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By ROSEM, R. M & SLUITER, I. (eds.)

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29, 2001. , Aidôs. The Psychology and Ethics of Honour and Shame in Ancient Greek Literature. Oxford, 1993. Collins, Derek, Immortal Armor: The Concept of Alkê in Archaic Greek Poetry. Lanham, MD, 1998. Foxhall, Lin and John B. ), Thinking Men: Masculinity and Its SelfRepresentation in the Classical Tradition. London and New York, 1998a. Foxhall, Lin and John B. ), When Men were Men: Masculinity, Power and Identity in Classical Antiquity. London and New York, 1998b. Fränkel, Hermann, From Poetry to Philosophy, tr.

We recall that the only occurrence of andreia in Aeschylus is in Seven (52) where it describes the martial prowess of the Argives. Aristophanes’ use in Frogs may be an intertextual reference insofar as he describes the Thebans (Athens’ ‘real’ enemies) with the same term Aeschylus had used to describe the Argives (Thebes’ ‘legendary’ enemies). It is difficult to say if the shared usage includes a political allusion in addition to being one of those textual borrowings that con­ stitute so much of the script of Frogs.

In the case of Artemisia at Salamis, the intelligence and skill she displays even blatantly deny heroic valor” (103). I would say that Artemisia’s andrêiê is not ‘morally neutral’ but that the word itself conveys ethical and political expediency and an absence of ‘heroic valor’. Cf. Smoes 1995, 91–5 on the notion of intellectual courage in Thucydides. On the andreia of Artemisia, see also Harrell in this volume. 49 On kleos as ‘glory’ conferred by epic poetry, see Nagy 1979, 16–18 and passim.

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