Next in date to Simonides among the iambographers ranks Hipponax of Ephesus, who flourished about 540 B.C. He, too, was an Ionian. The satire which Archilochus had directed against private enemies was extended, as we have seen, by Simonides to a whole sex; and thus its purely selfish character had been considerably modified. But Hipponax restored it to its primitive function. He used the iambic as a weapon of personal attack; and as Archilochus had shot his arrows against Lycambes and his daughters, so Hipponax found a butt in Bupalus and Athenis, sculptors of Chios. These two artists had begun by ridiculing the poet, who was short and thin and ugly. They seem to have made caricatures of him, piquing themselves, no doubt, upon the durability of the marble in which they worked. But they found more than their match in Hipponax, whose biting verses are said to have driven Bupalus to hang himself. Whether this is a mere echo of the tale of Lycambes remains doubtful; but, at any rate, the statues of the sculptor have perished, while the poet's iambics exist in sufficient force to justify his reputation among the ancients for having been the most caustic, crabbed, and sour of satirists. They called him #ho pikros# (the pungent), and in their epigrams made merry over his traditional bad temper. Leonidas of Tarentum, for instance, warns travellers not to touch his tomb, lest they should rouse the sleeping wasp; and Alcæus of Messene says that no ivy, vine, or rose should adorn his grave, but only thorns and thistles. In order apparently to bring the metre still more within the sphere of prose and common speech, Hipponax ended his iambics with a spondee or a trochee instead of an iambus, doing thus the utmost violence to the rhythmical structure. These deformed and mutilated verses were called #chôliamboi# or #iamboi skazontes# (lame or limping iambics). They communicate a curious crustiness to the style. The choliambi are in poetry what the dwarf or cripple is in human nature. Here again, by their acceptance of this halting metre, the Greeks displayed their acute æsthetic sense of propriety, recognizing the harmony which subsists between crabbed verses and the distorted subjects with which they dealt--the vices and perversions of humanity--as well as their agreement with the snarling spirit of the satirist. Deformed verse was suited to deformed morality. Meanwhile it is but just to Hipponax to record that he appears to have been a sincere castigator of crime, extravagance, and folly. Without the sublime perfection and fervid energy of Archilochus, he does not seem to have shared the unamiable personal qualities of the greater poet. Two of his lines give a sufficient notion of his style: #dy' hêmerai gynaikos eisin hêdistai, hotan gamêi tis kakpherêi tethnêkuian.# A woman gives two days of happiness to man, in her bridal and her burial.