Abstract
This paper examines, through the scope of both traditional heroic models and - mainly - Western feminist theories, the mutations of the marriage metaphor in the Grottaferrata version of Digenis Akritas, an epic of the “borderline' condition between Byzantine and Asian culture, with the former being as much differentiated by its Western (Roman-Christian) stance vis-a-vis its neighbors, as well as an Eastern empire at heart. The peculiar tendency of this epic to revel in bride-snatching and illicit, “polluting' trans-cultural liaisons (chiefly between Digenis and the Amazon Maximo) suggests the ambiguous cultural position of the Byzantine mind, the terminus of Christian Europe and the Balkan cultural conglomerate, in its inevitable zymosis with the Levant and the Orient.
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