The Late Medieval Greek Vernacular Πολιτικὸς Στίχος Poetry: A Modern Linguistic Analysis into Intonation Units

Abstract

The Late Medieval Greek “vernacular” (12th–15th c.) is one of the least studied stages of the history of the Greek language. The lack of interest by linguists can presumably be ascribed to its major source, i.e. metrical πολιτικὸς στίχος poetry. The language of this type of poetry has been labelled a “Kunstsprache”, because of its oral-formulaic character and because of its mixed idiom incorporating vernacular yet also archaizing elements. In this article, however, I demonstrate that the Late Medieval Greek πολιτικὸς στίχος poetry should not automatically be excluded from linguistic research, given that it clearly possesses a strongly vernacular, i.e. spoken, syntactic base: its underlying syntax runs in a very natural way. This is proven by the fact that we can apply the modern linguistic concept of the Intonation Unit, the basic unit of analysis in contemporary spoken(!) languages, to the texts composed in the πολιτικὸς στίχος: far from having an artificial syntax, the πολιτικὸς στίχος poetry is conceptually made up of short, simple “chunks” of information. More precisely, each verse consists of two (stylized) Intonation Units, demarcated by the fixed caesura, which can thus be equated with an Intonation Unit boundary. This thesis is supported by various arguments, both of a metrical and of a syntactico-semantic nature. Arguments belonging to the former category are the length of each half-line, the possibility of stress on the first syllable of each half-line, the origin of the metre, and especially the avoidance of elision at the caesura. In the second category of (syntactico-semantic) evidence, we can consider the tendency of each half-line for constituting a grammatical sense-unit. I also bring forward some little-studied syntactic features of Late Medieval Greek: first, I pay attention to the distribution of the archaizing “Wackernagel particles”, which do not only appear in second position in the verse, but also occur after the first word/constituent following the caesura and thus further confirm my thesis. The same holds for the position of “corrective afterthoughts”, for the verbs and pronominal objects taking the singular are consistently separated from their plural referents by the caesura. Once the Intonation Unit is thus established as a meaningful methodological tool for the analysis of the πολιτικὸς στίχος poetry, the way is cleared for more linguistic research on the Late Medieval Greek vernacular.

A cognitive analysis of metrical irregularities in the ‘Ὥσπερ ξένοι’ book epigrams

“…38 In recent years, Chafe's theory of IUs has been consistently and successfully applied to the analysis Byzantine poetry by Soltic, who has convincingly shown that the cola of the Byzantine meters are the metrical equivalents of IUs. 39 Cola are in essence cognitive units, both conceptually (qua 'idea') and formally (qua 'intonation') which function as the building blocks of the verse, an insight anticipated by Mackridge and Lauxtermann. 40 The latter's 'principle of pairing' 41 explains the origin of the decapentasyllable as the pairing of an octa-and a heptasyllable, two independent metres which were often paired to form decahexa-and decatetrasyllabic verses respectively.…”

The Particle γάρ: From Ancient Greek Sentence Connector to Blatant Line Filler? A Case-study on the Late Medieval GreekChronicle of Morea

“…4 Let us now verify whether γάρ still follows immediately after the first word/constituent of the IU in the Chronicle of Morea. Applied to the metre of the πολιτικὸς στίχος, we can compare the fixed caesura (#) after the eighth syllable with an IU-boundary (Soltic 2014). By far the most important argument why the so-called "strong caesura" (Horrocks 2010, 328) implies a breathing pause is the fact that elision (the omission of a vowel) is avoided between the eighth and the ninth syllable, whereas it is allowed elsewhere (Apostolopoulos 1984, 211;Lendari 2007, 132).…”