By ROSEM, R. M & SLUITER, I. (eds.)
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Smoes 1995, 73–7 who contrasts two forms of courage in Sophocles’ Ajax ROSEN/F3/25-58 10/1/02 2:11 PM Page 39 39 the epic lexicon of masculine attributes is still current and in use by the dramatic poets, two questions present themselves: 42 Does the use of andreia in Seven indicate that the word was in everyday use at the time the play was produced (467 BCE)? 43 It is impossible to answer these questions with any certainty, of course, but they prompt us to think about the circumstances under which a lexical item gains cur rency at a particular time and in a particular genre.
10 Thus, ‘deeds’ (tå ¶rga) that traditionally had been described in pejorative terms were, during the time of stasis, described in pos itive terms, and vice versa. Wilson argues that the subject of §nom¤syh “must here be some act or non-linguistic phenomenon, not a name or term or description” (19). e. 11 And, of course, 9 Sluiter 1997, 176–7; cf. 183. Wilson 1982, 18–20, followed by Loraux 1986, 102–3. See also Allison 1997, 169 and Hogan 1980, 146. 11 Cf. Hogan 1980, 145: “§nom¤syh invokes not what men said but what they thought.
Electra’s half-hidden desire for a father who resembles the god of war and a husband who resembles her father is, in both cases, the desire for an absent and god-like anêr. In this sense, andreia signiﬁes the absence of the (dead) hero of epic in the ﬁctional universe of the play and, by extension, in the genre of tragedy; the heroes of the tragic stage are only citizens playing the parts of epic heroes. It is in light of this desire that we can read the andreia attributed to Orestes and Pylades in the messenger’s speech.
Andreia by ROSEM, R. M & SLUITER, I. (eds.)