Apollonius is followed very closely, many passages being translated from him; thus iv. 236 = Apoll. ii. 38; vii. 404 = Apoll. in. 966. Valerius, however, amplifies where Apollonius is brief, and vice versa. Thus Apoll. ii. 948 sqq. is dismissed by Valerius v. 110 sqq. in a few words. The character painting of Valerius is superior to that of the original, cf. the character of Jason and of Aeetes. So for his artistic work; thus his portraiture of the gradual progress of Medea’s love is superior to Apollonius’ description, and to Virgil’s of Dido.
The obligations to Virgil are paramount.
(1) Verbal; as i. 55,
‘Tu, cui iam curaeque vigent animique viriles,’
from Aen. ix. 311,
‘Ante annos animumque gerens curamque virilem.’
Cf. ‘horrentem iaculis, nec credere quivi, heu quid agat, libans carchesia, summa dies, miscere polum, rumpere questus,’ in Book i.[83]
(2) In matter. The description of Fame, ii. 116 sqq., is from Aen. iv. The character of Styrus, the betrothed of Medea, is modelled on that of Turnus.
After Virgil, Homer (esp. in Book vi.), Ovid, and Seneca’s tragedies are chiefly imitated. Statius is full of imitations of Valerius.
Valerius often tries to connect his subject with Rome.[84] Cf. ii. 304,