it alike for satire and invective, for precept, for autobiographic grumblings, for political discourses, and for philosophical apophthegms. Side by side with the elegy arose the various forms of lyric poetry. The names of Alcæus and Sappho, of Alcman, Anacreon, Simonides, Bacchylides, Stesichorus, Arion, instantly suggest themselves. But it must be borne in mind that lyric poetry in Greece at a very early period broke up into two distinct species. The one kind gave expression to strong personal emotion, and became a safety-valve for perilous passions; the other was choric and complex in its form; designed for public festivals and solemn ceremonials, it consisted chiefly of odes sung in the honor of gods and great men. To the former, or personal species, belong the lyrics of the Ionian and Æolian families; to the latter, or more public species, belong the so-called Dorian odes. Besides the elegy and all the forms of lyric stanza, the iambic, if not invented in this period, was now adapted of set purpose to personal satire.[4] Archilochus is said to have preferred this metre, as being the closest in its form to common speech, and therefore suited to his unideal practical invective. From the lyric dithyrambs of Arion, sung at festivals of Dionysus, and from the iambic satires of Archilochus, recited at the feasts of Demeter,[5] was to be developed the metrical structure of the drama in the third period. As yet, it is only among the Dorians of Sicily and of Megara that we hear of any mimetic shows, and these of the simplest description.