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Extra resources for Dreams in Greek tragedy: an ethno-psycho-analytical study

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This will insure that they will play tht$(: middle voices well, but withoul und ue loudness, at the actual PtrformDnc,. Given the homophonic character of scientific discourse (58, pp. 22 ff. )though, I feel, not of great poetry (48)- 1 am, throughout this book, compelled to behave as dOC'S a conductor dunng rthtarsals. I must highlight now the treble, now the alto, now the bass, for the nature of scit ntifie discoune offers no alternative. But I have-with love and reven:ncealways borne in mind that at the beginning of my diocourse there is the awesomely complex simplicity of Aischylos or of Euripides and that these same venerable texts also mark the end of my road.

2. '54b, N. t 43, P. 97, t3'. ,66; cp. -Long. subl. ) But I admit that ttrtainty is impossible . • The day residue; cpo Hdt. 7. ,6; AdS!. wDmn. ,tc. ",u rearranged in a new way and unrealistic clements arranged in a traditional way. llor AUJSsa's Drtam 5 of a dream must account primarily for the affective and other latent forces responsible for the distortion of the usual arrangement of fairly ordinary elements, which need not even be represented by means of symbols in order to create a dreamlike, mythical or poetic sequence and imagery.

Everyone familiar with horses knows that the stance of a horse just standing around is markedly slack, unless the horse is under tension or strongl y stimulated. The firm, "proud" ("collected") stance of a ridden or harnessed horse, jeeling the reins, strongly contrasts with his ordinary "slacknCS5" . is the most concrete model for the harnessed Persian woman's stance: she feels the reins ( 193). ,.. urprisingly reticent and undear. And let il not be objecled lhal Ihis is just a comedy quip. ru noted (General I ntroduction, note 34) both comedy and satyr pla)"ll represent a /z"""'TIIW dd'"encc: against the SQ1IJI!

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