Meanwhile, Cinesias, the young husband of Myrrhine, appears, desperate for sex. Memory and grief, powerful arguments against war, the Commissioner would suppress as stasiastic.What can interfere? However, before the men can make their preparations, a second Chorus of old women arrives bearing pitchers of water. As for gynaecocracy itself, valuing, as it does, the political wisdom of women, it too could have savored more than a little of Laconism. The peace talks commence and Lysistrata introduces the Spartan and Athenian delegates to a gorgeous naked young woman called Reconciliation or Peace, whom the delegates cannot take their eyes off. But conciliatory forgetting, too, has a role to play, specifically, during the concluding love-feast, a lavish affair celebrating peace between states and rapprochement between the sexes. Men do, to be sure, eventually find ideological common ground in memories of past cooperation, but not before Lysistrata puts non-verbal persuasion into play. Why, then, the altar? Threats are exchanged, water beats fire, and the Old Men are discomfited with a soaking. Has she put on weight since the last time she sailed? It is Kinesias, the husband of Myrrhine.
Another choral song follows; and, after a bit of humorous dialogue between tipsy dinner guests, the celebrants all return to the stage for a final round of songs, the men and women dancing together. In keeping however with the victim-centered approach of Old Comedy, the Chorus then teases the entire audience with false generosity, offering gifts that are not in its power to give.
Let me try a computer analogy. Praxagora perforce sets her sights more locally: there is no longer any empire to re-stitch. To do that, women cannot simply use coercive means, their dual embargo.
A doubling of the role of the Chorus occurs in two other middle-period plays, The Frogs and Thesmophoriazusaebut in each of those plays the two Choruses appear consecutively and not simultaneously. For these reasons, both the magistrate and the delegates seem to give her more respect and, by the end of the play, she has demonstrated her power over men, with even the respected leaders of Greece submissive to her arguments.
As we shall see, what matters are the cognitive filters through which men are made to take it all in.
But the point here is not whether Praxagora does or does not set out to fight stasis, nor whether stasis as means to an end is a compromise Praxagora is willing to make.