Although most sources on Lysistrata categorize it as Old Comedy, many who study Aristophanes see this play as a watershed moment at which the genre shifts and begins to introduce some of the elements we will see become common in New Comedy.
For this exam, please discuss how Lysistrata contains elements associated with New Comedy.
How to answer this well:
This is not a research paper; you should NOT look at any sources other than what we have for class.
Structuring your discussion by topic rather than by play will help a lot.
Be sure to use information from our sources and document where you are getting that information. You do not have to include a bibliography, but you do have to cite via parenthetical citation where the sources and quotes are coming from.
When you talk about episodes in the plays, you don’t need to spend time explaining how the characters got there in the plot. If you find yourself summarizing plot action, ask yourself if you’ve strayed away from the topic/point you’re making.
You do not need to include a general introduction about the nature of comedy or the history Lysistrata; I know it’s comforting to write a general intro, but in a short paper, it’s important to dive right in to the topic and spend the space on enlarging your discussion.
Length and Formatting:
Everyone writes differently. Some people are efficient writers and some people are chatty (I am a chatty writer). That said, I would be surprised if anyone could write a solid answer in under 4 full pages, 5 full pages is more realistic.
Please use a Times font, 12 point, and 1.5 line spacing.
Please put your full name on the paper and page numbers on every page.
Please EMAIL the exam to me as a Word doc.
Sources to Include:
Plays
Major Blowhard
Brothers
Mother in Law
Lysistrata
Classnotes
Articles
Discussion Boards/Reading Questions
Good topics to Discus:
Marriage Plot and Liaison Plot (Terence’s Brothers and Biles article)
New Comedy hinging on regular people in implausible situations (Berg’s General Introduction)
The creation of “twins” or fictive identities (Berg’s General Intro and Major Blowhard)
Stock Characters—especially the alazon (classnotes, some in Berg and Parker)
Women as “master connivers” (Foley article)
Men in New Comedy as “shielded” from the truth (Slater article)
The importance of the parabasis to Old Comedy (Meineck’s intro) and its lack in Lysistrata (Dover)
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