Byzantine Poetry in Context 49It is simply a trite poetic device that helps to ensure that all those present at
the recital of a panegyric or another occasional poem feel obliged to take part
in the universal merriment. Let us look, for instance, at the beginning of Leo
Choirosphaktes’ anacreontic celebrating one of Leo VI’s marriages: “I un-
hooked and took my lyre, touching the right chord, when I saw the tender
maiden below the sweet canopy. All ye lads, weave garlands at once and chant a
musical ode. See the thorn of the rose, see the plectrum of desire; impart
freshness to the flame and inflame the fresh desire”^69. In the first strophe of the
anacreontic, the lyrical subject adroitly presents himself in the guise of a new
Anacreon, who grasps his lyre as soon as he spots the lovely bride, and then
intones the epithalamium that follows. The first strophe is self-referential. It
describes the enactment of what is already taking place. In the intercalary
distich (printed in italics), the poet addresses the choir of young men and urges
them to participate in the singing. This refers once again to the actual perform-
ance of the poem, for the choir has been hired to sing the intercalary distichs,
including this one (whereas the strophes are sung by a soloist). In the next
strophe, the poet directly addresses the audience present at the recital of the
poem and asks them to witness the wedding ceremonies. Look at the thorny
rose of love, listen to the plectrum of desire! Bride and groom are all flames;
temper their burning passion, yet kindle it lest it cool off! By using the
imperative mood, the poet appeals for all those present to engage in the
festivities, to look at what is going on before their eyes and to listen to his
poem. Thus the purpose of the first two strophes and the intercalary distich is
to set the stage for the performance of the epithalamium by introducing the
lyrical subject (impersonated by the soloist), addressing the choir of young
men and inviting the audience to participate.
The audience is also present on occasions of public mourning. The monodies
that resound at funerals always address the audience. The monody on the
death of Leo VI, for instance, begins as follows (in the metrical translation of
Ihor Ševcenko)^70 :
O ruling City, wail; remove thy queen’s crown from thy forehead;
thy citizens bid to convene and to bemoan thy ruler.
O vanity triumphant.Here the imperial city, Constantinople, is personified and figures as a
symbol of loss and sad bereavement. It wails, it moans, it laments. It removes
the wreath from its forehead. Emperor Leo is dead and the funeral rites are
taking place. No wonder the citizens of Constantinople feel sad. As they are all
(^69) Ed. CICCOLELLA 2000a: 76 (vv. 1–10).
(^70) Ed. ŠEVCENKO 1969–70: 201 (text) and 204 (translation).