Fauriel and Modern Greek Poetry

Abstract

AN important chapter in the history of modern Greek poetry was opened by Claude-Charles Fauriel.1 He circulated a well-organized body of popular verse, fragments of which were known in western Europe to only a few travellers before him, and, of course, to Goethe.2 Yet modern Greek criticism has been ungenerous to him. Although no modern edition of Greek demotic songs can begin without acknowledging his ground-breaking contributions, his editing has been characterized as lacking fidelity,3 and his motives “naturally, indebted to the ideas of German romanticism.”4 Herder's methodological outlook, and Goethe's seminal specimens of 1802 had a great deal to do with the spectacular success of Fauriel's two volumes. Versions of his work were made available in St. Petersburg, Leipzig, and London in 1825, the year of the original publication in Paris.6 On the other hand, neither Goethe's nor Fauriel's motives can be conceived apart from the strong philhellenic sentiment that had so much to do with the physical fate of that province of the Ottoman Empire called Greece. That movement did not differ, either in the kind of dreams that it evoked or in the numbers of romantic and romanticizing adherents that it set dreaming, from those movements that found the Corsicans and the Spanish “exotic” and the Americans “innocent.”