ek:
Epithalamioi] or wedding speeches, wishing prosperity to the bride and
bridegroom, strike out a new line. Choricius was also the author of
so-called [Greek: Ekphraseis], descriptions of works of art after the
manner of Philostratus. The moral maxims, which were a constant feature
of his writings, were largely drawn upon by Macarius Chrysocephalas,
metropolitan of Philadelphia (middle of the 14th century), in his
_Rodonia_ (rose-garden), a voluminous collection of ethical sayings. The
style of Choricius is praised by Photius as pure and elegant, but he is
censured for lack of naturalness. A special feature of his style is the
persistent avoidance of hiatus, peculiar to what is called the school of
Gaza.

Editions by J.F. Boissonade (1846, supplemented by C. Graux in _Revue
de philologie_, 1877) and R. Foerster (1882-1894); see also C. Kirsten,
"Quaestiones Choricianae" in _Breslauer philologische Abhandlungen_,
vii. (1894), and article by W. Schmid in Pauly-Wissowa's
_Realencyclopaedie_, iii. 2 (1899). On the Gaza school see K. Seitz,
_Die Schule von Gaza_ (Heidelberg, 1892).

CHORIN, AARON (1766-1844), Hungarian rabbi and pioneer of religious
reform. He favoured the use of the organ and of prayers in the
vernacular, and was instrumental in founding schools on modern lines.
Chorin was thus regarded as a leader of the newer Judaism. He also
interested himself in public affairs; and his son Francis was a
Hungarian deputy.

See L. Loew, _Gesammelte Schriften_, ii. 251.

CHORIZONTES ("separators"), the name given to the Alexandrian critics
who denied the single authorship of the _Iliad_ and _Odyssey_, and held
that the latter poem was the work of a later poet. The most important of
them were the grammarians Xeno and Hellanicus; Aristarchus was their
chief opponent (see HOMER).

CHORLEY, HENRY FOTHERGILL (1808-1872), English musical critic, one of an
old Lancashire family, began in a merchant's office, but soon took to
musical journalism. He began to write for the _Athenaeum_ in 1830, and
remained its musical critic for more than a generation; and he also
became musical critic for _The Times_. In these positions he had much
influence; he had strong views, and was a persistent opponent of
innovation. In addition to musical criticism, he wrote voluminously on
literature and art, besides novels, dramas and verse, and various
librettos; and he published several books, including _Modern Ge