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Modern Greek Poetry and Literature

Written by: Encyclopaedia Britannica, 11th Edition

After the capture of Constantinople, the destruction of Greek national life and the almost total effacement of Greek civilization naturally involved a more or less complete cessation of Greek literary production in the regions subjected to the rule of a barbarous conqueror. Learned Greeks found a refuge away from their native land; they spoke the languages of foreign people, and when they wrote books they often used those languages, but in most cases they also wrote in Greek. The fall of Constantinople must not therefore be taken as indicating a break in the continuity of Greek literary history. Nor had that event so decisive an influence as has been supposed on the revival of learning in western Europe. The crusades had already brought the Greeks and Westerns together, and the rule of the Franks at Constantinople and in the Levant had rendered the contact closer. Greeks and Latins had keenly discussed the dogmas which divided the Eastern and Western Churches; some Greeks had adopted the Latin faith or had endeavoured to reconcile the two communions, some had attained preferment in the Roman Church. Many had become connected by marriage or other ties with the Italian nobles who ruled in the Aegean or the Heptanesos, and circumstances led them to settle in Italy. Of the writers who thus found their way to the West before the taking of Constantinople the most prominent were Leon or Leontios Pilatos, Georgius Gemistus, or Pletho, Manuel and John Chrysoloras, Theodore Gazes, George of Trebizond and Cardinal Bessarion.

The Ottoman conquest had reduced the Christian races in the plains to a condition of serfdom, but the spirit of liberty continued to breathe in the mountains, where groups of desperate men, the Klephts and the Haiduks, The Klephtic poetry.maintained the struggle against alien tyranny. The adventurous and romantic life of these champions of freedom, spent amid the noblest solitudes of nature and often tinged with the deepest tragedy, naturally produced a poetry of its own, fresh, spontaneous and entirely indigenous. The Klephtic ballads, all anonymous and composed in the language of the people, are unquestionably the best and most genuine Greek poetry of this epoch. They breathe the aroma of the forests and mountains; like the early rhapsodies of antiquity, which peopled nature with a thousand forms, they lend a voice to the trees, the rocks, the rivers and to the mountains themselves, which sing the prowess of the Klepht, bewail his death and comfort his disconsolate wife or mother. Olympia boasts to Ossa that the footstep of the Turk has never desecrated its valleys; the standard of freedom floats over its springs; there is a Klepht beneath every tree of its forests; an eagle sits on its summit with the head of a warrior in its talons. The dying Klepht bids his companions make him a large and lofty tomb that he may stand therein and load his musket: “Make a window in the side that the swallows may tell me that spring has come, that the nightingales may sing me the approach of flowery May.” The wounded Vervos is addressed by his horse: “Rise, my master, let us go and find our comrades.” “My bay horse, I cannot rise; I am dying: dig me a tomb with thy silver-shod hoof; take me in thy teeth and lay me therein. Bear my arms to my companions and this handkerchief to my beloved, that she may see it and lament me.” Another type of the popular poetry is presented by the folk-songs of the Aegean islanders and the maritime population of the Asiatic coast. In many of the former the influence of the Frankish conquest is apparent. Traces of the ancient mythology are often to be found in the popular songs. Death is commonly personified by Charon, who struggles with his victim; Charon is sometimes worsted, but as a rule he triumphs in the conflict.

In Crete, which for nearly two centuries after the fall of Constantinople remained under Venetian rule, a school of Greek poetry arose strongly impressed with Italian influences. The language employed is the dialect of the Candiotes, Cretan poets.with its large admixture of Venetian words. The first product of this somewhat hybrid literature was Erotocritos, an epic poem in five cantos, which relates the love story of Arete, daughter of Hercules, king of Athens, and Erotocritos, the son of his minister. The poem presents an interesting picture of Greece under the feudal Frankish princes, though professing to describe an episode of the classical epoch; notwithstanding some tedious passages, it possesses considerable merit and contains some charming scenes. The metre is the rhymed alexandrine. Of the author, Vicence Cornaro, who lived in the middle or end of the 16th century, little is known; he probably belonged to the ducal family of that name, from which Tasso was descended. The second poem is the Erophile of George Chortakis, a Cretan, also written in the Candiote dialect. It is a tragic drama, the scene of which is laid in Egypt. The dialogue is poor, but there are some fine choral interludes, which perhaps are by a different hand. Chortakis, who was brought up at Retimo, lived at the end of the 16th and beginning of the 17th centuries. The third Cretan poem worthy of notice is the Shepherdess, a charming and graceful idyll written by Nicolas Drimyticos, a native of Apokorona, early in the 17th century. Other Cretan poets were J. Gregoropoulos and G. Melissinos (1500), who wrote epigrams, and Maroulos (1493), who endeavoured to write Pindaric odes.

Among the Greeks who were prominent in spreading a knowledge of Greek in Europe after the fall of Constantinople were John Argyropulos, Demetrius Chalcondyles, Constantine and John Lascaris and Marcus Musurus, a Literary activity after the fall of Constantinople.Cretan. These men wrote in the accepted literary language; in general, however, they were rather employed about literature than engaged in producing it. They taught Greek; several of them wrote Greek grammars; they transcribed and edited Greek classical writers, and they collected manuscripts. Their stores enriched the newly founded libraries of St Mark at Venice, of the Escorial, of the Vatican and of the National Library in Paris. But none of them accomplished much in literature strictly so called. The question which most deeply interested them was that of the rival merits of the Platonic and Aristotelian philosophies, over which a controversy of extraordinary bitterness broke out towards the close of the 15th century. The dispute was in reality theological rather than philosophical; the cause of Plato was championed by the advocates of a union between the Eastern and Western Churches, that of Aristotle was upheld by the opposing party, and all the fury of the old Byzantine dogmatic controversies was revived. The patriarch, George Kurtesios or Gennadius, whom Mahommed II. had appointed after the capture of 525Constantinople, wrote a treatise in favour of Aristotle and excommunicated Gemistus Pletho, the principal writer among the Platonists. On the other hand, George of Trebizond, who attacked Pletho with unmeasured virulence, was compelled to resign his post of secretary to Pope Nicholas V. and was imprisoned by Pope Paul I. Scholarship was not wholly extinct in Greece or among the Greeks for a considerable time after the Turkish conquest. Arsenius, who succeeded Musurus as bishop of Monemvasia (1510), wrote commentaries on Aristophanes and Euripides; his father, Apostoles, made a collection of Greek proverbs. Aemilius Portos, a Cretan, and Leo Allatios (1600-1650) of Chios edited a number of works of the classical and later periods with commentaries and translations; Allatios also wrote Greek verses showing skill and cleverness. Constantine Rhodokanakes, physician to Charles II. of England, wrote verses on the return of that monarch to England. About the time of the fall of Constantinople we meet with some versifiers who wrote poems in the spoken dialect on historical subjects; among these were Papaspondylos Zotikos (1444), Georgilas Limenitis (1450-1500) and Jacobos Trivoles (beginning of the 16th century); their poems have little merit, but are interesting as specimens of the popular language of the day and as illustrating the manners and ideas of contemporary Greeks.

Among the prose writers of the 16th century were a number of chroniclers. At the end of the 15th, Kritobulos of Imbros, who had been private secretary of Mahommed II., wrote the history of his master, Emmanuel Melaxos Historical works.a history of the patriarchate, and Phranzes a history of the Palaeologi. Theodosius Zygomalas (1580) wrote a history of Constantinople from 1391 to 1578. In the 17th century Demetrius Cantemir, a Moldavian by birth, wrote a history of the Ottoman empire, and G. Kontares tales of ancient Athens. Others composed chronicles of Cyprus and Crete, narratives of travels and biographies of saints. Most of these works are written in the literary language, the study of which was kept alive by the patriarchate and the schools which it maintained at Constantinople and elsewhere. Various theological and philosophical works, grammars and dictionaries were written during this period, but elegant literature practically disappears.8

A literary revival followed in the 18th century, the precursor of the national uprising which resulted in the independence of Greece. The efforts of the great Phanariote families at Constantinople, the educational zeal of the higher The literary revival.Greek clergy and the munificence of wealthy Greeks in the provinces, chiefly merchants who had acquired fortunes by commerce, combined to promote the spread of education among a people always eager for instruction. The Turks, indifferent to educational matters, failed to discern the significance of the movement. Schools were established in every important Greek town, and school-books and translations from Western languages issued from the presses of Venice, Triest, Vienna and other cities where the Greeks possessed colonies. Young men completed their studies in the Western universities and returned to the East as the missionaries of modern civilization. For the greater part of the 18th century the literature was mainly theological. Notable theological writers of this epoch were Elias Miniates, an elegant preacher, whose sermons are written in the popular language, and Meletios of Iannina, metropolitan of Athens, whose principal works were an ecclesiastical history, written in ancient Greek, and a descriptive geography of Greece in the modern language, composed, like the work of Pausanias, after a series of tours. The works of two distinguished prelates, both natives of Corfu and both ardent partisans of Russia, Nikephoros Theotokes (1731?-1800) and Eugenios Bulgares (1715-1806), mark the beginning of the national and literary renaissance. They wrote much in defence of Greek orthodoxy against Latin heresy. Theotokes, famous as a preacher, wrote, besides theological and controversial works, treatises on mathematics, geography and physics. Bulgares was a most prolific author; he wrote numerous translations and works on theology, archaeology, philosophy, mathematics, physics and astronomy; he translated the Aeneid and Georgics of Virgil into Homeric verse at the request of Catherine II. His writings exercised a considerable influence over his contemporaries.

The poets of the earlier period of the Greek revival were Constantinos Rhigas (q.v.), the Alcman of the revolutionary movement, whose songs fired the spirit of his fellow-countrymen; Christopoulos (1772-1847), a Phanariote, Poets of the Greek revival.who wrote some charming Anacreontics, and Jacobos Rizos Neroulos (1778-1850), also a Phanariote, author of tragedies, comedies and lyrics, and of a work in French on modern Greek literature. They are followed in the epoch of Greek independence by the brothers Panagiotes and Alexander Soutzos (1800-1868 and 1803-1863) and Alexander Rhizos Rhangabes (Rhankaves, 1810-1892), all three Phanariotes. Both Soutzos had a rich command of musical language, were highly ideal in their conceptions, strongly patriotic and possessed an ardent love of liberty. Both imitated to some extent Byron, Lamartine and B?ranger; they tried various forms of poetry, but the genius of Panagiotes was essentially lyrical, that of Alexander satirical. The other great poet of the Greek revival, Alexander Rizos Rhangabe, was a writer with a fine poetic feeling, exquisite diction and singular beauty and purity of thought and sentiment. Besides numerous odes, hymns, ballads, narrative poems, tragedies and comedies, he wrote several prose works, including a history of ancient Greece, a history of modern Greek literature, several novels and works on ancient art and archaeology. Among the numerous dramatic works of this time may be mentioned the Μαρ?α Δοξιπατρ? of Demetrios Bernardakes, a Cretan, the scene of which is laid in the Morea at the time of the crusades.

In prose composition, as in poetry, the national revival was marked by an abundant output. Among the historians the greatest is Spiridon Trikoupis, whose History of the Revolution is a monumental work. It is distinguished Prose writers of the revival.by beauty of style, clearness of exposition and an impartiality which is all the more remarkable as the author played a leading part in the events which he narrates. Almost all the chiefs of the revolutionary movement left their memoirs; even Kolokotrones, who was illiterate, dictated his recollections. John Philemon, of Constantinople, wrote a history of the revolution in six volumes. He was an ardent partisan of Russia, and as such was opposed to Trikoupis, who was attached to the English party. K. Paparrhegopoulos’s History of the Greek Nation is especially valuable in regard to the later periods; in regard to the earlier he largely follows Gibbon and Grote. With him may be mentioned Moustoxides of Corfu, who wrote on Greek history and literature; Sakellarios, who dealt with the topography and history of Cyprus; N. Dragoumes, whose historical memoirs treat of the period which followed the revolution; K. Assopios, who wrote on Greek literature and history. In theology Oeconomos fills the place occupied by Miniates in the 17th century as a great preacher. Kontogones is well known by his History of Patristic Literature of the First Three Centuries and hisEcclesiastical History, and Philotheos Bryennios, bishop of Serres, by his elaborate edition of Clemens Romanus. Kastorches wrote well on Latin literature. Great literary activity in the domains of law, political economy, mathematics, the physical sciences and archaeology displayed itself in the generation after the establishment of the Greek kingdom.

But the writer who at the time of the national revival not only exercised the greatest influence over his contemporaries but even to a large extent shaped the future course of Greek literature was Adamantios Cora?s (Korais) Cora?s.of Chios. This remarkable man, who devoted his life to philological studies, was at the same time an ardent patriot, and in the prolegomena to his numerous editions of the classical 526writers, written In Greek or French, he strove to awake the interest of his countrymen in the past glories of their race or administered to them sage counsels, at the same time addressing ardent appeals to civilized Europe on their behalf. The great importance of Cora?s, however, lies in the fact that he was practically the founder of the modern literary language.

In contemporary Greek literature two distinct forms of the modern language present themselves—the vernacular (? καθομιλουμ?νη) and the purified (? καθαρε?ουσα). The former is the oral language, spoken by the whole The modern literary language.Greek world, with local dialectic variations; the latter is based on the Greek of the Hellenistic writers, modified, but not essentially altered, in successive ages by the popular speech. At the time of the War of Independence the enthusiasm of the Greeks and the Philhellenes was fired by the memory of an illustrious past, and at its close a classical reaction followed: the ancient nomenclature was introduced in every department of the new state, towns and districts received their former names, and children were christened after Greek heroes and philosophers instead of the Christian saints. In the literary revival which attended the national movement, two schools of writers made their appearance—the purists, who, rejecting the spoken idiom as degenerate and corrupt, aimed at the restoration of the classical language, and the vulgarists, who regarded the vernacular or “Romaic” as the genuine and legitimate representative of the ancient tongue. A controversy which had existed in former times was thus revived, with the result that a state of confusion still prevails in the national literature. The classical scholar who is as yet unacquainted with modern Greek will find, in the pages of an ordinary periodical or newspaper, specimens of the conventional literary language, which he can read with ease side by side with poems or even prose in the vernacular which he will be altogether unable to interpret.

The vernacular or oral language is never taught, but is universally spoken. It has been evolved from the ancient language by a natural and regular process, similar to that which has produced the Romance languages from the Latin, Reforms of Cora?s.or the Russian, Bulgarian and Servian from the old Slavonic. It has developed on parallel lines with the modern European languages, and in obedience to the same laws; like them, it might have grown into a literary language had any great writers arisen in the middle ages to do for it what Dante and his successors of the trecento did for Italian. But the effort to adapt it to the requirements of modern literature could hardly prove successful. In the first place, the national sentiment of the Greeks prompts them to imitate the classical writers, and so far as possible to appropriate their diction. The beauty and dignity of the ancient tongue possesses such an attraction for cultivated writers that they are led insensibly to adopt its forms and borrow from its wealth of phrase and idiom. In the next place, a certain literary tradition and usage has already been formed which cannot easily be broken down. For more than half a century the generally accepted written language, half modern half ancient, has been in use in the schools, the university, the parliament, the state departments and the pulpit, and its influence upon the speech of the more educated classes is already noticeable. It largely owes its present form—though a fixed standard is still lacking—to the influence and teaching of Cora?s. As in the time of the decadence a κοιν? δι?λεκτος stood midway between the classical language and the popular speech, so at the beginning of the 19th century there existed a common literary dialect, largely influenced by the vernacular, but retaining the characteristics of the old Hellenistic, from which it was derived by an unbroken literary tradition. This written language Cora?s took as the basis of his reforms, purging it of foreign elements, preserving its classical remnants and enlarging its vocabulary with words borrowed from the ancient lexicon or, in case of need, invented in accordance with a fixed principle. He thus adopted a middle course, discountenancing alike the pedantry of the purists and the over-confident optimism of the vulgarists, who found in the uncouth popular speech all the material for a langue savante. The language which he thus endeavoured to shape and reconstruct is, of course, conventional and artificial. In course of time it will probably tend to approach the vernacular, while the latter will gradually be modified by the spread of education. The spoken and written languages, however, will always be separated by a wide interval.

Many of the best poets of modern Greece have written in the vernacular, which is best adapted for the natural and spontaneous expression of the feelings. Dionysios Solomos (1798-1857), the greatest of them all, employed the dialect Poetical writers in the vernacular.of the Ionian Islands. Of his lyrics, which are full of poetic fire and inspiration, the most celebrated is his “Ode to Liberty.” Other poets, of what may be described as the Ionic school, such as Andreas Kalvos (1796-1869), Julius Typaldos (1814-1883), John Zampelios (1787-1856), and Gerasimos Markoras (b. 1826), followed his example in using the Heptanesian dialect. On the other hand, Georgios Terzetes (1806-1874), Aristotle Valaorites (1824-1879) and Gerasimos Mavrogiannes, though natives of the Ionian Islands, adopted in their lyrics the language of the Klephtic ballads—in other words, the vernacular of the Pindus range and the mountainous district of Epirus. This dialect had at least the advantage of being generally current throughout the mainland, while it derived distinction from the heroic exploits of the champions of Greek liberty. The poems of Valaorites, which are characterized by vivid imagination and grace of style, have made a deep impression on the nation. Other poets who largely employed the Epirotic dialect and drew their inspiration from the Klephtic songs were John Vilaras (1771-1823), George Zalokostas (1805-1857) in his lyric pieces, and Theodore Aphentoules, a Cretan (d. 1893). With the poems of this group may be classed those of Demetrius Bikelas (b. 1835). The popular language has been generally adopted by the younger generation of poets, among whom may be mentioned Aristomenes Probelegios (b. 1850), George Bizyenos (1853-1896), George Drosines, Kostes Palamas (b. 1859), John Polemes, Argyres Ephthaliotes, and Jacob Polylas (d. 1896).

Contemporary with the first-mentioned or Ionic group, there existed at Constantinople a school of poets who wrote in the accepted literary language, and whose writings serve as models for the later group which gathered at Athens Poetical writers in the conventional language.after the emancipation of Greece. The literary traditions founded by Alexander Rizos Rhangabes (1810-1892) and the brothers Alexander and Panagiotis Soutzos (1803-1863 and 1800-1868), who belonged to Phanariot families, were maintained in Athens by Spiridion Basiliades (1843-1874) Angelos Vlachos (b. 1838), John Karasoutzas (1824-1873), Demetrios Paparrhegopoulos (1843-1873), and Achilles Paraschos (b. 1838). The last, a poet of fine feeling, has also employed the popular language. In general the practice of versification in the conventional literary language has declined, though sedulously encouraged by the university of Athens, and fostered by annual poetic competitions with prizes provided by patriotic citizens. Greek lyric poetry during the first half of the century was mainly inspired by the patriotic sentiment aroused by the struggle for independence, but in the present generation it often shows a tendency towards the philosophic and contemplative mood under the influence of Western models.

There has been an abundant production of dramatic literature in recent years. In succession to Alexander Rhangabes, John Zampelios and the two Soutzos, who belong to the past generation, Kleon Rhangabes, Angelos Vlachos, Dramatists, translators and satirists.Demetrios Koromelas, Basiliades and Bernadakes are the most prominent among modern dramatic writers. Numerous translations of foreign masterpieces have appeared, among which the metrical versions of Romeo and JulietOthelloKing LearHamletMacbeth and The Merchant of Venice, by Demetrios Bikelas, deserve mention as examples of artistic excellence. Goethe’s Faust has been rendered into verse by Probelegios, and HamletAntony and CleopatraCoriolanus and Julius Caesar, into prose by Damiroles. 527Among recent satirists, George Soures (b. 1853) occupies a unique position. He reviews social and political events in the ?ωμ?ος, a witty little newspaper written entirely in verse, which is read with delight by all classes of the population.

Almost all the prose writers have employed the literary language. In historical research the Greeks continue to display much activity and erudition, but no great work comparable to Spiridion Trikoupis’s Recent prose writers.History of the Revolution has appeared in the present generation. A history of the Greek nation from the earliest times to the present day, by Spiridion Lampros, and a general history of the 19th century by Karolides, have recently been published. The valuable Μνημε?α of Sathas, the μελ?ται Βυζαντιν?ς ?στορ?ας of Spiridion Zampelios and Mavrogiannes’s History of the Ionian Islands deserve special mention, as well as the essays of Bikelas, which treat of the Byzantine and modern epochs of Greek history. Some of the last-named were translated into English by the late marquis of Bute. Among the writers on jurisprudence are Peter Paparrhegopoulos, Kalligas, Basileios Oekonomedes and Nikolaos Saripolos. Brailas-Armenes and John Skaltzounes, the latter an opponent of Darwin, have written philosophical works. The Ecclesiastical History of Diomedes Kyriakos and theTheological Treatises of Archbishop Latas should be noted. The best-known writers of philological works are Constantine Kontos, a strong advocate of literary purism, George Hatzidakes, Theodore Papademetrakopoulos and John Psichari; in archaeology, Stephen Koumanoudes, Panagiotes Kavvadias and Christos Tsountas have won a recognized position among scholars. John Svoronos is a high authority on numismatics. The works of John Hatzidakes on mathematics, Anast. Christomanos on chemistry, and Demetrios Aeginetes on astronomy are well known.

The earlier works of fiction, written in the period succeeding the emancipation of Greece, were much affected by foreign influence. Modern Greece has not produced any great novelist. The Κρητικο? γ?μοι of Spiridion Zampelios, Fiction.the scene of which is laid in Crete, and the Thanos Blechas of Kalligas are interesting, the former for accuracy of historical detail, the latter as a picture of peasant life in the mountains of Greece. Original novel writing has not been much cultivated, but translations of foreign romances abound. In later times the short story has come into vogue through the example of D. Bikelas, whose tales have acquired great popularity; one of them, Loukis Laras, has been translated into many languages. The example of Bikelas has been followed by Drosines Karkavitzas, Ephthaliotis, Xenopoulos and many others.

The most distinguished of the writers who adhere to the vernacular in prose is John Psichari, professor of the ?cole des Hautes ?tudes in Paris. He is the recognized leader of the vulgarists. Among the best known of his works Prose writers in the vernacular.are Τ? ταξε?δι μου, a narrative of a journey in Greek lands, Τ?νειρο το? Γιανν?ρη, ? Ζο?λεα, and ? Μ?γος. The tales of Karkavitzas and Ephthaliotis are also in the vernacular. Among the younger of M. Psichari’s followers is M. Palli, who has recently published a translation of the Iliad. Owing to the limited resources of the popular language, the writers of this school are sometimes compelled to employ strange and little-known words borrowed from the various dialects. The vernacular has never been adopted by writers on scientific subjects, owing to its inherent unsuitability and the incongruity arising from the introduction of technical terms derived from the ancient language. Notwithstanding the zeal of its adherents, it seems unlikely to maintain its place in literature outside the domain of poetry; nor can any other result be expected, unless its advocates succeed in reforming the system of public instruction in Greece.

Many periodicals are published at Athens, among which may be mentioned the Athena, edited by Constantine Kontos, the Ethnik? Agoge, a continuation of the old Hestia, the Harmonia and the Δι?πλασις τ?ν πα?δων, an educational Periodicals and Journals.review. The Parnassos, the Archaeological Society and other learned bodies issue annual or quarterly reports. The Greek journals are both numerous and widely read. They contain much clever writing, which is often marred by inaccuracy and a deficient sense of responsibility. Their tendency to exaggerated patriotic sentiment sometimes borders on the ludicrous. For many years the Nea Hem?ra of Trieste exerted a considerable influence over the Greek world, owing to the able political reviews of its editor, Anastasios Byzantios (d. 1898), a publicist of remarkable insight and judgment.

Authorities.—Constantine Sathas, Νεοελληνικ? φιλολογ?α (Athens, 1868); D. Bikelas, Περ? νεοελληνικ?ς φιλολογ?ας δοκ?μιον(London, 1871), reprinted in Διαλ?ξεις κα? ?ναμν?σεις (Athens, 1893); J. S. Blackie, Horae Hellenicae (London, 1874); R. Nicolai, Geschichte der neugriechischen Literatur (Leipzig, 1876); A. R. Rhangab?, Histoire litt?raire de la Gr?ce moderne (Paris, 1877); C. Gidel, ?tudes sur la litt?rature grecque moderne (Paris, 1878); E. Legrand, Biblioth?que grecque vulgaire (vol. i., Paris, 1880); J. Lamber, Po?tes grecs contemporains (Paris, 1881); Kontos, Γλωσσικα? παρατηρ?σεις (Athens, 1882); Rhangab? and Sanders, Geschichte der neugriechischen Literatur von ihren Anf?ngen bis auf die neueste Zeit (Leipzig, 1885); J. Psichari, Essais de grammaire historique n?o-grecque (2 vols., Paris, 1886 and 1889); ?tudes de philologie n?o-grecque (Paris, 1892); F. Blass, Die Aussprache des Griechischen (3rd ed., Berlin, 1888); Papademetrakopoulos, Β?σανος ?λληνικ?ς προφορ?ς (Athens, 1889); M. Konstantinides, Neo-hellenica (Dialogues in Modern Greek, with Appendix on the Cypriot Dialect) (London, 1892); Rho?des, Τ? Ε?δωλα. Γλωσσικ? μελ?τη (Athens, 1893); Polites, Μελετα? περ? το? β?ου κα? τ?ς γλ?σσης ?λληνικο? λ?ου (2 vols., Athens, 1899).

For the Klephtic ballads and folk-songs: C. Fauriel, Chants populaires de la Gr?ce moderne (Paris, 1824, 1826); Passow, Popularia carmina Graeciae recentioris (Leipzig, 1860); von Hahn, Griechische und albanesische M?rchen (Leipzig, 1864); Τεφαρ?κης, Λιανοτρ?γουδα (2nd ed., Athens, 1868); E. Legrand, Recueil de chansons populaires grecques (Paris, 1874); Recueil de contes populaires grecs (Paris, 1881); Paul de Lagarde, Neugriechisches aus Kleinasien (G?ttingen, 1886); A. Jannaris, ?σματα Κρητικ? (Kreta’s Volkslieder) (Leipzig, 1876); A. Sakellariou,Τ? Κυπριακ? (Athens, 1891); Ζωγραφε?ος ?γ?ν, published by the ?λληνικ?ς φιλολογικ?ς σ?λλογος (Constantinople, 1891). Translations: L. Garnett, Greek Folksongs from the Turkish Provinces of Greece (London, 1885); E. M. Geldart, Folklore of Modern Greece(London, 1884). Lexicons: A. N. Jannaris, A Concise Dictionary of the English and Modern Greek Languages (English-Greek) (London, 1895); Byzantios (Skarlatos D.), Λεξικ?ν τ?ς ?λληνικ?ς γλ?σσης (Athens, 1895); A. Sakellario, Λεξικ?ν τ?ς ?λληνικ?ς γλ?σσης (5th ed., Athens, 1898); S. Koumanoudes, Συναγωγ? ν?ων λ?ξεων (Athens, 1900). Grammars: Mitsotakes, Praktische Grammatik der neugriechischen Schrift- und Umgangssprache (Stuttgart, 1891); M. Gardner, A Practical Modern Greek Grammar (London, 1892); G. N. Hatzidakes, Einleitung in die neugriechische Grammatik (Leipzig, 1892); E. Vincent and T. G. Dickson, Handbook to Modern Greek (London, 1893); A. Thumb, Handbuch der neugriechischen Volkssprache (Strassburg, 1895); C. Wied, Die Kunst der neugriechischen Volkssprache durch Selbstunterricht schnell und leicht zu lernen (2nd ed., undated, Vienna); A. N. Jannaris, Historical Greek Grammar (London, 1897).