Lysistrata (Dover Thrift Editions) (utgåvan 1994)

H1.31.4

Poor translation. Parker made it too modern and sometimes just wrong. I doubt ancient Greek women said they wanted "to get laid" or wore kimonos. Although some of the modern wording made it a quick read, it also made it cringe-worthy sometimes. I'm sure another translation would be much better. ( )

Translation of comedy is always a challenge, particularly when the jokes are 25 centuries old. Last summer I was assigned, for a yearly symposium I attend at Notre Dame, the reading of Lysistrata, authored by the Greek playwright Aristophanes and first performed in 411 BCE.

As the play begins, the Peloponnesian War between Athens and Sparta (431–404 BC) has been going on interminably, with nearly all the young men away from home or otherwise engaged in the conflict. Seeing no likely prospect of an end to the war, Lysistrata, an Athenian woman, takes matters into her own hands and proposes desperate measures. She gathers representative women from all the city-states engaged in the war [how this could have been accomplished is not treated, nor is it important to the story] and persuades them to withhold sex from their husbands and lovers [when they actually saw them] until peace is concluded.

But for some minor scuffling for control of the Acropolis between the women and the men of Athens who are too old to be fighting the Spartans, very little action takes place. [The Acropolis of Athens was an ancient citadel located above the city of Athens and was home to several ancient buildings of great architectural and historic significance, the most famous being the Parthenon.]

The play consists primarily of dialog among the women in organizing their movement, and later discussions between choruses of women and men justifying their positions. Aristophanes introduces some bawdy levity in that the peace talks between the contestants are conducted by men who have constant erections.

Because the plot is so simple, the enjoyment of the play must come from the caliber of the dialog. I imagine part of the fun for ancient Greek audiences derived from the playwright’s mastery of different Greek dialects and accents. The translation I read, by Jack Lindsay, was too academic, archaic, and sterile. He attempted to create authenticity by having some of the interlocutors speak in what seemed like a Scottish accent. The effect is a bit off-putting because Lindsay’s pseudo-Scotsmen are barely understandable.

Although Aristophanes is known as a comic playwright and this play contains some comic scenes, the overall message is rather sad; i.e., there may be no rational or practical solution to the problems presented by war. In the case of the Peloponnesian War, he may have been quite correct: although the war had been going on for twenty years when the play was first staged, it still had another seven years to run. Moreover, Athens, the strongest city-state in Greece prior to the war's beginning, was reduced to a state of near-complete subjection, while Sparta became established as the leading power of Greece.

Evaluation: Scholars maintain that each era has a unique spirit that sets it apart from all other epochs. In German, such a spirit is known as “Zeitgeist,” from the German words Zeit, meaning “time,” and Geist, meaning “spirit” or “ghost.” But some works remain in the cultural Zeitgeist in successive eras, even if somewhat transmogrified. Lysistrata is one of those. Because the theme of Lysistrata has endured over centuries, I would recommend reading the original play, but trying a different translation if one is available.

(JAB) ( )

This play is funny! Its about a bunch of women who are pissed about the war, so the decide to withhold sex from their husbands... And this translation, probably faithful to the original feel of the play, probably not faithful to the actual words.

There are culture and language specific double entendres, puns, cultural references that don't make sense when translated directly to English. The translator is very clear what changes she made, and why. Her introduction introduces the play nicely, while the commentaries at the end of the book explains Athens life, with a emphasis on women's roles (very restricted). ( )

Read alongside PEL podcast reading. Gets right to the scheme, which is a clever one, but all characters are one dimensional.