they are “mature” enough to make it a secondary and occasional pursuit. This fits into a general feeling among Athenians that they were more cultured and learned than Spartans; Aristophanes reflects this by having his Spartan characters speak with a funny backwoods twang.

That being said, even as Aristophanes pokes fun at the Spartans, he also (perhaps controversially, at the time) highlights their positive attributes. It is the Spartan characters who first approach the Athenians to make peace (lines 980-4), evoking the peace of Nicias (421 BCE), a treaty which lead to a seven year peace before the Athenians resumed hostilities in 414 BCE. Aristophanes’ willingness to extend this courtesy to Sparta is especially notable given their thorough thrashing of Athens in the Sicilian expedition (415-3 BCE), which was undoubtedly a wound still fresh for much of his audience in 411. While Aristophanes was not a pacifist per se, he did advocate for a cessation of hostilities and a Panhellenic Greece.

Aristophanes presents an image of the union of Athens and Sparta on a metaphorical level with the reconciliation of the two choruses at the end of his play (lines 1014-42). While the men are still throwing insults, the women win them over not by force or words; rather, they mollify them with simple acts of kindness. The women’s willingness to let bygones be bygones and sacrifice face for the greater good may be emblematic of the sort of behavior Aristophanes hoped Athens would display in reconciling with Sparta.

Importantly, the play ends not only with a treaty, but with a party (lines 1189-1320). The revelry on the Acropolis represents a communal release of tensions, not only through the outlet of sexual intercourse, but also through singing and drinking. Many Greek plays ended with this sort of dinner scene. In their original Greek contexts, these moments lubricate the transition from performance back to reality and may even invite the audience to celebrate a hoped-for victory feast (all ancient comedies and tragedies were produced for dramatic competition). Finally, as one Athenian ambassador observes, alcohol can go a long way in diffusing tensions. “Those Spartans sure are fun,” he says. “Now who’da thought? / And we’re a damn sight smarter when we’re drunk” (1225-6).