In conclusion, I should like to say something about Frankish influence on the language and literature of Greece. We are specially told that the Franks of Achaia spoke most excellent French; but, at the same time, there is direct evidence, that in the second generation, at any rate, they also spoke Greek. The Chronicle of the Morea describes how Prince William of Achaia after the battle of Pelagonia addressed his captor in that language, and Duke John of Athens, according to Sanudo, once used a Greek phrase, which is a quotation from Herodotus. Later on, the Florentine Dukes of Athens drew up many of their documents in Greek, just as Mohammed II employed that language in his diplomatic communications. The Venetian Governors of Eubœa, however, who held office for only two years, had to employ an interpreter, who is specially mentioned in one of the Venetian documents. While a number of French feudal and Italian terms crept into the Greek language, as may be seen in the Cyclades at the present day, and especially in the Venetian island of Tenos, the Franks covered the map of Greece with a strange and weird nomenclature. Thus, Lacedæmonia became “La Crémonie,” the first syllable being mistaken for the definite article; Athens was known as “Satines,” or “Sethines,” Thebes as “Estives,” Naupaktos as “Lepanto,” Zeitounion, the modern Lamia, as “Gipton,” Kalavryta as “La Grite,” Salona as “La Sole,” Lemnos as “Stalimene,” and the island of Samothrace as “Sanctus Mandrachi.” Most wonderful transformation of all, Cape Sunium becomes in one Venetian document “Pellestello” (πολλοὶ στῦλοι), from the “Many columns” of the temple, which gave it its usual Italian name of “Cape Colonna.”
The Franks have too often been accused of being barbarians, whereas there is evidence that they were not indifferent to literature. Among the conquerors were not a few poets. Conon de Béthune was a writer of poems as well as an orator; Geoffroy I of Achaia composed some verses which have been preserved; Rambaud de Vaqueiras, the troubadour of Boniface of Montferrat, was rewarded for his songs by lands in Greece. Count John II Orsini of Epeiros ordered Constantine Hermoniakos to make a paraphrase of Homer in octosyllabic verse. We may say of this production, as Bentley said of Pope’s translation of the Iliad, “it is a pretty poem, but you must not call it Homer”; still it is interesting to find a Latin ruler patronising Greek literature. The courtly poet was so delighted that he tells us that his master was “a hero and a scholar,” and that the Lady Anna of Epeiros “excelled all women that ever lived in beauty, wisdom, and learning.” Historical accuracy compels me to add that the “heroic and scholarly” Count had gained his throne by the murder of his brother, while the “beautiful, wise and learned” Anna assassinated her husband! Throughout a great part of the Frankish period, too, people were engaged in transcribing Greek manuscripts. Several Athenians copied medical treatises, William of Meerbeke, the Latin Archbishop of Corinth in 1280, whose name survives in the Argive Church of Merbaka[46], translated Hippocrates, Galen, Aristotle, and Proklos, and one of the Tocchi—the Italian family which followed the Orsini as Counts of Cephalonia—employed a monk to copy for him manuscripts of Origen and Chrysostom. Yet, in 1309, a Theban canon had to go to the West to continue his studies; and, a century later, the Archbishop of Patras obtained leave to study at the University of Bologna.
But the chief literary monument of Frankish Greece is the Chronicle of the Morea—the very curious work which exists in four versions, Greek, French, Italian, and Spanish. The Italian version need not detain us, for it contains no new facts and is merely an abbreviated translation of the Greek, chiefly remarkable for the extraordinary, but characteristic, mutilation of the proper names. The Spanish version, made in 1393 by order of Heredia, the romantic Grand-Master of the Knights of St John, and the French version, found in the castle of St Omer—another proof of Frankish culture—are of great historic interest. But by far the most remarkable of all the four versions is the Greek—a poem of some 9000 lines in the usual jog-trot “political” metre of most mediæval and modern Greek poetry, composed, in my opinion, by a half-caste lawyer, who obviously had the most enthusiastic admiration for the Franks, to whom he doubtless owed his place and salary. With the exception of a few French feudal terms, this most remarkable poem may be read without the slightest difficulty by any modern Greek scholar,—a striking proof that the vulgar Greek spoken to-day is almost exactly the same as that in common use in the first half of the fourteenth century, when the Chronicle was composed. As regards its literary merits, opinions differ. As a rule, it is merely prose in the form of verse; but here and there, the author rises to a much higher level, and his work is a store-house of social, and especially legal information, even where his chronology and history have been shown by documentary evidence to be inaccurate.
The bright and chivalrous Frankish society has long passed away; but a few Italian and Catalan families still linger in the Cyclades, there are still Venetian names and titles in the Ionian Islands; the Tocchi were till lately represented at Naples and the Zorzi still are at Venice; the towers of Thebes and Paros, the Norman arch of Andravida, the noble castles of Karytaina and Chlomoutsi, and the carvings and frescoes of Geraki still remind us of the romance of feudal Greece, when every coign of vantage had its lord, and from every donjon floated the banner of a baron.
3. THE PRINCES OF THE PELOPONNESE
It is satisfactory to note that, after a long period of neglect, the great romance of mediæval Greek history is finding interpreters. Since George Finlay revealed to the British public the fact that the annals of Greece were by no means a blank in the Middle Ages, and that Athens was a flourishing city in the thirteenth century, much fresh material has been collected, by both Greek and German scholars, from the Venetian and other archives, which throws fresh light upon the dark places of the Latin rule in the Levant. Finlay’s work can never lose its value. Its author had not the microscopic zeal for genealogies and minutiæ which distinguished Hopf; but he possessed gifts and advantages of a far higher order. He knew Greece and the Greeks as no other foreign scholar has known them; he had a deep insight into the causes of political and social events; he drew his picture, as the Germans say, in grossen Zügen, and he left a work which no student of mediæval Greece can afford to ignore, and every statesman engaged in Eastern affairs would do well to read. All that is now wanted is for some one to do in England what Gregorovius did in so agreeable a manner for the Germans—to make the dry bones of the Frank chivalry live again, and to set before us in flesh and blood the Dukes of Athens and the Princes of Achaia, the Marquesses of Boudonitza, the Lords of Salona, the Dukes of the Archipelago, and the three barons of Eubœa. Despite the vandalism of mere archæologists, who can see nothing of interest in an age when Greeks were shaky in their declensions, and of bigoted purists among the Greeks themselves, who strive to erase every evidence of foreign rule alike from their language and their land, the feudal castles of the Morea, of continental Greece, and of the islands, still remind us of the days when classic Hellas, as Pope Honorius III said, was “New France,” when armoured knights and fair Burgundian damsels attended Mass in St Mary’s Minster on the Akropolis, and jousts were held on the Isthmus of Corinth.
Of the Frankish period of Greek history the Chronicle of the Morea is the most curious literary production, valuable alike as an historical source—save for occasional errors of dates and persons, especially in the earlier part—and as a subject for linguistic study. The present edition, the fruit of many years’ labour, is almost wholly devoted to the latter aspect of the Chronicle, about which there is much that is of interest. Versions exist in French, in Italian, and in Aragonese, as well as in Greek; and the question as to whether the Greek or the French was the original has been much discussed. The present editor, differing from Buchon and Hopf, believes that the French Livre de la Conqueste could not have been the original. In any case, the Greek Chronicle is of more literary interest than the French, because it throws a strong light on modern Greek. Any person familiar with the modern colloquial language could read with ease, except for a few French feudal terms, this fourteenth century popular poem, many of whose phrases might come from the racy conversation of any Greek peasant of to-day, and is very different from the classical imitation of the contemporary Byzantine historians. Its poetic merits are small, nor does the jog-trot “political” metre in which it is composed tend to lofty flights of poetry. We know not who was its author; but, on the whole, there seems to be reason for believing that he was a Gasmoulos—one of the offspring of mixed marriages between Greeks and Franks—probably employed, as his love of legal nomenclature shows, in some clerkly post. Unpoetical himself, he has at least been the cause of noble poetry in others; for, as Dr Schmitt shows, the second part of Goethe’s Faust has been largely inspired by its perusal; and the hero of that drama finds his prototype in the chivalrous builder of Mistra.
No chapter of this mediæval romance is more striking than the conquest of the Morea by the Franks and the history of their rule in the classic peninsula. At the time of the fourth crusade the Peloponnese was a prey to that spirit of particularism which has been, unhappily, too often characteristic of the Greeks in ancient, in mediæval, and in modern times. Instead of uniting among themselves in view of the Latin peril, the great archontes of the Morea availed themselves of the general confusion to occupy strong positions and to extend their own authority at the expense of their neighbours. The last historian and statesman of Constantinople before the Latin conquest, Niketas of Chonæ, has left us a sad picture of the demoralisation of society in Greece at that critical moment. The leading men, he says, instead of fighting, cringed to the conquerors; some were inflamed by ambition against their own country, slavish creatures, spoiled by luxury, who made themselves tyrants, instead of opposing the Latins[47]. Of these archontes the most prominent was Leon Sgouros, hereditary lord of Nauplia, who had seized the Larissa of Argos and the impregnable citadel high above Corinth, and who, though he failed to imitate the heroism of Leonidas in the Pass of Thermopylæ, held out at Akrocorinth till his death.