By Calvo Martínez, José Luis; Lisias

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The Chorus, in the scene of eavesdropping outside the door, cry iav \ikv xWw, oacj>8c; 6' crux 8xco (I hear the sound, but nothing clearly, 585), so that the word here marks the distinction between sound and meaning that remains a recurrent problem for all the characters. Finally, Theseus longs for a tekmerion saphes (925-6) that would enable him to distinguish between true and false friends; the tekmerion is to work by introducing a distinction between voices. All of these uses of the term saphes, then, involve a wish for special distinctions in language, which in the course of the play prove to be untenable.

5-15DK and Plato Republic 359d~36oe (the Gyges narrative). Avery 1968: 27 points out that 'looking in the face' is equivalent to looking on the surface, and links the theme to that of the preoccupation with inside and outside. 25 Phaidra's solitude is given voice in the delirium; she imagines herself in solitary places far from the normal sites of the female role. Yet even so she cannot completely withdraw; her words are too public, witnessed by too many (213)- The gaze is further at issue in the scene between Phaidra and the Nurse.

Theseus, on the other hand, does not have to boast, for he enjoys the acclamation of further voiceless witnesses in the locations of his heroic deeds (976-80). But Phaidra is the central witness to which he appeals; hers is the denunciatory Voice' and accusing 'gaze' of the martus saphestatos (clearest witness, 972). At this point in the play the terms that Theseus uses have become heavily charged. To call a corpse to witness is obviously and painfully ironic, but it is the logical conclusion of Hippolytos' proposed staging of the encounter and of Phaidra's inversion of his plan.

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