The development of this choral music was the particular mission of a school of lyricists no less celebrated than the Æolian--namely, the Dorian. It was considered the highest form of lyricism. Larger periods and great variety, instead of short and regular strophes, distinguish its form, while its spiritual import is correspondingly broader. The _hymnæ_ (bridal choruses); the _scolia_ (praising a celebrated personality), out of which grew the encomium (song of praise), and the _epinikion_, sung in praise of the victors at the great festival games, are said to have introduced the softer, subjective, essentially lyrical element into the chorus. The dithyramb, originally a Bacchic festival song in honor of the god of wine (Dionysos), represents the highest of lyric choral forms. It originated in Phrygia, was developed artistically by Arion, living at the court of Periander in Corinth (628-585 B. C.), but was cultivated principally at Athens, first through Lasos of Hermione. Arion was the first to assemble a large chorus--50 men and boys--forming a circle around the altar of Dionysos, with a flute player in the centre. Before him Tyrtæus (685 B. C.) was said to have originated the division of the chorus into three parts--'children, men, and old men’--but earlier than that we learn from Pollux of the partition of the chorus into two semi-choirs, which sang in responsive or antiphonary manner. Simonides of Keos and Pindar are the chief figures of choral lyricism. The former, born on the isle of Keos (Ionia), lived first at the court of Hipparch in Athens, after whose assassination he went to Thessaly. After the battle of Marathon (490) he reappeared at Athens with an elegy upon the fallen warriors, which left him victor over Æschylus, the founder of the drama. He also won the dithyrambic contest in 471, and he died at the court of Hierons of Syracuse. The reproach of commercialism, made against Simonides because of his acceptance of favors and pay at the hand of rulers, reminds one of present-day criticism. In contrast to him, Pindar (522-448), the illustrious master, revered not less than Homer himself, was a retiring personality, 'living for himself rather than others.’ He was born at Thebes. His life story has been embellished with legend and fiction, indicating the nation’s affection for him. He participated frequently in the national festivals and, it is related, found his death on the stage of the theatre at Argos. His works combine no less than seventeen books containing hymns, pæans, dithyrambs, _parthenias_, _hyporchemas_, encomiums, _thernoi epinikia_, and other forms, all intended for choral performance. His first Pythic ode is among the six fragments of Greek music preserved to us.