By ROSEM, R. M & SLUITER, I. (eds.)
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One that combines Homeric anêr words with postHomeric andreia and andreios. The semantic eﬀect of this phenome non can be analyzed in the corpus of extant Attic tragedy and comedy. 38 But this expectation gives us all the more reason to wonder about tragedy’s use of post-Homeric termi nology. As mentioned above, the earliest extant use of andreia may be in Aeschylus’ Seven Against Thebes, where the messenger describes the collective ﬁghting spirit of the seven Argive warriors (52–3):39 Their thumos, iron-hearted and burning with andreia, Breathes war like lions with blazing eyes.
Tå går t°knÉ aÈt«n ÖAreow §kkremãnnutai, tå dÉ eÈprep∞ dØ kÒsmow §n xoro›w mÒnon. The ironies of this gruesome scene are obvious: the address to a corpse that focuses on his physical beauty, the comparison of a future husband with a mother’s lover, etc. 52 But here andreios conﬂates martial and sexual acts and a ‘manly disposition’ is no more than a kind of mirror image for Aegisthus’ girlish good looks. 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.
SidhrÒfrvn går yumÚw éndre¤ai fl°gvn ¶pnei leÒntvn Õw ÖArh dedorkÒtvn. 41 But because 38 There are eleven occurrences of andreia or andreios in tragedy, eight of which are in six of Euripides’ plays. This statistical spread is obviously related to the greater number of extant plays by Euripides and cannot be interpreted as an increase in usage over the course of the ﬁfth century or attributed to any particular aspect of Euripides’ art. In at least one of Euripides’ plays, Iphigenia in Aulis 373, andreia is probably not the correct reading.
Andreia by ROSEM, R. M & SLUITER, I. (eds.)