MACEDONIUS of Thessalonica, mentioned by Suidas s.v. {Agathias} as consul in the reign of Justinian, is the author of forty-four epigrams in the Anthology, the best of which are some delicate and fanciful amatory pieces.
PAULUS, always spoken of with his official title of SILENTIARIUS, author of seventy-nine epigrams (and six others doubtful) in the Anthology, is the most distinguished poet of this period. Our knowledge of him is chiefly derived from Agathias, /Hist./ v. 9, who says he was of high birth and great wealth, and head of the thirty Silentiarii, or Gentlemen of the Bedchamber, who were among the highest functionaries of the Byzantine court. Two of his epigrams are replies to two others by Agathias (/Anth. Pal./ v. 292, 293; 299, 300); another is on the death of Damocharis of Cos, Agathias' favourite pupil, lamenting with almost literal truth that the harp of the Muses would thenceforth be silent. Besides the epigrams, we possess a long description of the church of Saint Sophia by him, partly in iambics and partly in hexameters, and a poem in dimeter iambics on the hot springs of Pythia. The "grace and genius beyond his age," which Jacobs justly attributes to him, reach their highest point in his amatory epigrams, forty in number, some of which are not inferior to those of Meleager.
RUFINUS, author of thirty-nine (and three more doubtful) amatory epigrams in the Palatine Anthology, is no doubt of the same period. In the heading of one of the epigrams he is called Rufinus Domesticus. The exact nature of his public office cannot be determined from this title. A Domestic was at the head of each of the chief departments of the imperial service, and was a high official. But the name was also given to the Emperor's Horse and Foot Guards, and to the bodyguards of the prefects in charge of provinces, cities, or armies.
ERATOSTHENES, called Scholasticus, is the author of five epigrams in the Palatine Anthology. Epigrams by Julianus, Macedonius, and Paulus Silentiarius, are ascribed to him in other MSS., and from this fact, as well as from the evidence of the style, he may be confidently placed under the same date. Nothing further is known of him. Probably to the same period belongs THEOPHANES, author of two epigrams in the miscellaneous appendix (xv.) to the Palatine Anthology, one of them in answer to an epigram by Constantinus Siculus, as to whose date there is the same uncertainty. Two epitaphs in the Anthology are also ascribed to Theophanes in Planudes.
With this brief latter summer the history of Greek poetry practically ends. The epigrams of Damocharis, the pupil of Agathias, seem already to show the decomposition of the art. The imposing fabric of empire reconstructed by the genius of Justinian and his ministers had no solidity, and was crumbling away even before the death of its founder: while the great plague, beginning in the fifteenth year of Justinian, continued for no less than fifty-two years to ravage every province of the empire and depopulate whole cities and provinces. In such a period as this the fragile and exotic poetry of the Byzantine Renaissance could not sustain itself. Political and theological epigrams continued to be written in profusion; but the collections may be searched through in vain for a single touch of imagination or beauty. Under Constantine VII. (reigned A.D. 911-959) comes the last shadowy name in the Anthology.
COMETAS, called Chartularius or Keeper of the Records, is the author of six epigrams in the Palatine Anthology, besides a poem in hexameters on the Raising of Lazarus. From some marginal notes in the MS. it appears that he was a contemporary of Constantinus Cephalas. Three of the epigrams are on a revised text of Homer which he edited. None are of any literary value, except one beautiful pastoral couplet, vi. 10 in this selection, which seems to be the very voice of ancient poetry bidding the world a lingering and reluctant farewell.