The next musician of extraordinary importance was Archilochos of Paraos, whose period has been fixed as 675-630. His popularity seems to have surpassed that of any other except Homer, with whom he was equal in the estimation of the ancients. His literary merit consists of the introduction into artistic poetry of the iambic and trochaic trimeter and tetrameter and the origination of the strophic form, by the alternation of shorter verses of different rhythm with longer ones. Similarly, his great _musical_ achievement is the introduction of rhythmical change and the use of faster time. In using shorter measures he endowed his compositions with a certain folk-quality which, combined with the element of satire and fable, quickly brought them into popular favor. Archilochos was a pugnacious, combative character; he had taken part in the wars on Eubœa and found his death in a warlike exploit on Nasos. His invective and satirical poems were a totally new departure in Greek poetry. A peculiar practice, which in a sense survives in the method of our musical comedians, was introduced by Archilochos for humoristic effect, i. e., the interrupting of the song proper by the spoken word, followed by a return to the melody after a brief instrumental interlude. This was known as _paracataloge_. Its use was later transferred to the serious ode and even the tragedy. A reference in Plutarch to Archilochos’ accompaniments 'under the vocal part, whereas the old ones sang everything in unison’ has aroused considerable controversy. We shall dismiss it with the well-supported conclusion of Riemann, that it does not point to any form of heterophony, but to certain methods of interluding, rhythmical ornamentation and playing in the upper octave (flageolet). The strophic forms of Archilochos constituted the preliminary steps toward the development of lyric poetry, which, founded in the seventh century, 'raised its graceful structure in the sixth.’ Alkman and Stesichoros furnish the transition to this subjective school, whose disciples are essentially the celebrants of love and wine. According to dialects it falls into three divisions--the Ionian, Dorian, and Æolian. The last, rooted in the kitharœdic school of Terpander, finds in its Lesbian home its first exponents--Alkaios and Sappho.