(This monument to dead Xenophantus his father Cleobulus set up, for
his valour and wisdom);

or this, on an unmarried girl:

{Sema PHrasixleias xoure xexlesomai aiei
anti gamou para theon touto lakhous onoma}[7]

(The monument of Phrasicleia; I shall for ever be called maiden,
having got this name from the gods instead of marriage.)

So touching in their stately reserve, so piercing in their delicate
austerity, these epitaphs are in a sense the perfection of literature,
and yet in another sense almost lie outside its limits. For the
workmanship here, we feel, is unconscious; and without conscious
workmanship there is not art. In Homer, in Sophocles, in all the best
Greek work, there is this divine simplicity; but beyond it, or rather
beneath it and sustaining it, there is purpose.
----------

[1] Anth. Pal. vii. 249; Hdt. vii. 228.

[2] Ibid. vii. 256.

[3] Epigrammata Graeca ex lapidibus conlecta. Berlin, 1878.

[4] Infra, III. 35, 47; XI. 48.

[5] Infra, XII. 6, 17, 37.