mainly identified with Greek hagiography, Symeon Metaphrastes, is important not as an original author, but only as an editor. Symeon revised in the 10th century, according to the rhetorical and linguistic principles of his day, numerous old Acts of the Martyrs, and incorporated them in a collection consisting of several volumes, which was circulated in innumerable copies, and thus to a great extent superseded the older original texts. These Acts of the Martyrs, in point of time, are anterior to our period; but of the Lives of Saints the greater portion belong to Byzantine literature. They began with biographies of monks distinguished for their saintly living, such as were used by Palladius about 420 in his Historia Lausiaca. The most famous work of this description is that by Athanasius of Alexandria, viz. the biography of St Anthony, the founder of monachism. In the 6th century Cyril of Scythopolis wrote several lives of saints, distinguished by a simple and straightforward style. More expert than any one else in reproducing the naïve popular style was Leontius of Neapolis in Cyprus who, in the 7th century, wrote, among other works, a life of St John the Merciful, archbishop of Alexandria, which is very remarkable as illustrating the social and intellectual conditions of the time. From the popular Lives of Saints, which for the reading public of the middle ages formed the chief substitute for modern “belles lettres,” it is easy to trace the transition to the religious novel. The most famous work of this class is the history of Barlaam and Josaphat (q.v.).
The religious poetry of the Greeks primarily suffered from the influence of the ancient Greek form, which was fatal to original development. The oldest work of this class is the hymn, composed in anapaestic monometers and dimeters, which was handed down in the manuscripts Religious poetry.with the Paedagogus of Clement of Alexandria (d. about 215), but was probably not his work. The next piece of this class is the famous “Maidens’ Song” in the Banquet of St Methodius (d. about 311), in which many striking violations of the old rules of quantity are already apparent. More faithful to the tradition of the schools was Gregory of Nazianzus. But, owing to the fact that he generally employed antiquated versification and very erudite language, his poems failed to reach the people or to find a place in the services of the church. Just as little could the artificial paraphrase of the Psalms composed by the younger Apollinaris, or the subtle poems of Synesius, become popular. It became more and more patent that, with the archaic metre which was out of keeping with the character of the living language, no genuine poetry suited to the age could possibly be produced. Fortunately, an entirely new form of poetical art was discovered, which conferred upon the Greek people the blessings of an intelligible religious poetry—the rhythmic poem. This no longer depended on difference of quantity in the syllables, which had disappeared from the living language, but on the accent. Yet the transition was not effected by the substitution of accent for the old long syllables; the ancient verse form was entirely abandoned, and in its stead new and variously constructed lines and strophes were formed. In the history of the rhythmic sacred poetry three periods are clearly marked—the preparatory period; that of the hymns; and that of the Canones. About the first period we know, unfortunately, comparatively little. It appears that in it church music was in the main confined to the insertion of short songs between the Psalms or other portions of Holy Writ and the acclamations of the congregation. The oldest rhythmic songs date from Gregory of Nazianzus—his “Maidens’ Song” and his “Evening Hymn.” Church poetry reached its highest expression in the second period, in the grand development of the hymns, i.e. lengthy songs comprising from twenty to thirty similarly constructed strophes, each connected with the next in acrostic fashion. Hymnology, again, attained its highest perfection in the first half of the 6th century with Romanos, who in the great number and excellence of his hymns dominated this species of poetry, as Homer did the Greek epic. From this period dates, moreover, the most famous song of the Greek Church, the so-called Acathistus, an anonymous hymn of praise to the Virgin Mary, which has sometimes, but erroneously, been attributed to the patriarch Sergius.
Church poetry entered upon a new stage, characterized by an increase in artistic finish and a falling off in poetical vigour, with the composition of the Canones, songs artfully built up out of eight or nine lyrics, all differently constructed. Andreas, archbishop of Crete (c. 650–720), is Canones.regarded as the inventor of this new class of song. His chief work, “the great Canon,” comprises no less than 250 strophes. The most celebrated writers of Canones are John of Damascus and Cosmas of Jerusalem, both of whom flourished in the first half of the 8th century. The “vulgar” simplicity of Romanos was regarded by them as an obsolete method; they again resorted to the classical style of Gregory of Nazianzus, and John of Damascus even took a special delight in the most elaborate tricks of expression. In spite of this, or perhaps on that very account, both he and Cosmas were much admired in later times, were much read, and—as was very necessary—much commentated. Later, sacred poetry was more particularly cultivated in the monastery of the Studium at Constantinople by the abbot Theodorus and others. Again, in the 9th century, Joseph, “the hymn-writer,” excelled as a writer of songs, and, finally, John Mauropus (11th century), bishop of Euchaita, John Zonaras (12th century), and Nicephorus Blemmydes (13th century), were also distinguished as authors of sacred poems, i.e. Canones. The Basilian Abbey of Grotta Ferrata near Rome, founded in 1004, and still existing, was also a nursery of religious poetry. As regards the rhythmic church poetry, it may now be regarded as certain that its origin was in the East. Old Hebrew and Syrian models mainly stimulated it, and Romanos (q.v.) was especially influenced by the metrical homilies of the great Syrian father Ephraem (d. about 373).
In profane literature the writing of history takes the first place, as regards both form and substance. The Greeks have always been deeply interested in history, and they have never omitted, amid all the vicissitudes of their existence, to hand down a record to posterity. Thus, Profane literature; historical accounts.they have produced a literature extending from the Ionian logographers and Herodotus down to the times of Sultan Mahommed II. In the Byzantine period all historical accounts fall under one of two groups, entirely different, both in form and in matter, (1) historical works, the authors of which described, as did most historians of ancient times, a period of history in which they themselves had lived and moved, or one which only immediately preceded their own times; and (2) chronicles, shortly recapitulating the history of the world. This latter class has no exact counterpart in ancient literature. The most clearly marked stage in the development of a Christian-Byzantine universal history was the chronicle (unfortunately lost) written by the Hellenized Jew, Justus of Tiberias, at the beginning of the 2nd century of the Christian era; this work began with the story of Moses.
Byzantine histories of contemporary events do not differ substantially from ancient historical works, except in their Christian colouring. Yet even this is often very faint and blurred owing to close adherence to ancient methods. Apart from this, neither a new style nor a new critical method nor any radically new views appreciably altered the main character of Byzantine historiography. In their style most Byzantine compilers of contemporary history followed the beaten track of older historians, e.g. Herodotus, Thucydides, and, in some details, also Polybius. But, in spite of their often excessive tendency to imitation, they displayed considerable power in the delineation of character and were not wanting in independent judgment. As regards the selection of their matter, they adhered to the old custom of beginning their narrative where their predecessors left off.
The outstripping of the Latin West by the Greek East, which after the close of the 4th century was a self-evident fact, is reflected in historiography also. After Constantine the Great, the history of the empire, although its Latin character was maintained until the 6th century, was mostly written by Greeks;
