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the section of a choral ode answering a previous strophe in classical Greek drama

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There is ample room in the wide right margin for extending the word into the lacuna, and there are good grounds for doing so: syllable for syllable, M[Phi]A[Lambda] falls at the same point of the fourth line as the letters AI[Sigma]I below in the corresponding antistrophic line [GREEK TEXT NOT REPRODUCIBLE IN ASCII].
From this it has been inferred that Arion made the dithyramb a performance event, and allocated titles to individual dithyrambic compositions.(108) He may have lengthened the composition by introducing to it the elaboration of cultic myth; he may have used antistrophic structures on the lines of his contemporary Stesichorus; and he may have ranged his performers in a row facing their audience.(109) But there is no evidence of formal circularity.
Stesichorus (7th-6th century BC) invented the triadic, or three-part, structure (strophic lines followed by antistrophic lines in the same meter, concluding with a summary line, called an epode, in a different meter) that characterizes the odes of Pindar and Bacchylides.
Additional functions were added for RTM applications, including flow through porous media with antistrophic permeability, and time-dependent viscosity for fast-curing materials.
The voices of the strophe express the affirmative belief in personal immortality; the antistrophic voices deny, reject, or question that belief.