CHOLESTERIC CHORUS. 



215 



ment ; I have seen apparently slight imprudence in 

 exposure, diet, or exertion, bring on a relapse more 

 than once, ending in two instances fatally. But the 

 best way to manage with regard to collapse, is to 

 prevent any one from falling into it ; and I have the 

 best reasons for knowing that the treatment already 

 laid down, will, in almost every case, not only pre- 

 vent collapse, but certainly cure the disease, when 

 taken in an early stage. The exceptions have been 

 already pointed out, out early treatment affords the 

 best chance ; and I have seen many cases wherein 

 nothing but the earliest and most energetic treatment 

 could have saved the patient's life. 



"The diet, during convalescence from cholera, 

 must be of a light, nourishing mature ; by degrees, 

 the patient will be able to digest strong food. At 

 first, a little arrow root, rice milk, panado, or bread 

 sopped hi tea, weak soups and bread, will be best ; 

 after a few days, the patient will be able to take a 

 little meat. The strength must be kept up with mo- 

 derate portions of wine or punch. Some patients will 

 recover their strength almost immediately ; others 

 will be days, and even weeks, in getting round. In 

 general, however, when the disease is early and pro- 

 perly treated, and the subject of ordinary strength, 

 the recovery is very prompt. If secondary fever should 

 supervene, which is more frequently the case after 

 collapse, the treatment is the same as that followed 

 in ordinary fevers, the principal indication in general 

 being to keep up the strength with wine and other 

 stimuli." 



CHOLESTERIC ACID; a French name for the 

 acid formed by the union of nitric acid and the fat 

 matter of the human biliary calculi. 



CHOLESTERINE. See Calculus. 



CHOLIAMB (Greek,^x/a^j3of, the lame iambus ; 

 also called skazon, from <rxa2>, to halt ; or versus 

 Hipponacticus, because the satirist Hipponax of Ephe- 

 sus made use of it, or perhaps invented it). The choli- 

 ambus is an iambic trimeter, the last foot of which, 

 instead of being an iambus, is a trochee or spondee, 

 which gives it a lame motion, as, for instance, Martial 

 1, i. epig. 3 : 



Cur in theatrnm, Cato severe, venisti? 

 An ideo tantum veneras, ut exires ? 



We perceive, from the construction of the choliam- 

 bus, that it may be applied with advantage to pro- 

 duce a comic effect. The Germnns have happily 

 imitated this verse, as well as all other ancient 

 metres. An instance of a German choliambus is 



Der Choliambe scheint ein Vers fur Kunstricbter. 



CHOLULA ; a town of Mexico, in Puebla ; sixty 

 miles E. of Mexico ; lat. 19 2' N. ; Ion. 98 8' W. ; 

 population 16,000. It was formerly a city of Ana- 

 huac, containing, in the time of Cortes, according to 

 his account, 40,000 houses, independent of the adjoin- 

 ing villages or suburbs, which he computed at as 

 many more. Its commerce consisted in manufactures 

 of cotton, gems, and plates of clay; and it was much 

 famed for its jewellers and potters. With respect to 

 religion, it may be said that Cholula was the Rome 

 of Anahua';. The surprising multitude of temples, of 

 which Cortes mentions that ne counted more than 400, 

 and, in particular, the great temple erected upon an 

 artificial mountain, which is still existing, drew to- 

 gether innumerable pilgrims. This temple, which is 

 the most ancient and celebrated of all the Mexican 

 religious monuments, is 164 feet in perpendicular 

 height, and, at the base, it measures, on each side, 

 1450 feet. It lias four stories of equal height, and, 

 appears to have been constructed exactly in the 

 direction of the four cardinal points. It is built in 



alternate layers of clay and bricks, and is supposed to 

 have been used both as a temple and a tomb. 



CHORAL (derived from chorus) ; a term applied 

 to vocal music, consisting of a combination of differ- 

 ent melodies, and intended to be performed by a 

 plurality of singers to each part ; as choral anthem, 

 choral service. In Germany, this term is applied to 

 the music of hymns, in the composition of which the 

 Germans are so much distinguished. 



CHORD (from the Greek x^'"> an intestine), in 

 modern music ; a combination of two or more sounds 

 according to the laws of harmony. The word chord 

 is often used in counterpoint ; as fundamental chord, 

 accidental, anomalous, or egui-vocal, transient chord. 



CHOREGRAPH Y; an invention of modern times , 

 the art of representing dancing by signs, as singing 

 is represented by notes. It points out the part to lie 

 performed by every dancer the various motions 

 which belong to the various parts of the music, the 

 position of the feet, the arms, and the body, &c. The 

 degree of swiftness with which every motion is to be 

 performed may be thus indicated, by which all be- 

 comes as intelligible to the dancer, as a piece of 

 music to the musician. Drawings to assist the tacti 

 cian, by designating the position, motion, and evolu- 

 tions of troops, have also been called choregraphical 

 drawings. 



CHORI AMBUS, in metre ; a foot compounded of 

 a trochee and an iambus. See Rhythm. 



C HOROGRAPH Y ; the description of a single 

 district, in contradistinction to geography (the de- 

 scription of the earth). The art of drawing maps of 

 particular districts is also called chorography. 



CHORUS, in the drama. This was, originally, a 

 troop of singers and dancers, intended to heighten 

 the pomp and solemnity of festivals. This, without 

 doubt, was at first the purpose of tragedy and come- 

 dy, of whieh the chorus was originally the chief part, 

 in fact, the basis. In the sequel, it is true, the cho- 

 rus became only an accessory part. During the most 

 nourishing period of Attic tragedy, the chorus was a 

 troop of male and female personages, who, during 

 the whole representation, were bystanders or specta- 

 tors of the action, never quitting the stage. In the 

 intervals of the action, the chorus chanted songs, 

 which related to the subject of the performance, and 

 were intended either to augment the impression, or 

 to express the feeling of the audience on the course 

 of the action. Sometimes it even took part in the 

 performance, by observations on the conduct of the 

 personages, by advice, consolation, exhortation, or 

 dissuasion. It usually represented a part, generally 

 the oldest portion of the people, where the action 

 happened, sometimes the counsellors of the king,&c. 

 The chorus was an indispensable part of the repre' 

 sentation. In the beginning, it consisted of a great 

 number of persons, sometimes as many as fifty ; but 

 the number was afterwards limited to fifteen. The ex- 

 hibition of a chorus was in Athens an honourable 

 civil charge, and was called choragy. The leader or 

 chief of a chorus was called coryphaeus, who spoke in 

 the name of the rest, when the chorus participated in 

 the action. Sometimes the chorus was divided into 

 two parts, who sung alternately. The divisions of 

 the chorus were not stationary, but moved from one 

 side of the stage to the other ; from which circum- 

 stance the names of the portions of verse which they 

 recited, strophe, antistrophe, and epode, are derived. 

 But it cannot be determined in what manner the 

 chorus sung. It is probable that it was in a sort of 

 solemn recitative, and that their melodies, if we may 

 call them so, consisted 'in unisons and octaves, and 

 were very simple. They were also accompanied by 

 instruments, perhaps flutes. With the decline of an- 

 cient tragedy, the chorus was omitted. Some trage- 



