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united with and preceding an iambus, -o -. The choriambi are never used alone, but are usually preceded by a spondee and followed by an iambus. The See also:

LINE

line so formed is called an asclepiad, traditionally because it was invented by the Aeolian poet See also:

ASCLEPIADES

Asclepiades of See also:

SAMOS

Samos. Choriambic verse was first used by the poets of the Greek islands, and See also:

SAPPHO (7th–6th centuries B.C.)

Sappho, in particular, produced magnificent effects with it. The measure, as used by the See also:

early Greeks, is essentially lyrical and impassioned. Mingled with other metres, it was constantly serviceable in choral See also:

writing, to which it was believed to give a stormy and mysterious See also:

CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character. The Greater Asclepiad was a See also:

TERM

term used for a line in which the See also:

WILD, JONATHAN (c. 1682-1725)

wild See also:

MUSIC

music was prolonged by the introduction of a supplementary choriambus. This was much employed by Sappho and by See also:

ALCAEUS (Ar earos)

Alcaeus, as well as in Alexandrian times by See also:

CALLIMACHUS

Callimachus and See also:

THEOCRITUS

Theocritus. Among the Latins, See also:

HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace, in See also:

IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of Alcaeus, made See also:

CONSTANT, BENJAMIN (1845-1902)

constant use of choriambic verse. Metrical experts distinguish six varieties of it in his Odes. This is an example of his greater asclepiad (Od. i.

0:--. ne i quaesieris i scire nefas I quem mihi, quem I tibi Finem Di dederint Leuconoe; nec Babyloniios Tentarlis numeros. I Ut melius I quicquid erit, pati! Seu pluires hiemes, I seu tribuit See also:

JUPITER

Jupiter ulitimam, Quae nunc j oppositis debilitat I pumicibus See also:

MARE

mare Tyrrhelnum. In later times of See also:

Rome, both See also:

SENECA

Seneca and See also:

PRUDENTIUS, AURELIUS CLEMENS (348-c. 410)

Prudentius wrote choriambic verse with a See also:

FAIR

fair amount of success. See also:

SWINBURNE, ALGERNON CHARLES (1837–1909)

Swinburne even introduced it into See also:

ENGLISH

English poetry: Love, what J ailed them to leave See also:

LIFE

life that was made J lovely, we thought I with love? What sweet I See also:

VISION (from Lat. videre, to see), or SIGHT

vision of See also:

SLEEP (0. Eng. slcepan; Ger. schlafen; cf. Lat. labi, to glide, and " slip ")

sleep I lured thee away I down from the See also:

LIGHT

light above? Such lines as these make a brave See also:

ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to resuscitate the measured sound of the greater asclepiad. (E. G.) CHORICIUS, of See also:

Gaza, Greek sophist and rhetorician, flourished in the See also:

time of See also:

ANASTASIUS

Anastasius I. (A.D. 491-518).

He was the See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Procopiusof Gaza, who must be distinguished from Procopus of Caesarea, the historian. A number of his declamations and descriptive See also:

TREATISES

treatises have been preserved. The declamations, which are in many cases accompanied by explanatory commentaries, chiefly consist of panegyrics, funeral orations and the stock themes of the rhetorical See also:

SCHOOLS

schools. The 'EI OaMJ40L or See also:

WEDDING

wedding speeches, wishing prosperity to the See also:

BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

bride and bride-See also:

GROOM

groom, strike out a new line. Choricius was also the author of so-called ' EKCapfcets, descriptions of See also:

WORKS

works of See also:

art after the manner of See also:

PHILOSTRATUS

Philostratus. The moral See also:

MAXIMS, LEGAL

maxims, which were a constant feature of his writings, were largely See also:

DRAWN

drawn upon by Macarius Chrysocephalas, See also:

METROPOLITAN (Lat. metropolitanus, Gr. µnrpoiroXtrns)

metropolitan of See also:

PHILADELPHIA

Philadelphia (See also:

MIDDLE

middle of the 14th See also:

CENTURY (from Lat. centuria, a division of a hundred men)

century), in his Rodonia (See also:

rose-See also:

GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden), a voluminous collection of ethical sayings. The See also:

style of Choricius is praised by See also:

Photius as pure and elegant, but he is censured for lack of naturalness. A See also:

SPECIAL

special feature of his style is the persistent avoidance of See also:

HIATUS (Lat. for gaping, or gap)

hiatus, See also:

PECULIAR

peculiar to what is called the school of Gaza. See also:

EDITIONS

Editions by J. F. Boissonade (1846, supplemented by C. Graux in Revue de philologie, 1877) and R.

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