Speakers in this comedy depict a woman passively suffering from the war, as opposed to actively suffering Men create war. But these passive women are suddenly extremely active as soon as Lysistrata manages to send them to fight with men.
Lysistrata in the prologue of the play is relatively easy to manage to carry out a specific women's "strike": On the initiative of energetic and enterprising Lysistrata, the women all gathered her solemnly pledge to each other to refuse to weasel their husbands as long as they do not stop the war. The main figure of this opening scene is, except the Lysistrata, young and honest Lampito, by whom the plan meets Lysistrata warmest support.
The theme of his comedies of Aristophanes, thus largely built on the basis of the relationship between men and women, and this naturally entailed emphasizing images of sexuality. It would, however, be a great mistake to consider this comedy erotic: the sensuality of some of its scenes painted not eroticism, but the examples of fallizm, which determines the general style of antique comedy permanently affecting both the plot details of the plot and in obviously obscene lexicon. The true content of "Lysistrata" is not in "erotic", but in its political tasks. The basic sense of the play by Aristophanes already revealed in the prologue: descended from all over Greece to the call of Lysistrata women should "work together to" save "all" Hellas.
Noticeable the comic fight of old men and old women with the scrimmage and swill.
Lysistrata led women deftly repel the attacks of the Acropolis. She announces she occupied the Acropolis with the aim to protect the men from the information stored on the Acropolis of the state treasury, as men need money just to prepare them for war. Later Lysistrata develops widely criticized shortcomings of the male state economy and notes with great bitterness unfounded contempt of men to women in matters of politics and war.
Lysistrata has taken to rigorously implement its announced strike, the implementation of which has been difficult not only for men but also for women. Aristophanes gives two parallel scenes: in the first wives are suffering, passionately seeking their husbands, holding back Lysistrata authority; in the second tormented husbands. One of them tries in vain to persuade his young loving wife to meet his fervent prayers. But here comes a messenger from Athens to Sparta and informs about the strike of Sparta women being managed to combine by Lampito. The requirement of women everywhere is the same: to finish the war. Perseverance of the men starts to weaken, and soon the men surrender: the states taking part in the war, exchanged embassies. Lysistrata sits behind the scenes on the Acropolis sumptuous feast: with the Athenians as from now friends and the Spartans, now receiving back from Lysistrata their wives stationed before her on the Acropolis as hostages. Lysistrata builds the Athenians and Spartans couples, husband and wife, and the play ends with cheerful young couples dancing to the sound of the songs and flute.
"Midsummer Night's Dream" - the most romantic of all of Shakespeare's comedies. It is a magical extravaganza. "Midsummer Night's Dream" is a completely different world of Shakespeare than his other dramatic works - the world of fantasy. In this comedy, the great realist surrenders to the will of his imagination. He filled the play with fictitious, fantastic creatures, presented the event in such an unusual way, which give the impression, similar to dreams.
The internal conflict is formed on the love triangle of Hermia, Lysander and Demetrius. The driving force of comedy is both real (Aegeus desire to give his daughter in marriage to Demetrius) and surreal reason (magic juice color "Love in idleness"). The last one is being taken by heroes as an inevitable effect of nature, which can both destroy the true feelings (love Lysander to Hermia) and restore it (erstwhile love Demetrius Elena).
According to Lysander, "the way of true love" is rarely smooth. Lovers always interfere something: the difference in the origin, age, a forcing choice (as in the case of Egeem). Happy ties, says the hero, can be broken too- usually by external events: war, disease or death of one of the lovers. Lysander with Hermia agrees that "lovers inevitably suffer" and once "it is the law of fate" they need to be patient in the trial.
The comic beginning of the play concentrates on the images of ancient craftsmen - simple minded people, both those who love and those who fear their ruler. They want to please the prince a good game, but at the same time are afraid of his anger if the ladies suddenly frightened by formidable Lion or Pyramus suicide. Baek notices dullness of townspeople in the best way and enables the main actor of the play - Weaver with a donkey head. Rushing to beat all of the roles in the world becomes a temporary lover of the queen of the fairies Titania and invented - Thisbe. "The most clever head", "most handsome" man and an "a real lover by voice".
The basis reveals the major theater conflict of all time (how realistic the game should be) with one simple phrase on the preparations for the performance " lion pair his nails, for they shall hang out for the lion's claws "
Looking at the most absurd idea, the audience entertains by its own remarks about what is happening on stage. Theseus deliberately goes for it, wanting to reward the loyalty of its patrials ("There can never be too bad, that devotion humbly offers"). According to the prince, in the people's love the main thing is not beautiful words (the example of the meeting with his scientists), but simple actions (paling silence or desire to entertain his master on the wedding day).
References
Aristophanis lysistrata. (2012). S.l.: Nabu Press.
A midsummer nights dream. (1936). Cambridge: University Press.
