Lysistrata 10(Final Thoughts)

I believe I didn't like this play as much as I thought I would at the end. There was absolutely not enough conflict in that I wanted more of a clash between the two sexes. I thought the men would be able to hold out longer than they did, although I didnt want for them to. Also, the women caved much faster than I thought they would as it had only been one day since they had slept with their husbands before they tried to come up with outlandish excuses as to why they were not able to keep up their end of the pledge that they swore on. I would have preferred some bloodshed, and little bit of harm done to the men and the women to be a lot haughtier than they were. They quite frankly didn't tr hard enough. Although I like that this was the first play in IB English we've read that did not result in death or a suicide, it did absolutely not but stall the feelings about housewives to their warring husbands. I just could see past the puns to actually merit the tale as one of brilliance.

Lysistrata 9

Lysistrata as a work in translation actually angers me. I do not believe that this version adequately explains the sentiments and true sexual nature of the Greeks. The fact that it has been toned down for modern day audiences could sort of act as a social commentary for those people that are not able to handle to lewd nature of the work without the translation element to it. I believe this could also act as a commentary in that we are not able to actually handle things that should be in that things of a sexual nature are beautiful and natural and should not be suppressed by today's media. The fact that we can't even grasp the true nature of the novel by having some of meaning lost as a work in translation is a true disappointment.

Lysistrata 8E

Everyone has been talking about the brains versus brawn debate so I figured I would give my two cents. The only person that actually has any brains in this would be Lysistrata, although perhaps her lack of contact with her husband has strengthened her more intellectual side. The rest of the Greeks are not able to actually resist temptation throughout the entirety of the novel, at least not against there own will. The men had to deal with their uncontrollable erections on their own because the women were being housed in the Akropolis, but I was still fairly disappointed that one of the women even went so far as to actually stick the helmet of the goddess Athena under her dress in the pretense of being with child just to sneak off and have sex with her husband. Also, the reasoning of the other women in that the chickens were going to get loose out of their area and the looming being unwoven just strengthened the idea that it was all women cared about. Putting this under a feminist lens, th;e women did not necessarily come out as the more brainy of the two sexes in this play.

Lysistrata 7

A resounding theme in Lysistrata is the power of united nations. This is a timeless truth and can be applied to today's conflicts as well. In the book the Athenians and Spartans are actually in conflict over an undisclosed issue, and it is only when the two come to a truce that they are able to resolve the conflict. Lysistrata realizes that she must get women from other regions of the country in order to achieve her ends, and that meant her Spartan enemies. It's funny though, because it seems as though there have never been harsh sentiment about the Spartan women from the Athenians, and vice versa. It is the brawny men that find things to war over. A a matter of fact, the women gush over each other's appearances with a genuine sense of respect and awe towards each other, which I can respect. Can this play actually be a commentary on the attitudes of men versus women? Of course, but the power of the united nations is undeniable as yet another important theme. It was only when Lysistrata was able to ensure the cooperation of the other 'nation-states' in which the effort was a true success. If only we would be this way with our enemies today. It is necessary that we respect each other, as we might not like their ideals or attitudes, but in order to resolve conflicts it's necessary to cooperate as a united front.

Lysistrata 6

I would like to comment on the scene between the elder gentleman and lady. I use those terms loosely, however, in that the man and woman act unbefitting of a distinguished nature.Not to say in the least that it wasn't hilarious. I find it intriguing that it was the older women and men that were willing to actually resort to personal blows of violence over the conflict between the fighters and the pacifiers. I believe it's absolutely genius that Aristophanes actually manages to incorporate sexual elements into this fight as well, in that the man and woman exchange verbal blows over the appearance of each other's genitalia, even characterizing the woman's vagina(yes, I said vagina) as a 'mantrap.' I choose to focus on this part in particular in that it has been determined the men and women of the book are indeed sexual beings, and the restriction of access to the woman for the man is like cutting off access to the mantrap. By the old man saying this, in fact, he gives away the point that the mean are at the will of the woman's sexual nature, not their own, strengthening the effect the women's plan could potentially have upon the men.

Lysistrata 5

Enough of this book already. I get it, the women are abstaining from sex. I'm just afraid it doesn't have enough conflict. For a revolution, and I consider this a revolution in the sense that it strives to change a mindframe of a society, there has been one group of people that has initiated the feud and one that has refuted the argument. I disagree, however, that there has been a significant amount of argument on the part of the women that are trying to change the mindset. I really don't think any of the women besides Lysistrata understands the symbolic meaning of abstinence in that it means changing a familiar pattern in society. It is not relayed to the men the meaning of the act for women versus the physical pleasure of the act for themselves. In the end, the revolution is indeed incomplete and I believe only one of the more minor goals of the women's pact was achieved, the end of the Athenian-Spartan conflict.

Lysistrata 4

I don't get the whole chorus thing that is featured in the book. Actually, I'm pretty sure the book could do without talk of weaving as a song. I realize that in theater there are choruses that often push the storyline along, but in the case of Lysistrata, they are merely background knowledge that does not help further the storyline at all. I understand they may serve for entertainment purposes, but I honestly just skim through the parts instead of analyzing them like the dialogue between the women in the Akropolis and the men. The chorus scenes are pretty funny, I must say, but the first scene is quite dull and I wanted to shift through it as quickly as possible until we actually discussed it in class. When we did, metaphors for the qualities of men and women were discovered, the fire pots of the men signifying the passion that was burning for the women, and the women's buckets of water that put out the fires and doused the passion of their men. The contrast of the two was impeccable, especially since the women were trying to stay pure as water and resist temptation (fire.) Past that example, I see no reason why the choruses are even relevant.

Lysistrata 3

Where is the world is Lysistrata's husband? This really intrigues me, as we see no mention of any interaction between Lysistrata and him, whomever he may be, in the play. You would think that Lysistrata would have told the women when first using the plan that it would work citing her own vow for abstinence as an example. We are given no clue as to his occupation, his part in the war, or even his siding of the war. I can assume that Lysistrata is Athenian, and therefore so is her husband; however, when the other women are complaining about missing their husbands during the day when they are fighting in the war, Lysistrata says nothing about missing her husband, which leads me to believe she could care less about having him at home with her again, and would merely like to see one of her master plans succeed. Lysistrata is not even characterized as her colleague housewives that care about their weavings getting unwoven and changing the babies. Come to think of it, Lysistrata doesn't have any kids from we we see. Isn't it a bit wrong for her to urge these women with far more obligations than herself to give up their lives to stop a war? Hmm, Lysistrata just became my least favorite character.

Lysistrata 2

Okay, Lysistrata's plan has me thinking about it's feasibility. It struck me first that the women were planning to abstain from sex, meaning that they are currently having sex with their husbands. I haven't heard of conjugal visits on battlefields, so it's my impression that the men return home periodically, or quite possibly every night from the battle zone. The writing of the play confuses me on this point because one of the women says that he husband has been posted in a far away region for seven months and she misses him very much. Yet, they also speak as if they see them everyday. I love Lysistrata for trying to make a woman's worth known, but I think that just by focusing off sex is degrading towards the women themselves. The men, in my opinion, will think the women just don't care about anything but their sex lives, and the ideology degrades the men by placing them no higher than those that can't live without sex, not that intercourse is a bad thing. I just believe that the women should have reiterated to the men the fact that they kept the homes in order, fed the the children and the rest of the family along with providing a healthy sex life. This play is supposed to be humorous, but I don't think it clearly shows the true value of a woman's worth.

First Impression(Lysistrata) and you people with Ibsen in the title should change it-NOW

Lysistrata seems like it's a thoroughly entertaining play.
Set in Ancient Greece, I think it can also be applied for some of today's conflicts as well. Not to take away from possible future blog posts, I'll only address the characters I found in the first 30 pages. Lysistrata appears to be a strong-willed Athenian woman who wants her ends to be achieved. Stressing the need for unity in their effort to abstain from sex, Lysistrata is a natural born leader, so unlike her female colleagues. Even the older Kleonike is unwilling to commit to the cause, and I think that's hilarious because she seems to actually enjoy sex more than a stable country and having her husband home every night. Doesn't she see that if he was they could, "you know" every night. The thing about Lysistrata is that it is no holds barred, so no bar is going to hold me for these blog posts either. Lampito, the simple minded Spartan with the lovely body is portrayed as a country bumpkin by modern ideals, and that interests me very me in the radically different portrayals of Spartan and Athenian women. Hopefully the women's cause is not unfounded. Yeah, I'm jumping around a lot, whatever.

Final Response

Hedda Gabler was an interesting play, but by no means comparable to the House of Bernarda Alba for entertainment purposes. The House of Bernarda Alba by Lorca seemed to be a bit more humorous, while still maintaining the social meaning of the story. Hedda Gabler's internal message was very difficult to find, and we got caught up in too many love triangles. You know, in a world without birth control, you'd think people would be a bit more hesitant to jump in the sack and fall in love with other people. But all that aside, the main reason why I didn't enjoy Hedda Gabler as much as Bernarda Alba was that Hedda just didn't take it far enough. Sure, one could argue that trying to facilitate an early demise to a past lover (the if I can't have you, no one will approach) could be going very far, but her death was only to escape a scandal. Adela wasn't afraid of scandal at all, as she openly declared her desire to be with Pepe el Romano. Also, I just wanted Hedda to exercise her power source, possibly go on a murder rampage? You know, like Bernarda was always hitting someone with her cane. It would have been a very good ending if Brack killed Hedda with her own pistol, but it didn't happen that way. All in all for this story, I would rate this play a sideways thumbs up.

Okay so let's talk setting here. This is inspired by that commentary we had to type up for our computer lab days. Here we realize that the drawing room plays a key role in the Tesman's life. But it is the difference between how it looks in the first and fourth acts that makes this apparent. In the first setting, the portrait of General Gabler is present, but the light is quite natural with the only light being provided from the glorious day time. I take this to symbolize a new, fresh light for the blossoming marriage of Hedda and George, sort of setting the mood for potential to grow, even without love. I also think the natural beauty of the room in the first setting could represent Hedda's hopes and goal of accomplishing the task of being high up in society, as the words used to describe the drawing room are above par to say the least. The fourth act, although starting in the same drawing room, is lit by an artificial source, the lantern Berta, the pesky maid, brings in. Also, the curtains are drawn over the window door. When Hedda looks out of it this time, it is nighttime, which in IB English we tend to symbolize as the death of something. What do you know, Lovborg is dead, Aunt Rina(whoever she was) is dead, and Hedda kills herself!

Alright, IB English has given us a pervert in the form of Judge Brack. Our own 'cock of the walk' is quite posessive, even over things that do not belong to him. A prime example would be his proposed 'triangle' with the young Tesmans, a Bermuda triangle of intimacy if you will. Judge Brack has no clue that Hedda Tesman has absolutely no interest in being intimate with him, and for that matter with anyone, including her own husband. I predict that Hedda only leads Brack on to be able to say she exerts power over yet another individual, this time leading an older 'gentleman' to believe he has a place in the Tesmans' bedroom. To think the Judge advises Hedda to refuse Eilert Lovborg, because he would only get in the way of their arrangement...wow he is so beyond clueless. First off, he designates the Tesman's home as decent; his first mistake. There's no one else that would describe a household with a female like Hedda Gabler, who convinces people, or tries to, to kill themselves is far from decent. Judge Brack's obsession with Hedda is taken even further in the fourth act, where he threatens to blackmail her with possible scandal over Lovborg's death involving one of her pistols. The poor guy didn't need Hedda to be happy, he could have gone Mademoiselle Diana's House of 'Fun' and had the same level of pleasure, possibly more.Judge Brack has not made a significant change in his ways of thinking since my first impression of him, but I do think Hedda has him clearly out of his comfort zone as his actions become more assertive and demanding with time.

Hedda=Bully

Oh my gosh, Hedda is a real witch. If I saw her I would probably run away screaming. Not only because she resembles the dead girl from the move The Ring, but also because she uses violence and threats of it to get what she wants. Like this pistol motif, for example. Who just goes around playing with pistols all day because that's the only way to amuse herself in her boring marriage? Instead of going hunting for game like normal people, she threatens people who to some extent care about her. During the opening scene of Act Two she threatens Judge Brack with the wrath of her pistols. Change that, she actually shoots at him. Although she misses, that's where I got the first indication that Hedda is an unstable young woman. If I needed any further proof, it would be in the way she treats Thea Elvsted. Not only does she lie to Thea's face, trying to create the image of the two as old schoolyard buddies, she also calls her a little fool. If one of my 'friends' were to say I was a fool, or stupid, even, I'd probably tell them to go somewhere that would be inherently uncomfortable for them. No, Thea is forced to submit to Hedda's harsh treatment, even when Hedda basically drags her off the stage. Hedda feels the need to constantly have 'power' over other human beings, and violence is a part of her method for staying in control.

Hedda v. Blair Part Two

The Mysterious Mr.Lovborg with a diagonal slash through the first 'o'

When Eilert Lovborg comes into Act two, he immediately spices up the plotline, providing the subplot of yet another three-way love triangle. Doesn't he remind of you of David Thewlis, also known as Remus Lupin of the Harry Potter series? Well, by appearance standards,that is. 'Gaunt, lean and somewhat rundown looking' is exactly the type of description given to Professor Lupin as his werewolf condition worsens during the course of events in the HP books. Sorry, I had to bring it up. Obviously the;y are both intellectuals and good at what they do, but have both been shamed by society in that they both have obstacles in their ways, Lupin his werewolf status and Lovborg his reputation as the town drunk with vine leaves in his hair. Back to the love triangle question, we see one emerge between Hedda, Lovborg and Mrs. Elvsted, although Thea is none the wiser to the past affair between Hedda and Eilert. Of course Hedda capitalized on her manipulation and strange influence over Lovborg, dragging him away from a budding(and forbidden) romance with Thea. Hmm, HG is sounding more and more like an episode of Days of our Lives.

Dashed Hopes

Woah woah woah woah! Hedda and George's marriage was totally arranged. Now we know how a docile fool like George could get ferociously detached Hedda Gabler. Tesman tries to get all sentimental towards Hedda, saying that when they married it was supposed to be a dream come true for the both of them. I'm assuming this is because George Tesman always wanted to have a trophy wife; who better than Hedda Gabler, the general's daughter? Hedda, meanwhile, just wanted to be portrayed as the highlight of society. Hedda on page 247 brings ups the 'bargain' the two struck with the marriage. To 'live in society-keep a great house' which emphasizes her need for approval by society is spoken by her on the same page because the couple is in serious debt. Aww Hedda, no riding horse or butler for you! Why do you need a butler, you have a maid! Things go wrong in marriages, Hedda and George, maybe if you loved each other you all would make it through.

Hedda.V Blair

Haha, Hedda is hilarous. During her private talk with Mrs.Elvsted on page 237 she acts so fake it's ridiculous. The whole, we were old school chums act is such baloney. Wow, baloney, eww. But all of that aside, she capitalizes on Elvsted's fragile state of mind to get information about Lovborg. It's sort of like a mean girl saying, oh I know I set your cat on fire, put gum in your hair, spread a rumor you had syphilis and stole your boyfriend, but we were the best of friends, and that was me being a good friend.'Wow, that witch with a 'b'. How very Blair of Gossip Girl to that nerdy Asian girl Nelly to get her to mess up her SAT. I cannot believe I just typed that out. Ibsen is taking over my brain and my tv schedule. I bet I'd watch Hedda Gabler, the movie. If anything, it would be on Lifetime Movie Network.

Trouble in Paradise?

Well, the marriage of George and Hedda Tesman hasn't ever been paradise, but the introduction of Thea Elvsted might add oxygen to the flame.(fire requires oxygen...nevermind, that's chemistry.)Notice how on page 232 Hedda speaks of her like an annoying young woman who's hair gets on Hedda's nerves. I think Hedda mentions hair especially because her own is described as lank and dark, so unlike the 'remarkably light, almost white gold, and unusually abundant and wavy"(232) hair of Thea. Perhaps the attention drawn to Thea Elvsted's hair is attention that has been taken away from Hedda, and characterizes Hedda as a jealous woman. The real potential for trouble, however, lies in a name, a surname to be exact. On the following page George Tesman can't bring himself to call Mrs.Elvsted by her married name, instead referring to her as Mrs. Rysing, her maiden name. Even when she corrects him he makes the mistake. This could be because it was rumored George and Thea were once lovers. Haha, George leaving Hedda for a younger woman is laughable, however, as he is in such bliss he doesn't even realize Hedda only uses him for shelter and to get the material things she wants. Hmm, something tells me George Tesman wouldn't be able to cathc on even if he caught her in bed with Judge Brack. Wow, that would be a disturbing sight.

Thea Elvsted: sincerely nice girl who shows up for no reason

First Impressions

At first glance Hedda Gabler seemed like a bland play about a woman that entered into a loveless marriage. Okay, so what's the big deal I asked initially. Within the first four pages I thought the entire story was going to be about a fool(George) who had a strange obsession with his Aunt Julianna(c'mon, I bet you thought that too). The setting starts with Aunt Julianna and the maid, so it took me a while to realize that the aunts(Rina is rarely mentioned as she's pretty much dead throughout the whole thing) didn't actually live with the Tesmans, which means George and his new wife, Hedda.The first scene lasts for so long I became really bored with it and almost put it down. The only keeping me awake at this point was the possibility of a pregnancy for Hedda, hinting that the youngish(thirty something is what the text tells us) couple had consummated their marriage on their 'honeymoon' tour for George's professor studies. Hedda wearing loose clothing does nothing to help tell otherwise, as she appears to have filled out since their departure. It isn't cleared up as for the pregnancy question by the end of the first act, but we do have introduction of interesting characters, like Judge Brack, who seems to be an older gentleman(the term used loosely) who might stir up some fire within the story.

Hedda: Witch who doesn't care about marriage
George: Simple-minded man, appearance seems jolly
Julianna: Interfering old maid
Berta: A maid, nothing more
Brack: Sly blue devil