Phanariots

Τὸν Ὀκτώβρη τοῦ 1790 μία ὀθωμανικὴ ἔκτακτη πρεσβεία ἀναχώρησε ἀπὸ τὴν Κωνσταντινούπολη κατευθυνόμενη πρὸς τὸ Βερολίνο προκειμένου νὰ ἐπιτευχθεῖ ἡ συμμετοχὴ τῆς Πρωσίας στὸ πλευρὸ τῆς Πύλης στὸν Αὐστρο-Ρωσο-Ὀθωμανικὸ πόλεμο τοῦ 1787-1792. Ἡ ὀθωμανικὴ ἀντιπροσωπεία ἔφτασε στὴν πρωσικὴ πρωτεύουσα τὶς τελευταῖες μέρες τοῦ Ἰανουαρίου τοῦ 1791 καὶ ἀναχώρησε ἀπὸ ἐκεῖ στὰ τέλη Δεκεμβρίου τῆς ἴδιας χρονιᾶς. Κατὰ τὴν ἑνδεκάμηνη παραμονὴ τῆς πρεσβείας στὸ Βερολῖνο ὁ δραγομάνος τῆς πρεσβείας, ὁ Κωνσταντῖνος Καρατζᾶς (c. 1735-1815) εἶχε τὴν εὐκαιρία νὰ παρακολουθήσει πολλὲς φορὲς παραστάσεις τῆς ὄπερας.  Στὶς Ἐφημερίδες, ὅπως ἔλεγαν τότε τὰ ἡμερολόγια, ποὺ κρατοῦσε κατὰ τὸ ταξίδι στὸ Βερολῖνο σημείωνε τὰ σχόλιά του γιὰ τὶς παραστάσεις, τὰ ὁποῖα ἀποτελοῦν κατὰ μίαν ἔννοια κάποια ἀπὸ τὰ πρωιμότερα δείγματα θεατρικῆς κριτικῆς στὰ ἑλληνικά.

Περίληψη: Η εν λόγω μελέτη ασχολείται με τα Ποιημάτια του Γεωργίου Σακελλαρίου και με την παρουσία του ομηρικού υλικού σε αυτά. Διερευνώνται οι τρόποι με τους οποίους προσλαμβάνεται στο κείμενο το ομηρικό έπος, πώς καθορίζει την ιδεολογία των ποιημάτων και, εν τέλει, πώς συναρτάται η αρχαία κληρονομιά με την σύγχρονη σκέψη του 18ου και 19ου αιώνος στον ελλαδικό χώρο. Μέσα από αυτές τις διαδικασίες διαμορφώνεται το λογοτεχνικό σκηνικό, προετοιμάζοντας το έδαφος για την έλευση του ρομαντικού κινήματος. Abstract: This study deals with the poems of Georgios Sakellarios and the presence of the homeric material in them. In this article Is examined the reception of the homeric epic in the modern text, how it determines the ideology of the poems and, finally, how the ancient heritage is related to the contemporary thinking of the 18th and 19th centuries in Greece. Through these processes the literary scene is shaped, paving the way for the advent of the romantic movement.

Being part of an elite goes beyond appearances and involves accommodating and immersing oneself to a culture. This text explores the role of hunting for a Southeastern Europe elite with diplomatic connections and part of the premodern Ottoman Empire. It employs the Phanariot regime as a chronological and cultural frame and argues for significant changes in this time period with reference to hunting. The text takes the reader to Greek and Romanian territories and observes cultural shifts in the use and understanding of what was until eighteenth century an activity that either trained men to war or was seasonally exercised for food supply.

The study analyses the Romanian society from Moldavia and Walachia
during the historical period between 1711 and 1815. Our perspective is not
chronological because we are trying to reveal the conceptual aspects behind the
cultural diplomacy of the Romanian policy makers during the transition to the
modern era. Our approach has the purpose to show the transitional status of
Walachia and Moldavia, and for this reason we selected the cultural image of the
Western Europe, but from the standpoint of French revolutionary perspectives.
Our initiative represents a reinterpretation of the analytical model suggested by
Pompiliu Eliade, which means that the importance of the Phanariot historical
moment will never be closed for further studies. Therefore, our main resources are
the books written by Paul Cernovodeanu, Constantin C. Giurescu, Paul Cornea,
Larry Wolff, Bogdan Murgescu, Dan Horia Mazilu and Mircea Anghelescu. The
main influence of the French society in the Romanian cultural and political
environment of the eighteenth and nineteenth centuries had the purpose to
reinforce the national identity towards a historical search for continuity. If we look
back into the modernization process of the Romanian institutions from the
mentioned period we could say, in a philosophical way that the Romanian society
made a leap into the history and became aware of the signs that revealed the gap
between the west and the east of Europe.

Άννα Ταμπάκη, «Νικόλαος Μαυροκορδάτος, Φιλοθέου Πάρεργα, Κριτικό κείμενο, εισαγωγή και σχόλια Jacques Bouchard. Πρόλογος Κ.Θ. Δημαράς. Μετάφραση από τα γαλλικά – Μεταγλώττιση του ελληνικού κειμένου Διονύσιος Χατζόπουλος, Έκδοση Δήμος Φιλοθέης-Ψυχικού, Ενορία Ιερού Ναού Αγίου Γεωργίου Νέου Ψυχικού, Αθήνα 2017», «Βιβλιοσυγκρίσεις», Σύγκριση/Comparaison/Comparison, τχ. 27 (2018), σσ. 122-126.
https://ejournals.epublishing.ekt.gr/index.php/sygkrisi/issue/view/1282/showToc?fbclid=IwAR12xkZD-Ocslcog_zmJ1r3Wl0Hl5YVaPOFKcRSWqOgx9C7Kj4Mizb_PtBk

Στην εργασία αυτή, που αποτελεί συνέχεια της έρευνάς μου για τη φαναριώτικη μετρική, ασχολούμαι με τους 15σύλλαβους των μισμαγιών αλλά και εκτενών στιχουργημάτων Φαναριωτών ποιητών, όπως ο Χριστόπουλος, φτάνοντας μέχρι τον Α. Ρ. Ραγκαβή. Εκείνο βασικά που με ενδιαφέρει είναι να στοιχειοθετήσω με παραδείγματα μια φαναριώτικη οδό πολύτροπης αρμονίας –συνδυασμού μέτρων και ρυθμών– που αποσκοπεί στο να άρει (να ποικίλει) τη μονοτονία του παραδοσιακού ζευγαρωτού 15σύλλαβου, μια υπόθεση εργασίας την οποία πρώτος είχε θέσει ο Γ. Π. Σαββίδης. Στο πλαίσιο αυτό εξετάζω επίσης ορισμένα περίεργα, από μετρικής άποψης, φαναριώτικα στιχουργήματα, που ανοίγουν έναν νέο δρόμο στην έρευνα.

The present edition is the continuation of our twenty-year work in the field of the paleography of Eastern secular music. Its infancy is traced back to the recording of Secular Music from Athonite Codices , followed by concerts and publications which not only present to the musicological society and the general public unknown musical treasures, but they also brought to light the common musical heritage of Eastern civilisations.

The manuscripts in question were the subject of Kyriakos Kalaitzidis’s doctoral dissertation, which was written under the supervision of Prof. Gregorios Stathis and was approved by the Department of Music Studies of the University of Athens . Meanwhile, there have been several occasional attempts to transcribe secular music compositions by Thomas Apostolopoulos . Also important was the transcription of certain works of secular music from the Old Method to staff notation by the present authors under the auspices of the pilot research project implemented by the Orient-Institut Istanbul with the kind support of the Onassis Foundation (October 2016 - April 2017). Also, more recently, a number of songs composed by Nikeforos Kantouniares with the verses written by Athanasios Christopoulos have been transcribed within the framework of the “Extro-Cult” project realized by the “Muhsis” Cultural Development Group of Kastoria .

In this first edition of transcriptions we tried to cover a more representative sample of musical traditions, genres, modes, rhythmical cycles and composers than those of the examined repertoire: five demotic Greek songs, six works coming from the music of the Ottoman court, one from the Persian art music and thirty-five Phanariot songs. We can identify the genres of the Ottoman court pieces as follows: three Peşrevs, one Saz Semâ’î, one Taksîm and one Ağir Semâ’î.

The present book includes compositions of Abdülkadir Marâghi (1353-1453), Dimitri Cantemir (1673-1723), Hânende Zacharias (18th century), Petros Peloponnesios (1740-1778), Iakovos Protopsaltis (mid-18th century -1800), Petros Byzantios (mid-18th century - 1808), Nikeforos Kantouniares (1770-1830?), as well as several other unspecified composers. Finally, in the vocal genres we encounter verses by Germanos, the Metropolitan Bishop of Old Patras (1771-1826), Athanasios Christopoulos (1772-1847), Beyzade Yiangos Karatzas (1770-1808), Iakovos Protopsaltes, Archdeacon Kyrillos and by many unspecified poets.

Thanks to this book, we hope that scholars, interpreters, musical ensembles and music students around the world will have the opportunity to globally study the particular musical idioms of great civilisations, as they have been expressed by great composers and written down by post-Byzantine teachers through the ages. At the same time, the general public will be finally presented with these works of great aesthetic value and importance.

Η Φιλική Εταιρεία όπως και τα υπόλοιπα επαναστατικά κινήματα στην Ευρώπη, είχε ισχυρό ιδεολογικό πυρήνα εμπνευσμένο από τις αρχές και τις αξίες του Διαφωτισμού. Από τα υπό εξέταση αυτοβιογραφικά κείμενα του Εμμανουήλ Ξάνθου που φέρεται να είναι ένας από τους πρωτεργάτες της Εταιρείας, διαπιστώνουμε ότι αμφισβητείται μία σειρά από βασικά στοιχεία που αφορούν τη χρονολόγηση, την ίδρυση της εταιρείας και την ταυτότητα των προσώπων που πρωτοστάτησαν, με αποτέλεσμα η εξαγωγή συμπερασμάτων να είναι επισφαλής.

În primăvara și vara anului 1717, trupele austriece care pătrunseseră în Moldova au fost spulberate sau alungate peste graniță de către armata moldoveană comandată de domnul Mihail Racoviță, având pe tătari și unități otomane ca aliați. Moldova era deocamdată salvată de la o soartă asemănătoare Munteniei, cu toate că se plătise un preț mare pentru aceasta atât în distrugeri, cât și în pierderi umane, majoritatea din cauza aliaților tătari. Domnul își făcuse datoria, iar trupele sale se comportaseră exemplar în campanie, luptaseră bine și eficient și dăduseră dovadă de disciplină. Aceasta era un mare atu pentru otomani în planurile lor de război. Pentru a încerca să reducă presiunea austriacă asupra Belgradului, după pierderea bătăliilor de la Petrovaradin și Timișoara și ocuparea Banatului de către imperiali, sultanul pregătea pentru același an o diversiune transilvăneană, un front secundar în provincia imperială, pe care urmau a-l deschide trupele lui Racoviță și cele tătare. Era și o bună ocazie pentru moldoveni de a se răzbuna pe austrieci, pentru otomani de a încerca să reaprindă revoluția maghiară a lui Francisc Rákóczi, iar pentru tătari de a jefui cu frenezie.

Alexander Mavrocoradatos tried to strengthen his political career through his historiographical work. He did not only use the ancient and medieval sources, but he also read the early modern bibliography on the historiographical issues he covered. This approach added a modern perspective to his work, which becomes evident in his perception of time and space throughout his narrative. Nevertheless, he focused on some historical topics serving his own goals, such as some mythical episodes from the Apocrypha or some very well-identified parallelisms of historical facts to his present-day reality. He went even further by taking into consideration the hermeneutics of prophesy in order to foretell and thus, plan the future he wished for. In this context, his personal, social and etho-religious opponents were treated very strictly in his work. 
[Αποτελεί τμήμα ευρύτερης μελέτης μαζί με το: Τὰ Ἰουδαϊκὰ τοῦ Ἀλέξανδρου Μαυροκορδάτου: Ἡ Παλαιὰ Διαθήκη καὶ ὁ λαὸς τοῦ Θεοῦ, Θεολογία 90/2 (2019), 85-98.]

Aleksandros Karatheodoris’in Osmanlılığını düşünürken, devlete sadakat düzeyinde
ele almayıp Osmanlı toplumuna nasıl ve hangi araçlarla katıldığı ile ilgilenmek
doğru olur. Arşivinde yer alan makalelerinden birinde kendini iki geleneğe ait olan
bir şarkiyatçı olarak tanımlar. Biri yeni olan, yani Doğu’ya karşı sistematik bir ilgi
gösteren Batılı gelenektir, diğeri ise her Osmanlı münevverinin eğitimini teşkil eden
eski gelenektir. Karatheodoris’in bilgisi ait olduğu eski gelenekten, çalışma biçimi
ise yeni gelenekten gelir.

Το Εργαστήριο Έρευνας Νεοελληνικής και Συγκριτικής Φιλολογίας του Δημοκριτείου Πανεπιστημίου Θράκης –σε συνεργασία με το Τμήμα Ρομανικών Γλωσσών και Λογοτεχνιών, Κλασικών και Νεοελληνικών Σπουδών (Σχολή Ξένων Γλωσσών και Λογοτεχνιών) του Πανεπιστημίου του Βουκουρεστίου, την Ευρωπαϊκή Εταιρεία Νεοελληνικών Σπουδών και τη Δημόσια Κεντρική Ιστορική Βιβλιοθήκη Χίου «Ο Κοραής»– διοργανώνει το «Β΄ Διεθνές Συνέδριο για τους πρώτους Μαυροκορδάτους: Αλέξανδρος ο Εξ Απορρήτων (1641-1709) και οι Ηγεμόνες Μολδοβλαχίας Νικόλαος (1680-1730) και Κωνσταντίνος (1711-1769). H αυγή της Νεοτερικότητας στη Νοτιοανατολική Ευρώπη».
Το Συνέδριο θα διεξαχθεί στο ιστορικό κτίριο της Βιβλιοθήκης Κοραή στην πόλη της Χίου από 15 έως 17 Ιουλίου 2022. Η έναρξη θα γίνει στο κεντρικό κτίριο της Βιβλιοθήκης και κατόπιν, από την Παρασκευή το απόγευμα ως την Κυριακή, οι εργασίες του συνεδρίου θα συνεχιστούν στην αίθουσα του κτιρίου Β΄ της βιβλιοθήκης. Το συνέδριο θα διεξαχθεί υβριδικά, με δια ζώσης παρακολούθηση στις αίθουσες της Βιβλιοθήκης Κοραή, και διαδικτυακά στην πλατφόρμα Microsoft Teams:

(Διαδικτυακή) κεντρική ομιλία: «Το μεταφραστικό εγχείρημα στο πλαίσιο της πρώιμης νεωτερικότητας. Μια αποτίμηση»: https://www.youtube.com/watch?v=jpFgBfxdTCo&t=167s

There are many studies on the relations of the Phanariot community of Istanbul with West European culture, especially French and Italian; on the other hand, one cannot ignore that this community was an integral part of the Ottoman society and culture and thus must also be studied in this prospect. This paper examines the influences of the Ottoman Turkish culture on Phanariots, focusing in the links between Phanariot scholars and Ottoman ones, their knowledge of Ottoman Turkish literary and scholarly literature, as well as common elements of the two cultures in fields like music, historiography or art. The underlying working hypothesis is that it may prove useful to conceive a wider notion of “Ottoman culture” encompassing all national and religious groups of the Ottoman Empire.

This monographic essay is dedicated to one of the most mysterious protagonists of the patriarchal style (hyphos) Petros Peloponnesios. Despite the many colourful anecdotes, we only know very few facts about Petros Peloponnesios’ life before he came to Constantinople in 1764. Analysing Petros’ contribution to the hyphos, this essay does not rely on the well-known transcriptions as they were distributed by the print editions in different languages. Recent research has already proved that many ascriptions to Petros are not trustworthy. On the other hand, readers might discover less known compositions by Petros, like his second week cycle and the long oktoechos cycle of cherouvika, which have rarely been printed. They will also be surprised that his composition of the idiomela for the «Doxastarion syntomon» are quite different from the official transcriptions according to the New Method. Another mystery is Petros’ close relationship to the Mevlevi dervishes of Pera (Beyoğlu), where he was adored as Hoca and Hırsız (“teacher and thief”), and his exceptional contribution to Ottoman music by numerous transcriptions of historical makam compositions and more than 100 original makam compositions, sometimes made over a Greek text. The article proves that Petros did not invent the exegetic use of notation nor the transcription of makam music into Greek neume notation. It also proves that many of the works and innovations were officially wrongly attributed to him. Nevertheless, he must be regarded as one of the most remarkable and most gifted Greek Ottoman musicians who did wonders during his short life span between 1764 and his early death during the disastrous plague of 1778.

My article explores the link between the creation of new forms of information storing and state power in Walachia during the 18th century. The extant Romanian literature on the topic failed to systematically analyze the emergence and the political dimension of new forms of information storing in Wallachia during the 18th century. Focusing on the multiplication and specialization of registers (condici) used by the Wallachian central administration and judiciary, my article fills this gap and sheds light on the changing nature of the Wallachian state in the course of the 18th century. Hence, I argue that the storing of social knowledge by central state and church institutions enhanced the infrastructural reach of the state and contributed to the naturalization of state power.

Das Thema dieser Arbeit ist Alexandros Karatheodoris, der wichtige Bürokrat und
Gelehrte aus dem Millet-i Rum im osmanischen Reich des 19. Jahrhundertes. Während er in verschiedenen wichtigen Ämtern des Osmanischen Reiches tätig war, nahm er wie die anderen osmanischen Gelehrten seiner Zeit mit seinen Artikeln oder Übersetzungen am kulturellen Leben der Hauptstadt teil. Die Informationen über ihn sind sehr zerstreut. In dieser Arbeit, die einen rein biographischen Charakter hat, versuchte ich, diese zerstreuten
Informationen zu sammeln und ein komplettes Bild zu bilden. Dafür arbeitete ich in verschiedenen Bibliotheken in Istanbul, wie Universitätsbibliotheken, Patriarchatsbibliothek und ARIT (American Research Center of Turkey) Die türkischen, französischen, griechischen und englischen Zeitungen seiner Zeit waren wichtige Quellen
für diese Arbeit.
Ich versuchte in dieser Diplomarbeit, sich mit den verschiedenen Identitäten eines Menschen, der zur Elite der Hauptstadt gehört hatte, zu beschäftigen und seine gesellschaftliche Position im osmanischen Reich zu verstehen und zeigen. Am Ende dieser Arbeit entsteht eine neue Frage: Was für Unterschiede gibt es zwischen den muslimischen
und nichtmuslimischen Gelehrten des Osmanischen Reiches bei ihrer Annäherung zur Modernisierung im Staat und in der Gesellschaft?

Textul de față reprezintă un subcapitol dintr-o lucrare mai amplă, unde am abordat relația dintre muzică și putere politică. În acest cadru m-am „lovit” și de problema ungerii domnilor români de-a lungul timpului, privită în primă fază din perspectiva muzicii. Dar, aprofundând, mi-au atras atenția mai multe aspecte, precum ritualul după care se făcea ungerea sau numărul ungerilor la care era supus un domn, iar rezultatele cercetării s-au dovedit a fi unele neașteptate, în mare măsură.

This book is a collection of 5 essays. The first is an introduction into the basics of chant transmission, the modal framework within the eight-mode system, differentiated according to Western and Eastern chant genres. The second is an introduction into the labyrinth of the eight-mode system, which was used for a musical art of memory in Byzantine chant. The third analyses the embellished design of a traditional chant: a hymn for St. Peter taken from the Byzantine sticherarion and from the Roman antiphoner, and its elaboration in monodic kalophonia and polyphonic organum.

A second part is dedicated to two living chant traditions: The fourth essay describes the integration of makamlar among Greek church singers of Istanbul, and the final essay is a portrait of two important singers of the Bulgarian Orthodox tradition.

Wallachia and Moldavia, as peripheries of the Ottoman Empire, were
ruled by Phanariot princes throughout the eighteenth century. These “Greeks”
were dragomans at the sultan’s court or high dignitaries of the Greek Orthodox
Patriarchate in Constantinople and governed the two Danubian Principalities in
the name of the sultan. My article examines how the local nobility, the Orthodox
elite of the countries, reacted and adapted to the Oriental ways of the Phanariot
courts. It reveals how the local elites adhered to the Phanariot political regimes
and tacitly adopted the new fashions and lifestyles, which would eventually be
instrumental in the fashioning of their identity. The available primary sources
consist of dowry lists, probate inventories, sumptuary laws, and visual documents
(engravings and prints published in travelogues, paintings, and costume books),
and they show in great detail the process of self-fashioning and self-display
through clothes and costumes.

In full war against the Ottomans, the Austrians tried to take out of the war and even occupy the two Romanian countries, part of the Ottoman Empire. While Wallachia quickly succumbed to the attack, Moldavia proved to be a tough enemy. With good information, a determined Phanariote ruler and Tatar allies, Moldavia managed to defend itself bravely in 1717 and even mount an attack into Transylvania the same year.

This paper was presented to the conference "Balkan Worlds III: Power Networks in the Imperial and Post-Imperial Balkans (18th - 20th c.)" held in Thessaloniki by the University of Macedonia (6-8 October 2016).

The Prussian diplomacy attempted to create a network of agents and intelligence in Constantinople during the second half of the 18th century. This was the common policy of all the European embassies in the Ottoman Empire. Although the representation of the Prussian king to the Sublime Porte was neither continuous nor often formal, the Prussian envoys tried to construct an intelligence network. In order to establish it, they spent a lot of money and shared a lot of information concerning the European and eventually Prussian affairs. They hired, those they could hire from the Phanariots and they bribed those they could bribe from the Divan. In fact, the most important and influential agents ended up to belong to two families, a Greek-Orthodox and a Muslim one, consisting of what one can characterise as typical middle upper class officials: the Greek family was that of John Fragopoulos, first dragoman of the Prussian embassy for nearly thirty years, and his son in law Constantine Karatzas, whereas the Muslim family was that of Ahmed Resmi and his nephew Ahmed Azmi. The network was proven mutually beneficial and bared very strong bonds between its members. Its success was so great, that it survived even of the catalysis of the Prussian state.

Πέμπτη, 18 Μαρτίου 2021, «Η ανάδυση της νεωτερικότητας στον Πρώιμο Διαφωτισμό: ‘‘αναγνώσεις’’ και πνευματικές ενασχολήσεις στον κύκλο των Μαυροκορδάτων», Σειρά διαλέξεων για την εποχή του Πρώιμου Ελληνικού Διαφωτισμού και την Πρώιμη Νεοτερική εποχή», Εργαστήριο Έρευνας για τη Νεοελληνική και Συγκριτική Φιλολογία, Δημοκρίτειο Πανεπιστήμιο Θράκης.

During the first decades of the 19th century, Byzantium was still strong in the collective consciousness and memory, and remained a powerful influence in the lives, the attitudes and the cultural creations of the people of South Easter Europe. In this environment two important personalities emerged: Athanasios Christopoulos in letters and politics, and Nikephoros Kantouniares in music. Their paths crossed in the cultural environment of the Phanariot society and the result of this relationship gave birth to a series of works of art that are the subject of this paper. More specifically, we are presenting twenty-seven (27) songs composed by Nikephoros in lyrics by Athanasios Christopoulos.

The article makes a brief reference to the musical context, gives brief biographical and ergographic information and proceeds to a tropical, rhythmic and morphological analysis. It’s noteworthy that the musical arrangements are in sixteen (16) modal entities and their names pointed out by using both the terminology of Byzantine music and the maqam music one. From a rhythmic standpoint, most of them are in the simple and understandable pattern of one 4-beat usul sofian and two songs in peculiar 10-beat rhythms.

Greek texts written in the eighteenth century by Phanariots (an elite group of Constantinople Greeks) and by members of their social and professional entourages display an abundance of lexical borrowings from Turkish. Some of these texts (especially the comedies) most probably attempt to represent the Phanariot sociolect, i.e. the speech of the Phanariots and their circles. The reason why these writers use so many borrowings from Turkish is that their speech community viewed Turkish as a prestige language. This article surveys the widespread phenomenon of Turkish loanwords in these texts and the less common-but nonetheless significant-use of whole Turkish phrases and sentences within Greek linguistic contexts. In conclusion some remarks are made about the lexicographical problems caused by this abundance of borrowings from Turkish, most of which appeared in Greek texts during the period of the Phanariot ascendancy but disappeared with the advent of linguistic purism associated with the Greek nationalist movement.

Η εργασία αυτή (πρόδρομη ανακοίνωση) ρίχνει φως σε ένα παραμελημένο αλλά βασικό κομμάτι της έμμετρης νεοελληνικής ποίησης, τη μετρική των φαναριώτικων στιχουργημάτων. Στην εργασία παρουσιάζονται τα συνηθέστερα μέτρα της φαναριώτικης ποίησης, με έμφαση στον λεγόμενο φαναριώτικο 15σύλλαβο, τροχαϊκό και ιαμβικό (δημοτικοφανή), η οργάνωση του φαναριώτικου δίστιχου, καθώς και οι τύποι της φαναριώτικης στροφής. Από την αντιπαραβολή με αντίστοιχα δείγματα από τη δημοτική ποίηση και την επτανησιακή στιχουργία καταδεικνύεται ότι η μετρική των Φαναριωτών ποιητών –από την οποία αντλούν και οι Αθηναίοι Ρομαντικοί– στηρίζεται σε ένα σύστημα που προσομοιάζει αλλά δεν ταυτίζεται ούτε με το λεγόμενο «δημοτικό» σύστημα (το οποίο στηρίζεται στον κανόνα της ισοσυλλαβίας) ούτε με το λεγόμενο «ιταλικό» ή «έντεχνο» (το οποίο στηρίζεται στον κανόνα του τελικού μετρικού τόνου).Τα φαναριώτικα στιχουργήματα ακολουθούν ουσιαστικά τον κανόνα της απόλυτης ισομετρίας των στίχων και κατ’ απόλυτο αριθμό συλλαβών και κατά την ίδια θέση του τελικού μετρικού τόνου. Έτσι μετέχουν και των δύο συστημάτων χωρίς να ανήκουν ξεκάθαρα σε κανένα από τα δυο. Το γενικό πόρισμα της εργασίας είναι ότι σήμα κατατεθέν των φαναριώτικων στιχουργημάτων αποτελεί η σταθερότητα της μετρικής δομής που δεν επιτρέπει ευελιξία: το ίδιο μετρικό pattern επαναλαμβάνεται απαρέγκλιτα στην ίδια θέση σε όλη την έκταση του ποιήματος, ώστε να τηρείται η απόλυτη ισομετρία των στίχων οριζοντίως ή/και καθέτως.
ABSTRACT: The paper examines the metrics of the Phanariot poetry of the pre-revolutionary period, a rather neglected but essential part of Modern Greek metric tradition, since it served as a source for the “Phanariot” Athenian romanticism that dominated Modern Greek poetry throughout the 19th century. The study presents the most common metrical patterns in Phanariot lyric poetry, with an emphasis on the so-called “Phanariot 15syllable”, trochaic and iambic (imitating the folk poetry tradition), the organization of the “Phanariot couplets”, and the types of “Phanariot stanzas”. The conclusions were drawn after a close examination of 700 Phanariot poems from the so-called μισμαγιές, handwritten and printed, as well as from Christopoulos’ Λυρικά.
A comparison with similar examples from folk and Heptanesian poetry revealed that the metrics of the Phanariot poets – and hence of the Romantic poets of the Athenian School – are based on a system that is similar but not identical to either the so-called “δημοτικό” system (which uses isosyllabic verse) or the so-called “Italian” or “έντεχνο” system (which is based on the final metrical accent). Phanariot poetry is in fact written in absolutely isometric verses, with an absolute number of syllables and an absolute position of the final metric accent (thereby employing both systems without adhering strictly to any).The conclusion of the paper is that a distinguishing feature of Phanariot poetry is the consistency of its metrical structure that allows for no flexibility. In other words, the same metric pattern is repeated at the exact same position throughout the poem.

Son of an official of the Christian Orthodox Patriarchate, Vasileios Vatatzis was born in 1694 in Tarabya (Istanbul) and at an early age decided to travel as a merchant. His first voyage was to Moscow, where he arrived via Moldavia and Kiev in the late 1700s. Soon after his return, he set up for Brasow, Hungary and Poland and from there to Moscow again; then he started for Persia via Astrakhan. A second trip from Moscow led him to Ghilan, Kazvin, Qum and Isfahan (1716). After returning again to his native city, he decided to travel to Transoxania and set up in 1727 for Moscow, whence he visited Khiva, Boukhara, Khorasan and Ghilan. After a last voyage to Western Europe, he returned to Moscow, where apparently he wrote his travel account in Greek verse, having already printed in London an annotated map of Central Asia; he is also the author of a history of Nadir Shah, published in 1939 by N. Iorga. The account has been published in 1886 by Emile Legrand but has drawn little attention heretofore. It contains a detailed description of Central Asia, with reports on the Kalmuks, the Baskirs, the Turkmens, the Karakalpak, the Kazakhs, and other Turkish tribes and khanates of the region. Vatatzis’ itinerary provides rich ethnological and political information on the Central Asian steppes of the early eighteenth century from the point of view of an Ottoman Greek merchant.