26 PROCEEDINGS OF THE AMERICAN ACADEMY. 



sometimes artificial diction, which becomes more and more common, 

 may add beauty to the verses, but at times the imitator falls far short 

 of the splendor of his master, and produces a poem mediocre in com- 

 parison with his noble model. Cf for example 103 and 104 : 



103. Aa^earov Kkeos oiSe (f)i\j} irepl naTpibi 6eirres 



Kvaveov davcirov <ijjL(^e(id\oirTO vecpos ' 

 ov8e TfBvaai davoirrei, eVft a({i dpfrij KaBvirepBeu 

 Kvbaifova dudyei Scojuaroy e^ 'AiSfw. 



104. Kvave'r] Koi Tovs8e p.(vey)(eas coKfcrav avhpas 



fioipa, no\vppr]voi> Trarpida pvopefovs, 

 fwoi' 8e (f)dip.evo}V Tre'Xcrai fcXe'o?, oi nore yvlois 

 rKrjpovfs Ocrcraiav dp(pieaavTO koviv. 



The two epigrams employ the same figures and almost the same 

 phraseology, both show the strong influence of rhetoric ; and yet the 

 superiority of the former is as remarkable as it is apparent. ^<*3 Cf 

 also 81 and 109, which show that it is one thing to ornament and 

 elaborate a given theme and quite another to dilute it. 



So in 102 and 103 rhetoric has lent a certain grandeur to the verses ; 

 in 106 the fine lines are marred by the almost frigid beginning. In 

 102, 103, 148 the elaboration is vivid and virile, in 105 it is labored if 

 not actually inept. 



In 158, as in 125, by the device of directly addressing the dedicator 

 a certain life and eloquence is given to the epigram, although the words 

 themselves are plain enough. 



Ei;';^fo roi Scopoicrt, Kvrcof. 6(ov wSf xaprjvai 



ArjTotrjv ayoprjs KaX\L)(6pov rrpvTaviv, 

 aarrep vTtip ^flvau re Kal oi vaiovai Kopiudov 



aivov e;(etff )(apiTa>v, deanoTa, Tois arfC^nvois. 



The noble simplicity of 83 is rivalled by the proud humility of 94 : 



'Q ^("iv dyyfKKfiv AaKebaipoviois on rijdf 

 Keipfda, Tols K€ivu>v prjyiacn Treiddpevoi. 



There are also epigrams which approach more nearly the style of 

 many verses of the fourth century, where the uninspired author has 

 tried to make up for his limitations by filling with added details the 

 space he could not fill with poetic charm and color, e. g. 



166« ' ApTf piBos rod' dya\p.a • SirjKccriai yap 6 pi(r66s 

 bpaxpcii Toi Hdpiai, Ta>v fniarjpa rpdyos — 

 dirKTjTOdS Ino'irjcrfV ^ Adrjva'irji TrnXaprjaiv 

 "A^iot 'ApKfaiXa vios 'ApicTTobiKov. 



"» See p. 49, ii. 176. 



