This introduction sets the stage for the different chapters of the volume by offering general considerations about the production and consumption of poetry in twelfth-century Byzantium.

It takes as its point of departure the period beginning from the moment that Alexios I Komnenos ascended the imperial throne in 1081 to the Latin sack of Constantinople during the Fourth Crusade in 1204. This period saw an unprecedented growth in the production of poetry, as well as various innovative literary developments, including the emergence of vernacular poetry, the extensive use of poetry for ceremonial and didactic purposes at the imperial court and beyond, and the mixing of poetry and prose in so-called schede. While many poets were active in Constantinople, a large amount of the surviving poetry was written in places far away from the Byzantine capital, particularly in southern Italy and Sicily. The introduction discusses the social and intellectual contexts of twelfth-century poetry, addresses issues of geographical distribution and material circulation, and introduces some of the key figures and texts of the Komnenian period.

The chapter looks at a substantial number of texts outside the boundaries usually placed in Byzantine Studies through conventional taxonomic categories such as genre or antithetic pairs like learned versus vernacular language. Four larger themes are used to explore this varied textual production and offer a proposal for understanding its basic socio-cultural and aesthetic functions for its immediate recipients and later readers. The four themes discussed are education and literature, patronage and literary production, rhetoric and genre in prose and poetry, narrative art from the enormous to the small. Despite the strong presence of ‘Hellenic’ subjects, Komnenian literature owes more to its own dynamism (deriving from a reformed teacherly practice in the schools) than to the imitation of ancient models. At the same time, the role of the patrons in promoting literary production shapes much of both learned and vernacular literary experimentation, while religious literature generously defined is strongly involved in an ongoing experimentation with form and content. Finally, the chapter asks whether any form of change can be traced within the literary production of the Komnenian era.

Ludwig Erhard was a severely injured WW I veteran. I present data on his vita. Erhard’s education ended with a doctorate at the University of Frankfurt/Main with Franz Oppenheimer, the “liberal socialist,” in 1925. After some unsuccessful years in his father’s textile business at his hometown Fürth, he was employed by the Institute for Economic Observation of German Manufactured Goods in 1929 in Nuremberg. In 1943, Erhard founded his own Institute for Industrial Research. I provide evidence that he had twice shown political turncoat behavior: from a liberal in the European sense during the Weimar Republic to Nazi economic-policy doctrines until German military defeat in 1943 became a foregone conclusion, and thereafter to the American conception of market instead of government-controlled economic conditions. I discuss Erhard’s qualifications for public office as well as the strengths and weaknesses of Erhard’s character.

This chapter offers a survey of some basic information on the life and writings of Manganeios Prodromos. It concludes with an annotated edition and translation of a poem dedicated to Manuel I Komnenos as an example of how his verse might be presented to readers today.

The hexametric poem On the Unicorn by Michael Choniates is a poetic rewriting of the parable The Man in the Well. This chapter analyses the text in comparison to the versions of the story as preserved by Barlaam and Josaphat and Stephanites and Ichnelates, and other Byzantine and early modern poems on the same subject. Next, the Byzantine imagery of the tale is described on the basis of the preserved medieval depictions. Finally, the chapter offers some reflections on Choniates, his source (Barlaam and Josaphat) and the interconnections between this poem and another hexametric one by the same author entitled On the Ladder Described in John the Ascetic.

This chapter proposes an assessment of the biblical figure of David as presented by Theodore Prodromos in some of his Historical Poems. David was often considered in Byzantine culture as the first and most important example of a Christian poet. The poet of the Psalms is depicted by Prodromos both as a source of inspiration for the persona loquens and as a role model for the emperor. This twofold representation is crucial to shed light on some of the poetic strategies used by Prodromos when dealing with Psalmic material in poems addressed to emperors. The chapter includes a close-reading of Prodromos’ Historical Poem 17, where a military victory of John II Komnenos is celebrated. In this long text, Prodromos systematically borrows verses from the text of the Psalms and adapts them in order to fit the occasional character of the poem. The analysis of the biblical hypotext as a literary source presented in the chapter provides new insight into the role that the biblical heritage could play within Byzantine authors’ canonical reference system.