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and expand them by trivial and "fanciful additions, while the noble forms of verse in which they had embodied their thoughts were made the vehicles of a mass of cumbrous learning. Hence the complaints which the best of succeeding writers made of the obscurity, verboseness, and tediousness of Euphorion, Callimachus, Parthenius, Lycophron, and the other chief writers of the long period during which the Alexandrian grammarians ruled the literary world. (Clem. Alex. Strom. v. p. 571; Cic. de Div. ii. 64; Lucian. de Conscrib. Hist. 57, vol. ii. p. 65.) These faults seem to have been carried to excess in Euphorion, who was particularly distinguished by an obscurity, which arose, according to Meineke, from his choice of the most out of the way subjects, from the cumbrous learning with which he overloaded his poems, from the arbitrary changes which he made in the common legends, from his choice of obsolete words, and from his use of ordinary words with a new meaning of his own. The most ancient and one of the most interesting judgments concerning him is in an epigram by Crates of Mallus (Brunck, Anal.) vol. ii. p. 3), from which we learn that he was a great admirer of Choerilus [choerilus, vol. i. p. 697, b.], notwithstanding which, however, the fragments of his poetry shew that he also imitated Antimachus. Meineke conjectures that the epigram of Crates was written while the contest about receiving Antimachus or Choerilus into the epic canon was at its height, and that some of the Alexandrian grammarians proposed to confer that honour on Euphorion. In the same epigram Euphorion is called 'OpyptKos, which can only mean that he endeavoured, however unsuccessfully, to imitate Homer, — a fact which his fragments confirm. (Comp. Cic. de Div. I. c.) That he also imitated Hesiod, may be inferred from the fact of his writing a poem entitled 'Hffiotios; and there is a certain similarity in the circumstance of each poet making a personal wrong the foundation of an epic poem,—Hesiod in the "Epya Kal 'H/xe/ocw, and Euphorion in the XiA.ta§es.
As above stated, Euphorion was greatly admired by many of the Romans, and some of his poems were imitated or translated by Cornelius Gallus ; but the arguments by which Heyne and others have attempted to decide what poems of Euphorion were so translated, are quite inconclusive. (Vos-sius, de Hist. Graec. pp. 142, 143, ed. Wester-mann; Fabric. BM. Graec. vol. i. p. 594, &c.; Meineke, de JSuphorionis Chalcidensis Vita et Scrip-tis, Gedan. 1823, in which the fragments are collected ; a new edition of this work forms part of Meineke's Analecta Alexandrina, Berol. 1843; Clinton, Fast. Hell. vol. iii. pp. 311, 312.)
4. OfChersonesus, an author of that kind of licentious poetry which was called nptdireia, is mentioned by Hephaestion (de Metr. xv. 59), who gives three verses, which do not, however, appear to be consecutive, but are probably single verses chosen as specimens of the metre. But yet some information may be gleaned from them, for the poet refers to rites in honour of the "young Dionysus," cele-bffjted at Pelusium. Hence Meineke infers that this Euphorion was an Egyptian Greek, and that the Chersonesus of which he was a natiye was the city of that name near Alexandria. He also conjectures, and upon good grounds, that the " young Dionysus" was Ptolemy Philopatorj who began to reign in b. c. 220. It i& .probable that the passage
in Strabo (viii. p. 382) refers to this Euphorion, and that Eutypovips in that passage is an error for Ev(})optu)v. There is an example of the same con fusion in Athenaeus (xi. p. 495, c.). That those who make this Euphorion the same as the Chalci- dian are quite wrong, is proved by the fact that the lines are neither hexameters nor elegiacs, but in the priapeian metre, which is a kind of anti- spastic. . (Meineke, Analecfa Aletxandrina^ Epim. i«) FP. S 1
EUPHORION (EttyopiW), a, Greek 'physi cian or grammarian, who wrote a commentary on Hippocrates in six books, and must have lived in or before the first century after Christ, as he is mentioned by Erotianus. (Gloss. Hippocr. p. 12.) [W. A. G.]
EUPHORION, a distinguished statuary and silver-chaser, none of whose worksr were extant in Pliny's time. (Pirn, xxxiv. 8. s. 19, § 25.) [P. S.]
EUPHRADES, THEMI'STIUS. [themis-
2. A slave of the philosopher Lycon, who was manumitted by his master's will. (Diog. Laert. v. 73.)
3. A Pythagorean philosopher, who is mentioned by Athenaeus (iv.pp. 182,184, xiv. p. 634) as the author of a work on flutes and flute players. (Tlepl ad\wu and irepl avkrjTW.") It is not impossible that the Evanor mentioned by lamblichus (Vit. Pytli. 36) among the Pythagoreans, is the same as our Euphranor.
4. A Greek grammarian, who was upwards of one, hundred years old at the time when Apionwas his pupil. (Suid. s. v. 'Airfaw.) [L. S.]
EUPHRANOR (Eityp&/ay>). 1. One of the greatest masters of the most flourishing period of Grecian art, arid equally distinguished as a statuary and a painter. (Quintil. xii. 10. § 6.) He was a native of the Corinthian isthmus, but he practised his art at Athens, and is reckoned by Plutarch as an Athenian. (De Glor. Ath. 2.) He is placed by Pliny (xxxiv. 8. s. 19) at 01. 104, no doubt because he painted the battle of Mantineia, which was fought in 01. 104, 3 (b. c. 36f), but the list of his works shews, almost certainly, that he flourished till after the accession of Alexander (b. c. 336.)
As a statuary, he wrought both in bronze and marble, and made figures of all sizes, from colossal statues to little drinking-nips. (Plin. xxxv. 8, s. 40, § 25.) His most celebrated works were, a Paris, which expressed alike the judge of the goddesses, the lover of Helen, and the slayer of Achil" les; the very beautiful sitting figure of Paris, in marble, in the Museo Pio-Clementino is, no doubt, a copy of this work: a Minerva, at Rome, called the Catulian, from its having been set up by Q. Lutatius Catulus, beneath the Capitol: an Agatho-daemon (simulacrum Boni Eventus), holding a patera in the right hand, and an ear of corn and a poppy in the left: a Latona puerpera, carrying the infants, Apollo and Diana, in the temple of Concord j there is at Florence a very beautiful relief representing the same subject: a Key-bearer (Cli-duchus), remarkable foriits beauty of form: colossal statues of Valour and ol Greece, forming no doubt a group, perhaps Greece crowned by Valour. (Miil-ler, Arcfi'dol. d. Kunst* § 405, n. 3): a woman wrapt in wonder and adoration (admiraritem et