Ecclēsiazūsae

Ecclēsiazūsae (Ekklēsiazousai, ‘women at the assembly’), Greek comedy by Aristophanes produced probably in 392 BC (the didascalia has not been preserved). The theme of the play, women taking over the running of the city (from which they were in reality excluded; see DEMOCRACY) and introducing community of property, has something in common with Lysistrata; both plays depict the women of Athens seizing the political and social initiative under the guidance of a powerful female character, here Praxagora. A remarkable feature of the play, foreshadowing the way drama was to develop in the fourth century, is the greatly reduced role of the chorus, who do not sing a song until the end (see COMEDY, GREEK 5). It is likely that the comic poet was no longer writing his own lyric passages, and these were not now integral to the drama but served simply as entertainment at breaks in the action. There is no parabasis, no boisterous attack on politicians, and there is a new style of quiet witty dialogue of the kind found later in New Comedy. The similarity between Praxagora's reforms and Plato's intention for the ruling class in his ideal republic (see REPUBLIC), that they should not possess any private property, has suggested the possibility that Aristophanes is satirizing Plato, but this is unlikely on chronological grounds and in view of the lack of evidence in the text.

As a result of a conspiracy of women led by Praxagora, she and her fellow conspirators, disguised as men, pack the assembly, and carry by a large majority a motion transferring control of the affairs of state from men to women. Praxagora, having been appointed head of the new government, returns to her husband, who has been put to great inconvenience by her having borrowed his clothes. She explains the new social system that is to be introduced: community of property, community of women and children; a fair share in sexual relations for the old and ugly, men and women alike, to be secured by legislation. Then she goes off to the agora to arrange for the reception of all private property and administer the drawing of lots for dinner. A law-abiding citizen hastens to hand in his property; a sceptic waits to see what will come of the new system. The sexual consequences become immediately apparent. A young man arrives to find his girl, but three old women assert their prior rights to him, and one succeeds in carrying him off. The play ends with the chorus hurrying away to a communal dinner (where one of the dishes has a name seven lines long).