ABSTRACT
Three of Aristophanes' eleven extant comedies use the typical comic device of role inversion to imagine worlds of topsy-turvydom in which women are "on top". I Freed from the social constraints which keep them enclosed within the house and silent in the public realms of discourse and action, women are given a field and context on the comic stage. They issue forth to lay their plans, concoct their plots, and exercise their power over men.
