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Corona, take the national road 137, 1 km after leaving the village turn right and follow the road for 9 km. We ask you to mount snow chains if the weather conditions require to do so in order to ensure a smooth approach.īy car: Take Highway No 2 (A2), leave at exit Aspang/Edlitz – Kirchberg am Wechsel direction to 4Īt the access road to the Steyersberger Schwaig we have created a mounting place for snow chains.

Feistritzer Schwaig- Kampsteiner Schwaig, Loipe Nr.

Rundloipe Steyersberger Schwaig, Loipe Nr.

The central conclusions are then presented, along with a survey of directions for further study. There is a separate discussion of analysed portions of the kommos (Appendix V). The bulk of the thesis consists of four chapters of metrical and interpretive commentaries, one for each of the four principal types of poetry used in tragedy. These texts are experimental and should be regarded only as a first steps toward a text of the play that better represents its origin in oral performance. Two new texts, a Working Text and an Experimental Text, are generated from the analysis by tone-group of the selected portions of the play. There follows a chapter (Tables of Measures and Nomenclature) that describes the recurrent rhythmical units with a theoretical statement of the implied principles of their generation. The thesis contains a general introduction that canvasses the issues pertaining to oral tradition and the dictates of the oral-aural performance context of early tragedy, followed by an introduction to tone-grouping as an interpretive praxis, and a detailed methodological statement.

It is argued that this approach represents the text according to the oral-aural qualities of the original performance. A metrical system is tentatively proposed on this basis. These statements commonly scan to word-end as recurring rhythmical units.

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The effect of analysis by tone group is to show that the play is composed of a series of self-contained statements from which meaning is constructed. Tone groups are to the spoken word what punctuation is to the written word they organise the material into discrete semantic units. This approach interprets the lines of the play as a series of self-contained utterances, called tone groups, rather than according to the metrically regular lines of the traditional texts. This study presents an experimental approach to the rhythmic and semantic interpretation of the text of the Persians. The aetiological purposes of the drama are highlighted in the choral ode 524–99. The first half of this draft is now revised and updated as part of this publication: Abstract: While just as hypothetical as the other alternatives, an alternative reconstruction of the trilogy is possible in which Danaus is cast in the role of hero rather than villain, helping to justify the crime of the Danaids as an act of self-defence, legitimize the change of regime in Argos in the finale, and construct an aetiology of the 'Danaan people' that would be palatable to the contemporary Greek audience. I ask that any reader who might study the material forgive the typical deficiencies of a work in progress, not least the absence of relevant citation, which should not be interpreted as disparagement of the works overseen. The draft introduces novel ideas with regard to the hypothetical reconstruction of the trilogy and individual features of text and meaning.

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Seeing that the completion of this work, a full edition with commentary, is not to be expected for some years, I make this excerpt public here. Firstly I will present the differential traits of this approach, and briefly remember the character of the most representative stichic verses. I shall try to show how the structural approach that I have applied to stichic verses may be satisfactorily projected into Lyric periods.

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While stichic verses present a fixed structure, are composed of M- and D-components in perfect alternation, are never isosyllabic, belong to a single rhythm, end in a D-component, and appear in runs of the same structure, Lyric periods present a free structure, only M-components are obligatory, are usually isosyllabic, often present two rhythms, end with a long-M, and appear in groups of different periods, which compose stanzas of the same structure.

On the basis of three linguistic features of Greek metre: syllabic quantity, synapheia and components, I state the similarity between stichic verses and Lyric periods, and I define the general structure of Lyric Periods and the differences between them and the stichic verses.