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English 518, Dr. Burnham
rhetoric as “highly intentional, nationalistic, and morally oriented” (46). The Digenis
Akritis epic of Byzantium serves these functions. Furthermore, Digenis Akritis itself is a
Greek rhetorical style at a time of Classical and Hellenistic Greek doctrine. The tales of a
frontiersman righting the wrongs of the world with his trusty staff was told over
centuries, perhaps from various legends that changed to suit the needs of both speaker
and audience. In this paper, I will frame the Digenis Akritis in an historical context to
show its highly rhetorical value: namely, that its purpose is to persuade people
(particularly those on the outskirts of Byzantine Rome) to join the Byzantine empire, by
Historical Background
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Though it is not central to the argument, a brief overview of the Byzantine Empire
is necessary to tie the work to both Rome and a Greek rhetorical tradition. Westerners in
particular— those who are not students of history— know little about Byzantine and view
it as an exotic entity without ties to the west. In fact, the Roman Emperor Constantine,
a seat of political and bureaucratic power in the fourth century. Decline in the Roman
West, due largely to barbarian raids, brought about the much studied “fall of the Roman
Empire.” Yet the Roman “Empire of the East survives… Latin gives way to Greek, the
world of the intellect to that of the spirit; yet the classical tradition remains unbroken”
(Norwich 36). The convergence of potent historical forces— Roman wealth and power,
Ancient History at the University of London, says in his book The Byzantine Empire,
“Many of the classical Greek literary genres had died out centuries before, when the
social and political conditions which favored them were superseded” (22). Grand
Rarely do such powerful threads of history meet and intertwine. The birth of new
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empire resurrected Greek rhetorical traditions, now with a Christian impetus. The
work that we would now call literary studies” (Welch 358) became the norm in
cosmopolitan areas, basing “higher education under the rhetor… . and it was not confined
of… education based on rhetoric affected ancient Greek history and subsequently Roman
culture” (Welch 362). Classical education in the Greek tradition flourished, with both a
rhetorical and literary basis that paved the way for works such as the Digenis Akritis.
Yet the borderlands of the Roman Empire— now of Greek language, schooled in
Classical Greek grammar, history, literature, and rhetoric— faced old Greek adversaries.
Persians and Arabs maintained and expanded their own empires. Like the Romans, they
too soon had a young and vibrant religious impetus. Followers of the Prophet Mohammed
swept through Syria and elsewhere; the Eastern Roman empire of Byzantium responded
in the Greek tradition: sometimes with force, but often with the power of rhetoric.
The Digenis Akirits has been called Byzantium’s only epic poem and exists in six
surviving manuscripts dating from the 10th C. A.D. (Jeffreys xii-xv). No single author—
and certainly no particular year of composition— may be assigned to the Digenis Akiritis.
Greek, but the texts suggest “constant change rather than conservative copying” while the
stories themselves imply an “oral tradition” (Jeffreys xxx-xxxi) across centuries. In fact,
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variations of the story passed through perhaps centuries of oral narrative, with layers
being added and adjusted both in the oral and written traditions (Browning 143).
Naturally, some inconsistencies appear in the final written product— for instance, changes
from third to first person point of view— belying multiple authorships. Rather than imply
an incohesive message, the survival of the manuscript through time and in so many forms
numerous rhetorical speeches contained therein, some with the highly political purpose of
extending the Roman Empire into contested Muslim and borderland territories.
The Western phonetic spelling of the epic comes in almost as many varieties as
the manuscript itself, including “Digenis Acritas” and “Digenis Akritas” among others.
Of particular interest for our purposes is the rather obvious meaning of the word
“Digenis.” The hero of the poem, Basil the Frontiersman, in fact derives from two (di-)
genealogies ( -genis)...that is, Basil derives “of Double Descent” (Jeffreys xv), having
Elizabeth Jeffreys and serving as this essay’s primary source, herein referred to by the
Book and Line numbers), an unnamed Syrian emir, the soon-to-be father of Basil Akritis,
fell in love with a Roman slave and converted to Christianity to take her as a wife. His
mother back in Syria was not pleased by this affair. Her letter to him serves as the first
“Most beloved child, how could you have forgotten your mother,
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(Book 2, 52-98)
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The point of view of the mother is both nationalistic and Arab. More importantly,
the ethos of the emir’s mother cannot be denied. As Aristotle states, “[C]haracter is
almost, so to speak, the most authorative form of persuasion” (Kennedy 39) The mother
cares for the well-being of her daughters, the honor of the son whom she addresses, and
the allegiance she holds to her country, God, and Prophet. Yet her words and her
language are Greek, and Greek authorship appears beyond the seemingly incongruent
reference to “Hades.” In fact, her argument carries with it rhetorical trappings long held
in the Greek tradition. Again from Aristotle: “There are three reasons why speakers
themselves are persuasive… [and t]hese are practical wisdom [phronesis] and virtue
[arête] and good will [eunoia]” (Kennedy 112). Just as clear as her appeal to ethos is her
appeal to logos, reminding her son of the greatness he stands to lose and that he “was
Pathos plays the most significant role here, clearly in the form of summoning guilt
for the hardships she and her daughters are likely to face given the emir’s behavior.
Insofar as the pathos of the mother’s speech, I would call attention to her display of
anger. Aristotle states that people display much more of this anger “if they suspect they
do not really have [what they take pride in], either not at all or not strongly (Kennedy,
119). Though the emir’s mother shows wisdom, virtue, and good will, her manner of
speech wrecks these ethics with petty phrases such as “pig-eater” and a call for her own
son to be “accursed.” Her point of view (that is, not of the Greco-Roman Christian state)
is thus set up as a polemic. That is, though weighty and almost inarguable at one level,
fault lines may be found in her general demeanor. A counterargument would have to
show her worries as equally petty and insignificant. That rhetorical reply arrives in the
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contrary point of view in the form of an omniscient narrator, orator, or poet. Basil the
Frontiersman, now grown and knowing success in his exploits, has built a palace. The
perspective.
(Book 7, 63-101)
What a change from the narrow view of Basil’s Syrian grandmother! Implicit in
Alexander. Judean history stands at the forefront with the stories of Samson, Moses, and
David, with preceding Greek ancient and classical history kneaded in only later, in the
form of Achilles, Odysseus, Penelope, and Alexander, as though all of history occurred at
But the events not included call attention after careful inspection. The Roman
rhetorician Quintilian said in his Institutio Oratoria that “[e]ven a philosopher is at times
permitted to tell a lie.” The lie here is only by omission. Persian monarchs are absent, as
are Arab sultans, the Visigoths. Even western Rome has been excluded. The whirlwind of
history takes no time for any sign of defeat or controversy. One of the great rhetorical,
political, and cultural arguments appears here in a narrative form and appeals to the logos
and pathos of the audience with the ethos of the omniscient, even god-like, narrator at the
forefront. The argument is vivid and fearful. Worse than military defeat, of greater import
than the psychological fear of losing one’s soul to the “wrong god,” not joining with
Notably, Christ also appears excluded despite the mention of other gods. Two
reasons may account for this. First, and already mentioned, is the shying away from any
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sign of defeat or controversy. Christ, for instance, died at the hands of Rome, which
implication of Rome in his death. Also, Christianity was a relatively young religion,
particularly in the region, and characters of longer-lasting, historical import may have
been preferred. The second reason, and probably more likely, is that Basil Akritis himself
served as a Christ-figure. The way the mosaic unfolds history, step by step, is in some
ways reminiscent of the Stations of the Cross. Here, Basil stands as Christ, in person, at
the center of this history. Such comparisons were not necessarily considered sacrilegious
Myths of the Middle Ages, St. George suffered no less than seven martyrdoms and
resurrections, and found “his worship soon extended through Phoenicia, Palestine, and
the whole East… [and in] the seventh century had two Churches in Rome” (129). Christ-
like figures, so common in some literature, had very literal implications among some
early Christians, many of whom still lived in world of spirits and demigods. The “Christ”
missing from the mosaic could well have Basil and in fact, Rome itself resurrected as
Byzantium.
Transition
What happened between the two speeches? The first speech presents an Arab and
in fact Islamic point of view. The second speech (presented as narrative) excludes all of
history that does not tie into a clearly Byzantine imperial objective. Basil the
Frontiersman— who grew up, defeated monsters, slew lions, and overcame scores of
thieves and other “evil-doers” at the fringes of the Byzantine Empire, all with the aid of
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his trusty staff— ought to have remained the Digenis… that is, the man of “Double
Descent” (Jeffreys xv). How is it that he came to forsake half of his heritage and thus,
half of known history? Does his affiliation with the Byzantine state supply the answer? It
could, though his mural presents a greater kinship with Greek and Judean history than of
current political affairs, shying even from mention of the Crucifixion. Also, Basil the
Frontiersman’s adventures occur (true to his moniker) in the borderlands, never in the
apparent Greek origin, not Persian or Arab. Perhaps, then, his love of Christ negated half
his ancestral background. But again, nowhere does Christ appear in his history-laden
mural. For certain, the argument presented by the Digenis Akiritis was to join the
Byzantine Empire and follow Christ. Yet these are the desired ends or outcomes of the
The vehicle of that argument, the objective, and in fact the modus operandi as
shown throughout the epic, is Eros. And not just Eros in the general sense of love, but
rather Eros in the ideal and Platonic sense of both madness and the divine, codified and
“When passion is the master it enslaves good sense” (Digenis Book 2, 342).
The Digenis Akiritis is every bit as much a work of Greek rhetoric in the Classical
the various tirades of Isocrates or Aristotle. Of course, any Western thought may be seen
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as derivative of Classical Greek thought. Nietzsche and Shakespeare, for instance, both
familiar with Greek rhetoric, each reminded us that “love is madness.”2 Modern-day
political speeches, or even popular music and film may be viewed through the lens of
Classical Greek rhetoric as outlined by Plato, Aristotle, and others. No doubt, Classical
Greek works have infiltrated our culture on many levels; in the case of early Medieval
Byzantium, however, Greek works and tradition were the culture, part an “Eastern
renaissance” that occurred a thousand years before the Renaissance of Western Europe—
higher schools of philosophy and law… .evidence not merely of the states need to train
specialists for its own services, but a dawning realization that one of the elements of the
empire’s superiority over its neighbors… was precisely its direct access, through Greek
language, to the treasures of ancient thought” (Browning 121). Classical Greek thought
So what of the role of Eros in the Digenis Akritis? It brought Basil’s parents
together for one thing. As the emir accounts, “Her beauty enflames me” (Book 1, 294),
but more importantly, it causes him to “renounce his faith” (Book 2, 9). Clearly, love is
indeed madness as the emir stood to lose not only what he had conquered, but his
standing among his people, his family and also threw his mother into fits. Yet the
madness of Platonic “love” embodied more than simple physical attraction. Eros in the
Digenis Akritis serves less a sexual or dramatic function than a consciously Platonic call
to Christ.
Love may be a madness, in the words of Plato through the mouth of Socrates, but
it is also a “divine gift” and the “source of the chiefest blessings granted to men” (Plato,
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includes the prophetic. He refers to love as “your lord and also mine,” calling love’s
madness “superior to the sane mind,” and it inspires “noble deeds”… that it “entered with
holy prayers and rites” those who suffered “plagues and the mightiest woes” and offers “a
way of deliverance” (Plato, Phaedrus). No wonder Plato’s work found its way into the
lexicon of early Christians, as evidenced by the inclusion of his work among the scrolls
found near Nag Hammadi, Egypt! Love, or Eros, for Plato goes beyond the corporeal,
into the cosmological and the mystical, with earthly or corporeal love being like an angel
who lost its wings, serving as a window to something more divine. Earthly love is but a
glimpse of something greater— the love of God. “although fancy, not having seen nor
surely known the nature of God, may imagine an immortal creature having both a body
and a soul which are united throughout all time” (Plato, Phaedrus).
Clearly, with its relationship to salvation, the flesh and the divine, and the
immortality of the soul, anyone could draw connections between Plato’s Eros (or for that
matter, an abundance of ancient and Classical Greek myths and doctrine) and the
“mythical Christ”— in fact, and abundance of texts have been written on the matter.3 For
our purposes, the question is: Does the Digenis Akritis use the Classical Greek, and in
fact Platonic, concept of Eros as a rhetorical call to action, namely as an argument for
conversion to Christianity?
Quite explicitly: “Who would not be astounded at this, who indeed would not be
surprised / to learn precisely the power of Eros / how he united those of a different race,
bringing them into one faith?” (Book 3, 320-323). Eros led Basil the Frontiersman’s
Muslim Father not only to a woman, but to Christ. Notes in the Jeffrey’s text state that
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Eros here is introduced “with the attributes of the Hellenistic God of Love” (45) yet the
god serves as a vehicle to Christendom. “Thus every lover is a slave of Eros / for Eros is
a judge who tortures the hearts / of those who do not follow correctly the paths of love”
(Book 2, 1-3). Could this love be the love of some greater power, here seen in the form of
an earthly woman? Almost immediately, the emir “renounced his faith for the love of a
girl” (Book 2, 12) to follow Christ. Just Plato’s love for the corporeal is but a reflection
leading to the eternal soul, the emir, though (or rather, because!) he is maddened by love,
finds his way to the immortal love of Christ. Mirroring his father’s salvation, Basil
Akritis’ love of a woman similarly brings him closer to Christ; in the case of Basil, he
understands the connection. Speaking to her: “In you is my every beginning and my end /
that had its beginning with God, until my death; / and if I ever should wish to grieve you,
my soul / and if I do not preserve untroubled your love for me / and your most pure desire
until my death, / may I not die a Christian” (Book 4, 555-560). Eros, the love of a
woman, his own soul, is for Basil, the complete and utter devotion to Christ.
The clear and conscious lines between Plato’s mystical Eros and those found in
the Digenis Akritis thus far have been dealt with by means of literary analysis, not
precisely rhetoric. To function as rhetoric, more than a simple call to action (in this case,
salvation by the love of Christ) must occur. For instance, the argument for Eros has
appeared solely in the form of dramatic narrative, unlike the clearly rhetorical speeches
referred to in early sections of this paper that create the dialectic form of argument and
counter-argument. For that matter, Eros itself has thus far appeared in the form of a
we may easily have imposed the template of Platonic Eros over hand-picked events
(rather than arguments) in the Digenis Akritis until we found a suitable fit, mistaking lust
for some (presumably) higher form of Godly love. Fortunately, Classical Greek form of
his foundational work On Rhetoric goes so far as to base rhetoric itself upon such
dichotomies, stating that “rhetoric is useful, [first] because the true and just are by nature
stronger than their opposites, so that if judgments are not made in the right way [the true
and the just] are necessarily defeated [by their opposites]” (Kennedy 35). True to this
almost childlike view of the world, and certainly aware of it by means of renewal of
Classical Greek learning in the educational system, the Digenis Akritis offers us an
opposing alternative— a counter-argument of the dialectic— and she appears in the form
of Maximou.
“was a descendant of the Amazon women” (Book 6, 385). She appears with snakes, and
her beauty is described in every bit as much detail as that of Basil’s wife or his mother,
and her erotic appeal described even more so. For example: “In her beauty she had an
inconceivable brilliance, / she radiated ineffable grace from her eyes, / her appearance
was that of a lovely young plant / and she enchants the souls of all, like a breathing
picture (Book 6, 410-413). Yet, in all the lavish descriptions (and there are many) of
Maximou, Eros, the god of love, remains absent. Basil the Frontiersman does succumb to
her charms— in fact, he does so several times— yet the outcome remains far from the
spiritual outcome of love by the Christian women chosen by both he and his father as
brides. “For once again I slipped into the pit of adultery, / through weakness of mind and
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spiritual neglect” (Book 6, 605-606). By example of the opposite, we see that Eros, even
in corporeal form, means much more to the authors than does lust. Lust leads to adultery,
Conclusions
The Digenis Akritis stands as a Greek work tying itself intentionally to the
Classical Greek world. By means of highly rhetorical speeches and narrative, it served
the purpose of pressing upon its readers (and listeners) an argument towards allegiance to
Rome (Byzantium) and also to Christian fellowship. Less obviously, but most enticingly,
the Platonic concept of Eros became transferred from Plato’s ethereal “God” to the flesh
of Jesus Christ, here personified by two women (Basil’s mother and later his wife) who
Bibliography
Aristotle, On Rhetoric, trans. George A. Kennedy. New York: Oxford University Press,
2007.
Browning, Robert. The Byzantine Empire. Boston: The Catholic University of America
Press, 1992.
Herrick, James A. The History and Theory of Rhetoric: An Introduction. New York:
Pearson Education Inc., 2005.
Jeffreys, Elizabeth. Digenis Akritis: The Grottaferrata and Escorial Versions. New York:
Cambridge University Press, 1998.
Norwich, John Julius. A Short History of Byzantium. New York: Vintage Books 1997.
Quintilian, Institutio Oratoria, trans.H. E. Butler. Public Domain, here referenced from:
<http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Quintilian/Institutio_Orato
ria/home.html>.
Notes
1
All quotes from Plato refer to the Forgotten Books translation unless otherwise noted; see Bibliography.
2
“There is always some madness in love” wrote Friedrich Nietzsche in Thus Spoke Zarathustra; similarly,
William Shakespeare wrote “Love is merely a madness” in his play As You Like It. Both authors were
clearly familiar with Classical Greek rhetoric.
3
See Frazer’s The Golden Bough, Drew’s The Christ Myth, or Weigall’s The Paganism in Our
Christianity.