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CHOERILUS . (1) An Athenian tragic poet, who exhibited plays as See also:early as 524 B.C. He was said to have competed with See also:Aeschylus, See also:Pratinas and even See also:Sophocles. According to F. G. See also:Welcker, however, the See also:rival of Sophocles was a son of Choerilus, who See also:bore the same name. Suidas states that Choerilus wrote 150 tragedies and gained the See also:prize 13 times. His See also:works are all lost; only See also:Pausanias (i. 14) mentions a See also:play by him entitled Alope (a mythological personage who was the subject of dramas by See also:Euripides and Carcinus). His reputation as a writer of satyric dramas is attested in the well-known See also:line
ivtKa yip jaocaeus iv %oiplaos is Zarvpots.
The Choerilean See also:metre, mentioned by the Latin grammarians, is probably so called because the above line is the See also:oldest extant specimen. Choerilus was also said to have introduced consider-able improvements in theatrical masks and costumes.
See A. See also:Nauck, Tragicorum Graecorum Fragmenta (1889) ; F. G. Welcker, See also:Die griechischen Tragodien, pp. 18, 892.
(2) An epic poet of See also:Samos, who flourished at the end of the 5th See also:century B.C. After the fall of See also:Athens he settled at the See also:court of See also:Archelaus, See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king of See also:Macedonia, where he was the See also:associate of See also:Agathon, Melanippides, and See also:Plato the comic poet. The only See also:work that can with certainty be attributed to him is the llepvnis or Hepatica, a See also:history of the struggle of the Greeks against See also:Persia, the central point of which was the See also:battle of See also:Salamis. His importance consists in his having taken for his theme See also:national and See also:con-temporary events in See also:place of the deeds of old-See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time heroes. For this new departure he apologizes in the See also:introductory verses (preserved in the scholiast on See also:Aristotle, See also:Rhetoric, iii. 14), where he says that, the subjects of epic See also:poetry being all exhausted, it was necessary to strike out a new path. The See also:story of his intimacy with See also:Herodotus is probably due to the fact that he imitated him and had recourse to his history for the incidents of his poem.
(vicars) of the See also:clergy, is a comparatively See also:late development. The distinction between " See also:choir services " (Mattins, See also:Vespers, Compline, &c.)—consisting of prayers, lections, the singing of the See also:psalms, &c.—and the service of the See also:altar was sharply See also:drawn in the See also:middle ages, as in the See also:modern See also:Roman See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
Church. " Choir See also:vestments " (See also:surplice, &c.) are those worn by the clergy at the former, as distinguished from those used at the See also:Miss (see VESTMENTS). In See also:England at the See also:Reformation the choir services (Mattins, Evensong) replaced the See also:Mass as the See also:principal popular services, and, in See also:general, only the choir vestments were retained in use. In the See also:English cathedrals the members of the choir often retain privileges reminiscent of an earlier definite ecclesiastical status. At See also:Wells, for instance, the vicars-choral See also:form a See also:corporation practically See also:independent of the See also:dean and See also:chapter; they have their own lodgings inside the See also:cathedral precincts (Vicars' See also:Close) and they can only be dismissed by a See also:vote of their own See also:body. • (W. A. P.)
In an architectural sense a " choir " is strictly that See also:part of a church which is fitted up for the choir services, and is thus limited to the space between the choir See also:screen and the See also:presbytery. Some confusion has arisen owing to the See also:term being employed by See also:medieval writers co See also:express the entire space enclosed for the performance of the principal services of the church, and therefore to include not only the choir proper, but the presbytery. In the See also:case of a cruciform church the choir is sometimes situated under the central See also:tower, or in the See also:nave, and this is the case in See also:Westminster See also:Abbey, where it occupies four bays to the See also:west of the See also:transept. The choir is usually raised one step above the nave, and its sides are fitted up with seats or stalls, of which in large buildings there are usually two or three rows rising one behind the other.
In Romanesque churches there are eastern and western choirs, and in former times the term was given to chantries and subsidiary chapels, which were also called chancels. In the early See also:Christian church the ambones where the gospels and epistles were read were placed one on either See also:side of the choir and formed part of its enclosure, and this is the case in S. CIemente, S. Lorenzo and S. Maria in Cosmedin in See also:Rome. In England the choir seems almost universally to have assembled at the eastern part of the church to recite the See also:breviary services, whereas on the See also:continent it was moved from one place to another according to convenience. In See also:Spanish churches it occupies the nave of the church, and in the church of the See also:Escorial in See also:Spain was at the west end above the entrance See also:vestibule. (R. P.
End of Article: CHOERILUS
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