The Effect of Mother Wolff on Her Family

"I've always been friendly with people and nobody can complain about me. But if it must be, I can talk plain, too. I do my duty, and that's all. And nobody in the town can say anything against me. But I won't let nobody trample on me." -Mrs. Wolff.

There is no doubt that Mrs. Wolff is a strong character. As she says and clearly demonstrates throughout the entire play "I won't let nobody trample on me." Not even Judge von Wehrhahn or the property owner Krueger, who would normally be considered her when one superiors when one looks at the social scale, can get a word in when Mother Wolff has an idea to state or an agenda to push.

Although this earns her respect with von Wehrhahn and Krueger instead of the contempt that might be expected of them, what effect does her overbearing attitude have upon her family?

The effect on her husband Julius is quite clear. Julius is the typical henpecked husband, always doing exactly what his wife says, although he makes quite a show of protesting. Mrs. Wolff is repeatedly telling him, "You're just ignorant, Julius. You've got no education at all. If it hadn't been for me, Julius, what would have become of the girls?" She is constantly bringing him down and giving him no credit for anything when he works just as hard as she does and appears to be a good husband and father. At he, unlike Mitteldorf doesn't go to the taverns against his wife's wishes. In fact, Julius doesn't seem to drink at all unless Mrs. Wolff is shoving whiskey in his hands.

Their eldest daughter, Leontine, is weak like her father. The only reason she comes home is because she doesn't want to put two loads of wood in the shed. Her employer wishes her to put the wood away so it will not get stolen; and in fact, he is quite right to want her to put the wood away because it IS stolen, and by her own mother. If Leontine displayed the kind of hard working attitude her mother says she lives for, she would have toughed out the situation at her job and not come whining.

The apple doesn't fall far from the tree, as we can clearly see in Mrs. Wolff's second daughter Adelheid. Adelheid seems to be clever like her mother when it comes to getting things she wants. She threatens her mother by saying she knows where the deer came from at the beginning of the play, but doesn't go through with ratting her family out; she also knows about the beaver coat. She chooses instead to help her mother get away with the crime this time, but Mrs. Wolff had better watch out in the future should she ever cross her daughter. It does not feel out of character for Adelheid to use her knowledge of the illegal goings on at her own home to gain something for herself. When she enters the home with an orange, claiming it was a gift, how does the audience know she didn't steal it herself, taking after her mother's example?

The impact Mrs. Wolff has on her family can be clearly seen. Her husband and eldest daughter have weak personalities and are easy to walk over. Her youngest daughter seems to have picked up on her thieving and conniving ways. Though she doesn't reap any bad consequences this time around, Mrs. Wolff had better watch her family because one day they might betray her, either through weakness or spite.

Lysistrata- Housewife and Sex Buddy

Lysistrata is a comedic play written by Aristophanes. During his time, all roles were played by males. That means female characters were played by males, too. Aristophanes seems to empower his women characters in Lysistrata, yet actors in his day were males. Did he empower the female characters to show that women have a voice and that he sided with having equal opportunities for females and males? No!

      The females­­­­ in this play, including Lysistrata, were just tools to help males mature. They’re not becoming independent and equal with males at all. This play implies that females are only useful for being good mothers and enticing, exciting sexual partners. It didn’t matter whether or not Lysistrata or any of the females wanted the war to end. The power is placed in the males to end the war.

Yes, Lysistrata and another female named Peace were there in the end to help delegate between the Spartans and the Athens, but Lysistrata acted like a mother over two quibbling boy-like men. To illustrate this, when the Spartan argues that Kinesias is taking too much land, Lysistrata (the mother-figure) says, “Don’t argue. Let the legs go (pg.448).” Kinesias agrees, and the Athens and Spartans conclude their truce. Lysistrata finishes off her role by saying “Now first attend to your purification, then we, the women, will welcome you to the Citadel and treat you to all the delights of a home cooked banquet…. And every man of you will take his wife and depart for home (pg.44).” Not only does this quote make her sound like a good house wife and hostess, but it also makes it sound like she and the rest of the women are content with just being housewives/mothers and nothing more. Also, another example on pg. 393, the Commissioner shouts,“I DO NOT WANT TO BE SAVED. DAMMIT!” Lysistrata replies, “All the more reason. It’s not only Sparta; now we’ll have to save you from you.” This scene is analogous to a mother calming a little boy with a tantrum.

Lysistrata may have came up with a great idea with ending the war by comparing her ideas to fleece on pg. 399-400, but ending the war for what? End the war so women can be rejoiced with males and still become housewives or mothers.

Also, the girl named Peace was at the truce delegation. She had no voice. Her only purpose for being there was her body. Of all women, Lysistrata chose her because of her body. It’s most likely she knew Peace’s body would cause the males to come terms quickly and end the war to finally satisfy their hungering sexual desires. They even use her body as a map. The male Spartan said, “We’ll take that butte…. Sparta’s Back door (pg.447).” Kinesias chimed in with, “Let’s try Thessaly…. And down to Megara for the legs (pg. 448).” These words may not be as great as the action, but imagine these men ogling at a young girl with saliva coming down the side of their face as they talk. They treat this girl like an object and her function is to be some enticing sexual partner.

Another example of this degrading role is when Kinesias uses the baby to lure Myrrhine to him: “Where’s you maternal instinct? … How can you be so pitiless?... Come down here, dear. For the baby’s sake (pg.423-424).” He lures her to him and finally gets to his main problem: “You love me? So what’s the trouble? Lie down (pg.426).” He wants to have sexual intercourse with her. He doesn’t care about the baby. That’s what he really sought from her. He may be her husband, but there’s more lust than love in this play. On pg. 433, he does refer to Myrrhine as his “dove, [his] sweet,” but this so-called love is belittled every time his erection and horniness is mentioned.

In conclusion, this play does give women a voice/role. However that role is just being a housewife/mother and being an enticing sexual partner.