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WOLFRAM HÖRANDNER
POETIC FORMS
143
metrum italicum dictum Martellmnum, seu ad versum septenarium duplicem, quo quidam in genere recitativo passim utuntur"34.
The poem consists of 48 political verses with alphabetic acrostic, every letter of the alphabet corresponding to a couplet of verses both of which bear the acrostic. Every such couplet is followed by the refrain 'Q. Ev)Ta^ia, auve-xiaov ue. The editor printed this refrain after every couplet, and he was certainly right in doing so, although it is not written regularly in the manuscript; on the contrary: the complete kolon ~Q Euxa^ia, ouveticjov |is is written only once, and this even not after the first couplet, but after the fifth. In five other stanzas it is noted in a more or less abbreviated way. We know irregularities of this kind from the poems in the Skylitzes Matritensis, they have been documented there precisely by Sevcenko35. In our poem this irregular disposition cannot be the original one, for, if nowhere else, the complete wording of the refrain would have to be noted at the end of the first stanza. It is also to be missed at the end of the very last stanza, for in this case there seems to be a connexion between stanza and refrain regarding contents and syntax. Should the copyist have known the poem only by oral tradition, i.e. by the monastic practice, and have written it down from memory?36 This would perhaps also partly explain the very bad orthography.
The metrical modelling of the poem is remarkable. 38 of the 48 first he-mistichs have proparoxytone ending, i.e. ca. 79% —not 100% as in the Sevcenko poems, but a very high percentage. Only in four cases (or about 8%), i.e. in El, M2, PI (but see the app. crit.) and ¥2 the third syllable has an accent.
Things are even more striking in the second hemistich: here the anapaestic beginning is represented to an extraordinarily high extent: 16 of the 48 second hemistichs (i.e. one third) are of the type dyciTtcov xov n^naiov. To compare: in the Sevcenko poems I found this type of second hemistich only in 14% of the verses. I have nowhere else come across a poem with a similarly high percentage of anapaestic rhythm in the second hemistich as in the alphabet I am presenting here —with one exception: in the exaposteilaria37 nearly half of the kola of seven syllables are of this type. Whatever conclusion one may draw from this phaenomenon, the extremely high percentage of anapaestic second hemistichia in our poem corresponds very well with its high age —
34. Cozza-Luzi, 256.
35. Sevcenko, op.cit. {above, n.ll), 206-7 and 215.
36. This observation corresponds very well with Cozza-Luzi's consideration (op.cit., 253, n.l) that the scribe, being originate from Dyrrhachion, "neque esset putandus immemor carminum Theodosii episcopi sui, quae forte ipse in patria cecinerat".
37. Cf. notes 3 and 15.
Theodosios of Dyrrhachion would be a chief witness for Politis' theory according to which this would be the original form of the verse, derived from the dodecasyllable38.
The following new edition of the text is based on the plates from Lake. Only for one passage (i.e. the greater part of E) I had to rely on Cozza-Luzi's transcription; he must have seen much more on the manuscript than is possible to recognize on the plate. Merely orthographic mistakes of the manuscript have not been noted in the apparatus, whereas variants of sound or stress have been taken into account.
'AX<paPr)Tov eig Evxatgiav
Tloír\pa 0so8oaíov prjxponoXírov Avppaxíov
'Ayánrt ó Oeóg saxiv ov prfSkv aXXo Kpsixxov. 'ApéoKSi Osa Sk nag xig áyanav rov nXr\aíov.
'Q Eurasia, avvév<iaóv ps>. ■ Bíog KaXóg Kai ápioTog dg pr) psxsxsi <p6óvow BaaíXeiog Sk vovg éaxiv xav nadav avtoKpáxap.
<TQ Evxa^ía, avvéxiaóv ps>. Taaxpóg Tág řjSovág Kpaxav afiéaeig nadav xřjv <pXóya' rXáoor) Sk xaXivóv kvBeig oó pExapeXr\dr\arj.
<'Í2 Eóxa^ía, ovvéxiaóv ps>. Aapov 6eov xó KáXXiatov ó třjg aoq>íag nXovrog' Ai8áxBr)xi oův, ávOpmne, (pojieiaOai rov Sozfjpa.
<rí2 Eóra^ía, avvÉriaóv ps>. EůsXnřig eao npóg Oeóv fj npóg ávQpánovg paXXov 'Ev ó Suvíjai] zev^aoOai sóx^v návrav pgSíwg.
TQ Eům^ía, ovvétioóv pe. Zfjv év nsvía QéXr\aov Kal pi) sv áOvpíq.' Zafjg yáp áyaOfjg ápxr) nXovtog xav padripáxav.
<~Q Evxa^ía, avvéxiaóv pe>. "H6rj xPrl'JTa ^ai aúveaiv kekxtjoov avv áyveíq' 'HXiKiáxag xípa 5ě xoůg dvxag ópo^rjXovg.
'Q Eůx<a^ía, avvéxiaóv pe>. &vpóv ^aAiVoir nxaaig yáp ávSpi Ovpóg vnápxsi' Qvpav Sk 6ov ooíg ^EíAeaív Kai pr) XoiSópei cpíXovg.
<~Í2 Evxa^ía, avvéxiaóv pe>.
38. Politis, 1.1. (above, n. 13); in his last contribution to the subject (above, n.9), p. 216, he does not fully maintain this theory.
144
WOLFRAM HÖRANDNER
POETIC FORMS
145
"Ig pév yáp Sari rö Oappelv tpíXoig rov t^fjv aq>oßwgm 63r "Ig 8' šari náXiv pr) Oappeiv tpíXoig npiv SoKipóang.
<~Q Evra^ía, avvériaóv pé>. KaXóg áKovcov anov8at^e Kai tö KaXóg yevéaGar KaXdv yáp ěpyov SeÍKwrai, oů StáKevoi Xóyoi.
Tß Evra^ía, <avvénaóv ps>. Aéye o~oq>íag prjpara Kai pij rá npóg ájtárnv Aóyio Osov ávoíycov 8s aóv arópa aotpóg lan.
7Í2 Evraq'ia, <avvénaóv pe>. Méyiorov önXov kskttjgov rcov küköv ánpa£,íav MvoTTipícov rovg <píXovg 8é á^íovq imnóOsi.
<~Q Evraq'ia, avvériaóv ps>. NoeTv rá nXsiara OéXnaov Kai tpOéyyeadai avv pérpiů' Nópovq Osov 8é (pvXarre, pr) tppev&v ě^a> néang.
<\Q Ema£,ía, avvériaóv pe>. Eévovg ág <píXovg ^évi^e Kai pr) ópgg óg eévovg-Esví^ei 8ě näg ng Oeóv rovg neivóvrag ěKrpétpcův.
<*ß Eurasia, avvériaóv ps>. "OXiaOog pév ávSpóg ěonv aKvßepvnrov arópa-'Otppvg 8é véoig nápsanv ánpoópiarov nr&pa.
<rQ Evraq'ia, avvézioóv pe>. TloXXovg pév čvrag <píXovg gov evnpepßv svptjaeig-riiozovg 8' SKsívovg Kéxpnaov rovg ěv Kaipcp rfjg C,áXr\g.
<'Q Evraq'ia, avvériaóv pe>. 'PcúpaXéov tö tppóvrjpa yvxřjg ávSpeiorárng-'Pési 8ě KáXXog aáparog coanep ávdn Täv SévSpcov.
rí2 Evra^ía, av<vénaóv ps>. Zrétpavov KáXXovg öXßiov svxi) yovéav tíXékev Eocpíag olKog 8ě éariv rartEivó<ppa)v KapSía.
<'Q Evraq'ia, avvériaóv pe>. TansivmOeig vyadnri npög rř\v ávco nopsíav To Tfjg yvxAg 8ě <pvanpa mnrérto kotců ráxog.
<'Q Evraq'ia, avvériaóv pe>. "Yy/og áperřjq né<pvKev raireivóippoiv KapSía-'YnoTpo<pTf 8t nétpvKEV nXrjv pévToi Osov póvov.
<*Q Evra^ía, avvériaóv ps>. QíXovg nporípa yévovg aov, ovg šaxsg ěv áváyKTj-0svys 8ě rovg ě^áyovrag pvarnpícov röv <píXov.
<\ß Evra^ía, avvériaóv ps>. Xpvaov navróg rovg (píXovg aov řjyov nponparépovg-Xpvaóg noXXovg ánáXeasv ó enißovXog <píXog.
<Tí3 Evraq'ia, avvériaóv pe>.
YevSog dXioKei dnavrag rovg avrco Ksxpnpsvovg-Woyog avriKpvg 8s eariv snaivoq 6 Kar' oyiv.
<~Q Evraq'ia, avviriaov ps>. *Q dSsXtpoi Kai (piXraroi, rovg rfjg aocpiag Xoyovq 'Qpaiovg dvrag avvsrs gSovrsg rw Kvpico'
<*Q Evraq'ia, avviriaov pe>.
C Cod. Crypt. B. a. XXI, f. 62'-63' Co. Cozza-Luzi
Al 6 om. Co. A2 Se om. Co. fort. ''ApioKZi 8i na<; Osm scribendum Bl Biov xaXov Kai dpwTOv C B2 voug iariv C T2 -peXi- C: -fisU- Co. El formam cveXnfig (de qua v. TGL) testimonio codicis (EbsXntii;) confirmatam servari posse putavi: Eiiekmt; Co. tow CCo. E2 5uvrjo£( Co. evxn CCo. HI KaiKriaov C: kektioov Co. Ol jfoAiwoO Co. dvSpoq C ©1+N2 Gu/jov xaMvov, prj ippevmv ^o> nior\$ = Greg Naz., PG 37, 909A, v.8 ©2 9oC s.l. (alt.m.) C rof<j Co. XiStaprj C: XoiSwprj Co. 11.2 accentus in C positos servavi: yap ion.. I; 5' son Co. Kl icaXdg C recte (cf. LS s.v. dKoOm III 2) : Kakag Co. ("cum bonus sis auditor") Kl cf. Greg. Naz., PC 37, 935A,v. 101 to om. Co. K2 an SeiKvvm scribendum? A2 \6yov C Aoyio Se 9eo0 dvoiymv Co. Ml OTimofCCo. N1 ovpusTpo) C N2 ipvldxriov ' Co. ih,aneaeiq Co. Ol dvSpdg eoriv C 02 o<ppvq C: Oippuq Co. napeonv C : ndpean Co. nI evpioeiq CCo. PI 'PaspaXaiov C P2 tioncpwvdriTav C: iSarrep dvOriTcov Co. II oXprjov C: oXov Co. Tl naipiavC: nopiav Co. Y2 YnoTpuipi)... pev tou BcoO fiovovCo. <D2 puarripiav xdv ipiXov scripsi ("qui abducunt amicum a mysteriis") : pvorqpimv rav yiXcov C : pvarijpia rav piXav Co. ("qui produnt amicorum secreta") X1 Xpvaouv C: Xpvooix; Se nav-rog <f>.a. Co. rj>ou Co. 4" I avrov C: avrov Co. 4*2 Adyog dvviKpCg Co. Post finem carmi-nis C addit:
'AXipafinrdpiv eig eura^iav. Yloir\pa ©eoSooiov pr]TporroXiroi> Avppaziou. Mepvqade riaCXov raneivov povaxov oi dvayivaioKOvreg Sid tov Kvpiov. 'Aprjv.
Some peculiarities of epigrammatic poetry in the ninth and tenth century
When at the beginning of the ninth century, after the so-called Dark Centuries, the first epigrams begin to appear, these are pieces for which inscrip-tional use is probable and in some cases evident. Of course, I am thinking here primarily of the famous iconoclastic poems on the Chalke (Fig. 1), together with the iconodule pendants Theodore Studites opposed to them39, and
Zacpcoq  6 McocTJq   &lXev Apxdq         ev tutiS2v
Ex©pov xpaTriaaq . Nuv 6e niaxuv to xXeoZ Peup.a     xpaxaiov     ZTAYPOZ       lo-xv.oz nXdvnZ.
rpatpev      yap    <^6e Iux6Xe9pov       ev pCS^
i v6a\|j.a      xex^7!?.               xe xp up.p. £ vo v JBeXoZ
0p|j.r)q         deeap.ou Zuairpatpev    ripen paXA.
Noetv    ydp    ootwc; Et6oaL    XpiaTOv 9e|j.lZ.
Fig. 1.
39. Texts in PG 99, 436-40; full discussion of the manifold problems concerning these epigrams, in the following works of P. Speck: Kaiserliche Universität (above, n.18), 74, n. 3; Die/