Elegy, as we have seen, was the first slight deviation from epos. But almost at the same time another species arose which had nothing in common with epos, either in form or in spirit. This was the iambic. The word [Greek: iambos], _iambus_ ([Greek: iaptein], to dart or shoot) was used in reference to the licensed raillery at the festivals of Demeter; it was the maiden Iambe, the myth said, who drew the first smile from the mourning goddess. The iambic metre was at first used for satire; and it was in this strain that it was chiefly employed by its earliest master of note, Archilochus of Paros (670 B.C.). But it was adapted to the expression generally of any pointed thought. Thus it was suitable to fables. Elegiac and iambic poetry both belong to the borderland between epic and lyric. While, however, elegy stands nearer to epos, iambic stands nearer to the lyric. Iambic poetry can express the personal feeling of the poet with greater intensity than elegy does; on the other hand, it has not the lyric flexibility, self-abandonment or glow. As we see in the case of Solon, iambic verse could serve for the expression of that deeper thought, that more inward self-communing, for which the elegiac form would have been inappropriate. But these two forms of poetry, both Ionian, the elegiac and the iambic, belong essentially to the same stage of the literature. They stand between the Ionian epos and the lyric poetry of the Aeolians and Dorians. The earliest of the Greek elegists, Callinus and Tyrtaeus, use elegy to rouse a warlike spirit in sinking hearts. Archilochus too wrote warlike elegy, but used it also in other strains, as in lament for the dead. The elegy of Mimnermus of Smyrna or Colophon is the plaintive farewell of an ease-loving Ionian to the days of Ionian freedom. In Solon elegy takes a higher range; it becomes political and ethical.[3] Theognis represents the maturer union of politics with a proverbial philosophy. Another gnomic poet was Phocylides of Miletus; an admonitory poem extant under his name is probably the work of an Alexandrine Jewish Christian. Xenophanes gives a philosophic strain to elegy. With Simonides of Ceos it reverts, in an exquisite form, to its earliest destination, and becomes the vehicle of epitaph on those who fell in the Persian Wars. Iambic verse was used by Simonides (or Semonides) of Amorgus, as by Archilochus, for satire--but satire directed against classes rather than persons. Solon's iambics so far preserve the old associations of the metre that they represent the polemical or controversial side of his political poetry. Hipponax of Ephesus was another iambic satirist--using the [Greek: skazon] ("limping") or choliambic verse, produced by substituting a spondee for an iambus in the last place. But it was not until the rise of the Attic drama that the full capabilities of iambic verse were seen. Lyric poetry.