Part of this section might be classed with the criticism of life from the Epicurean point of view. Some of the convivial epigrams are purely unreflective; they speak only of the pleasure of the moment, the frank joy in songs and wine and roses, at a vintage-revel, or in the chartered licence of a public festival, or simply without any excuse but the fire in the blood, and without any conclusion but the emptied jar.[4] Some bring in a flash of more vivid colour where Eros mingles with Bromius, and, on a bright spring day, Rose-flower crosses the path, carrying her fresh-blown roses.[5] Others, through their light surface, show a deeper feeling, a claim half jestingly but half seriously made for dances and lyres and garlands as things deeply ordained in the system of nature, a call on the disconsolate lover to be up and drink, and rear his drooping head, and not lie down in the dust while he is yet alive.[6] Some in complete seriousness put the argument for happiness with the full force of logic and sarcasm. "All the ways of life are pleasant," cries Julianus in reply to the weariness expressed by an earlier poet;[7] "in country or town, alone or among fellow-men, dowered with the graciousness of wife and children, or living on in the free and careless life of youth; all is well, live!" And the answer to melancholy has never been put in a concrete form with finer and more penetrating wit than in the couplet of Lucian on the man who must needs be sober when all were drinking, and so appeared in respect of his company to be the one drunk man there.[8] It is here that the epigrams of comedy reach their high-water mark; in contrast to them is another class in which the lightness is a little forced and the humour touches cynicism. In these the natural brutality of the Roman mind makes the Latin epigram heavier and keener-pointed; the greater number indeed of the Greek epigrams of this complexion are of the Roman period; and many of them appear to be directly imitated from Martial and Juvenal, though possibly in some cases it is the Latin poet who is the copyist. Though they are not actually kept separate--nor indeed would a complete separation be possible--the heading of this section of the Palatine Anthology distinguishes the {sumpotika}, the epigrams of youth and pleasure, from the {skoptika}, the witty or humorous verses which have accidentally in modern English come almost to absorb the full signification of the word epigram. The latter come principally under two heads: one, where the point of the epigram depends on an unexpected verbal turn, the other, where the humour lies in some gross exaggeration of statement. Or these may be combined; in some of the best there is an accumulation of wit, a second and a third point coming suddenly on the top of the first.[9]