The Power to Make People Happy

The Autonomy of Eros in Aristophanes’ Lysistrata and Assemblywomen

Abstract

This study assumes as a starting point the theoretical  premise that Aristophanic comedy can be basically  understood as a transformation of power structures.  Unlike New Comedy, where generational shifts maintain social order, Aristophanic comedy features protagonists  who reclaim their individual agency, overcoming  constraints imposed by reality. One of the most insightful  ways to analyze this transformation is through the concept of eros. Aristophanes’ dramaturgy, when examined  alongside the myth of Eros in Plato’s Symposium, reveals a  striking parallel: desire arises from lack (Penia),  fulfillment is achieved through resourcefulness (Poros),  and the final success manifests in erotic enjoyment (Eros).  In this framework, eros is not merely sexual gratification  but a symbolic representation of regained agency. However, when the comedic protagonist is a woman, as in  Lysistrata and Assemblywomen, the traditional correlation between eros and agency becomes problematic. While  male heroes assert power through the active pursuit of  pleasure, female protagonists must navigate a paradox:  they attain power by controlling and granting male  pleasure rather than actively pursuing their own. This  dynamic reflects the constraints of patriarchal ideology,  here a woman’s ultimate power is the ability to make other people happy. Through a detailed examination of  Aristophanes’ works, this article explores the intersection of eros, agency, and gender roles, shedding light on the  symbolic and dramaturgical significance of desire in Attic Old Comedy.