And the writings of Aristonymus were full of pompous expressions: and Sosiphanes the poet said to Cephisocles the actor, reproaching him as a man fond of long words, "I would throw a stone at your loins, if I were not afraid of wetting the bystanders." But the logical griphus is the oldest kind, and the one most suited to the natural character of such enigmatical language. "What do we all teach when we do not know it ourselves?" and, "What is the same nowhere and everywhere?" and also, "What is the same in the heavens and on the earth and in the sea?" But this is a riddle arising from an identity of name; for there is a bear, and a serpent, and an eagle, and a dog, both in the heavens and on the earth and in the sea. And the other riddle means Time; for that is the same to all people and everywhere, because it has not its nature depending on one place. And the first riddle means "How to live:" for though no one knows this himself, he teaches his neighbour. 79. And Callias the Athenian, whom we were discussing just now, and who was a little before Strattis in point of time, wrote a play which he called Grammatical Science; and the plot of it was as follows. The prologue consists of the elements, and the actor should recite it, dividing it into paragraphs, and making the termination in the manner of a dramatic catastrophe, into "Alpha, beta, gamma, delta, eta, theta. For ει is sacred to the God; iota, cappa, lambda, mu, nu, xu, the diphthong ou, pi, rho, sigma, tau, the present υ, phi, chi, which is next to psi, all down to omega." And the chorus consisted of women, in pairs, made of two elements taken together, composed in metre and lyrical odes in this fashion;—"Beta alpha ba, beta ei be, beta eta be, beta iota bi, beta ou bo, beta upsilon bu, beta omega bo." And then, again, in the antistrophe of the ode and of the metre, "Gamma alpha, gamma ei, gamma eta, gamma iota, gamma omicron, gamma upsilon, gamma omega." And in the same way he dealt with all other syllables—all which have the same melody and the same metre in the antistrophes. So that people not only suspect that Euripides drew all his Medea from this drama, but they think that it is perfectly plain that he drew the system of his choruses from it. And they say that Sophocles, after he had heard this drama, endeavoured to divide his poem in respect of the metre, and did it thus, in the Œdipus,— I shall not grieve myself nor you, Being convicted of this action. On which account, all the rest admitted the system of antistrophes from his example, as it should seem, into their tragedies. Then, after this chorus, Callias introduces another speech of vowels, in this manner: (and this also the reciter must divide into paragraphs in the same way as the previous portions, in order that that delivery may be preserved which the author originally intended)—