Herodas (Greek: Ἡρώδας), or Herondas (the name is spelt differently in the few places where he is mentioned), was a Greek poet and the author of short humorous dramatic scenes in verse, probably written in Alexandria during the 3rd century BCE.
Apart from the intrinsic merit of these pieces, they are interesting in the history of Greek literature as being a new species, illustrating Alexandrian methods. They are called Mimiamboi (Greek: μιμίαμβοι, "Mime-iambics"), or mimes. Mimes were the Dorian product of South Italy and Sicily, and the most famous of them – from which Plato is said to have studied the drawing of character – were the work of Sophron.
These were scenes in popular life, written in the language of the people, vigorous with sexual proverbs such as we get in other reflections of that region – in Petronius and the Pentamerone. Two of the best known and the most vital among the Idylls of Theocritus, the 2nd and the 15th, we know to have been derived from mimes of Sophron. What Theocritus is doing there, Herodas, his younger contemporary, is doing in another manner – casting old material into novel form, upon a small scale, under strict conditions of technique. The method is entirely Alexandrian: Sophron had written in a peculiar kind of rhythmical prose; Theocritus uses the hexameter and Doric, Herodas the scazon or "lame" iambic (with a dragging spondee at the end) and the old Ionic dialect with which that curious metre was associated. That, however, hardly goes beyond the choice and form of words; the structure of the sentences is close-knit Attic. Herodas did not write his mimiambics in the contemporary Greek koine of his period. Rather, he affected a quaint style that imitated the Greek spoken in the 6th century BC. (Cunningham 14)
On a bridge across the Severn on a Saturday night
Susie meets the man of her dreams
He says that he got in trouble and if she doesn't mind
He doesn't want the company
But there's something in the air, they share a look in silence
And everything is understood
Susie grabs her man and puts a grip on his hand
As the rain puts a tear in his eye
She says, "Don't let go
Never give up, it's such a wonderful life
Don't let go
Never give up, it's such a wonderful life"
Driving through the city to the Temple Station
Cries into the leather seat
And Susie knows the baby was a family man
But the world has got him down on his knees
So she throws him at the wall and kisses burn like fire
And suddenly he starts to believe
He takes her in his arms and he doesn't know why
But he thinks that he begins to see
She says, "Don't let go
Never give up, it's such a wonderful life
Don't let go
Never give up, it's such a wonderful life"
Don't let go
Never give up, it's such a wonderful life
Don't let go
Never give up, it's such a wonderful life
She says, "Don't let go
Never give up, it's such a wonderful life
Don't let go
Never give up, it's such a wonderful life"
Don't let go
Don't let go
Don't let go
Don't let go
Don't let go
Don't let go
Don't let go
Never give up, it's such a wonderful life
Don't let go
Never give up, it's such a wonderful life
Don't let go
Never give up, it's such a wonderful life
Don't let go
Never give up, it's such a wonderful life
She says, "Don't let go
Never give up
Don't let go
Never give up, it's such a wonderful life
Don't let go
Wonderful life, wonderful, wonderful life
Don't let go
Wonderful life, wonderful, wonderful life
Don't let go