THE NATURE, STYLE, AND AESTHETICS or
PAPADHIAMANDIAN PROSE

Dissertation for the Degree of Ph. D.
MICHIGAN STATE UNIVERSITY
DAVID ROBERT WEINBERG
1977

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thesis entitled

THE NATURE, STYLE, AND AESTHETICS OF

PAPADHIAMAND IAN PROSE
presented by

1) AI/ I 1) R0 BERT (/KjL:/N 35-186—

has been accepted towards fulfillment
of the requirements for

B' 0' degree in CW?) W
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ABSTRACT

THE NATURE, STYLE, AND AESTHETICS OF
PAPADHIAMANDIAN PROSE

BY

David Robert Weinberg

The purpose of this dissertation for a doctoral degree in
Comparative Literature is to analyze and describe as precisely as
possible the nature, style, and aesthetics of the Papadhiamandian
michte in order to attempt to settle some of the controversy found
in the criticism as to whether Papadhiamandis is a writer of the

katharevousa making concessions to the demotic or whether

 

Papadhiamandis is fundamentally a demoticist. If it can be proved
by statistical analysis and description that the character of
Papadhiamandis' michte is a result of random and haphazard selection
of language (which I believe it is), and not the result of deliberate
choice, then the articulation of a third possibility--that Papadhia-
mandis is a writer whose prose is best defined by its own characteristics
--will perhaps provide an alternative for settling the issue in a
meaningful'manner.

The material analyzed is the language from a text of

Papadhiamandis' most mature period, namely The Murderess ( ‘H

 

dbévrooo, ), a work written in 1902 and considered by most critics
the author's finest achievement. This novel as it first appeared in

the periodical "Panathenaia" ("Havafirfivata" ) in serialized form

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David Robert Weinberg

between January and June 1903 is used as the authority for both a
complete translation into English (included in an Appendix) and the
analysis of the michte. (A photoc0py of this first printing is also
included in an Appendix and has been numbered in Stephanus fashion
for verification of the data.)

The method of analysis is based upon critical distinctions
between the katharevousa and the demotic as dictated by grammar and
usage, especially distinctions of orthography, morphology, and lexical
choice as they appear in the narrative and descriptive passages of The
Murderess. Specifically, the elements separated out of the text into
the katharevousa and the demotic are as follows:

Phonology and Orthography

A. Neuter nouns in -- L ; -- LOV
B. Consonant combinations

C. Orthographic variations

A. Subjunctive aorist third person plurals
B. Augment: temporal and syllabic
C. Participles in -- uévog
Vocabulary
The analysis indicates that the character of Papadhiamandis'
michte is the result of random selection; not deliberate choice.
While we find, for example, in some areas a proportionately greater
number of demotic elements in the nominative and accusative cases;
the prOportions often reverse themselves in the genitive case. How-
ever, though the introduction of demotic elements is in some areas

overwhelming, the michté maintains a katharevousian character, for

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David Robert Weinberg

the demotic terms are many times formalized by the addition of
archaic endings or other formalizing devices.

Thus Papadhiamandis' style, it appears, was unaffected by
the controversies over the Greek "Language Question" which at the

time tended to polarize styles into "pure" katharevousa and "pure"

 

demotic; or, at the very least, depolarize them to the extent that a
michte was the result of careful compromise or tentative conciliation.
But the Papadhiamandian michte-—the result of random selection——is no
such compromise.

The aesthetics of such a michte--Papadhiamandis' michtE--is
also explored in this study. Appraising the aesthetics is based upon
the relation of language to purpose. For example, an examination is
made of the synthesis in the narration of the physical environment and
the emotional state of the heroine.

Finally, one additional study (included in an Appendix) offers

evidence of Stylistic Characterization in The Murderess. It is

 

included to show Papadhiamandis as "pure" demoticist and dialogist.
This study examines the "rhetorical question" as the chief charac-
terizing device in the speech of the heroine of the novel; and the
"exclamation" as a stylistic device for differentiating the speech
of various personages in the novel.
The study catalogues the various words of exclamation assigned

characters and surveys the idiosyncracy of the heroine of answering
questions by questions; of answering statements with questions; and

of expressing ideas by questions.

-......-_
v.4»-

David Robert WEinberg

The results of this analysis point up the fact that while
much of our knowledge of the characters in this novel may result from
events and situations, our real feeling for the characters as indi-

viduals is a result of their individualized speech.

THE NATURE, STYLE, AND AESTHETICS OF
PAPADHIAMANDIAN PROSE

By

David Robert Weinberg

A DISSERTATION

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Comparative Literature

1977

@ Copyr ight by
DAVID ROBERT WEINBERG

1977

DEDICATION

To my wife .

ii

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TABLE OF CONTENTS

LIST OF TABLES . . . . . . . . . . . . . . . . .

I.

II.

III.

IV.

VI.

VII.

INTRODUCTION . . . . . . . . . . . . . . .

THE CRITICISM AND THE ARGUMENT . . . . .

PHONOLOGY AND ORTHOGRAPHY . . . . . . . . .

A. Neuter Nouns in -- L ; -- LO\I.

B. Consonant Combinations . . . . . .

C. Orthographic Variation

FORMS . . . . . . . . . . . . . . .

A. Subjunctive Aorist Third Person Plurals

B. Augment: Temporal and Syllabic . .

C. Participles: Passives in -- ué\mx;.

VOCABULARY . . . . . . .

SUMMARY . . . . . . . . . . . . .

CONCLUSION . . . . . . . . . . . . . . . .

A. The Nature, Style and Aesthetics of
Papadhiamandian Prose: Definitions .

B. The Nature, Style, and Aesthetics of
Papadhiamandis' Michté . . .

APPENDIX A . . . . . . . . . . . . . . . . . . .

APPENDIX B O O O I O O O O O O O O O I O I O 0 0

APPENDIX C . . . . . . . . . . . . . . . . . . .

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . .

iii

Page

iv

16
22

25
25
29
34
42
47

48

48
50
65
81
219

281

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10.

ll.

12.

13.

14.

15.

LIST OF TABLES

Katharevousa: Neuter Nouns -- Lov . . . . . . . .

 

Demotic: Neuter Nouns ending in - L . . . . .

Proportion of L / LON’Neuter Nouns in the
Descriptive Passages of The Murderess

 

Distribution of Katharevousa Neuter Nouns in - Lov
Frequency of Occurrence Exceeding One . . . . . .

 

Distribution of Demotic Neuter Nouns in - L
Frequency of Occurrence Exceeding One . . . . .

Neuter Nouns in I./Lcn20ccurring in Both the
Demotic and Katharevousa Forms . . . . . . . . .

 

Katharevousa: Nouns in - CCNJ
Genitive Singulars . . . . . . . . . . .

 

Demotic: Nouns - LOG
Genitive Singulars . . . . . . . . . . . . . .

Proportion of Demotic/Katharevousa Words in the
Descriptive Passages of The Murderess . .

 

 

Consonant Combinations from Chapter One of
The Murderess . . . . . . . . . . . . . .

 

Use, Form and Location of the Word "Stream” (or
"Draft”) in The Murderess . . . . . . . . . . . .

 

Proportion of the Word "Stream" (or "Draft") in the
Katharevousa and Demotic Forms . . . . . . . . .

Orthographic Variation of Identical Words which
Appear in The Murderess . . . . . . . . . . . .

 

Subjunctive: Aorist, Third Person Plurals
Katharevousa . . . . . . . . .

 

Subjunctive: Aorist, Third Person Plurals
Demotic . . . . . . . . . . . . . . . . . . . .

iv

Page

10

ll

12

13

13

15

15

15

18

20

21

24

25

26

 

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16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

27.

28.

29.

30.

31.

Pr0portion of Katharevousa/Demotic Subjunctive
Aorist Third Person Plurals . . . . . . . . . .

Distribution of Demotic Subjunctive: Aorist, Third
Person Plurals--Frequency of Occurrence Exceeding
me O O O O C O O O O O O O O O O O O O O O I

Distribution of Katharevousa Subjunctive: Aorist,
Third Person Plurals--Frequency of Occurrence
Exceeding One . . . . . . . . . . . . .

 

Syllabic Augment of Simple Verbs
First One Hundred Lines of The Murderess

 

Augment Preceding the Preposition .

Internal Augment

Temporal Augment . . . . . . . . . . . . . . . . .
Participles in -- uévoc. . . .

Proportion of Demotic/Katharevousa
Participles in -- ‘uéKRDQ. . .

 

Distribution of Katharevousa Participles in --
lJéVCK; --Frequency of Occurrence Exceeding
me O O O O O O O O O O O O O O O O O O O O O O 0

Distribution of Demotic Participles in -- ué\mx;
Frequency of Occurrence Exceeding One . . . .

Vocabulary . . . . .
Vocabulary . . . . . . . . . . . . . . . . . .
Phrases with Word ”Mother" (Chapter I) . . . . .

Rhetorical Questions in the Dialogue of
The Murderess . . . . . . . .

 

Differentiated Character Exclamations in
The Murderess . . . . . . . . . . . . . . . .

 

28

28

29

31

32

32

33

35

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41

41

42

44

45

67

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I. INTRODUCTION

The purpose of this dissertation is to analyze and describe
as precisely as possible the nature, style, and aesthetics of the
Papadhiamandian michte in order to attempt to settle some of the
controversy found in the criticism as to whether Papadhiamandis is

a writer of the katharevousa making concessions to the demotic or

 

whether Papadhiamandis is fundamentally a demoticist. If it can be
proved by statistical and descriptive analysis that the character

of Papadhiamandis' michte is a result of random and haphazard
selection of language (which I believe it is), and not the result

of deliberate choice, then the articulation of a third possibility--
that Papadhiamandis is a writer whose prose is best defined by its
own characteristics--will perhaps provide an alternative for
settling the issue in a meaningful manner. The material analyzed
will be the language from a text of Papadhiamandis' most mature
period. The method of analysis will be based upon critical dis-

tinctions between the katharevousa and the demotic as dictated by

 

grammar and usage, especially distinctions of orthography, morphology,
and lexical choice. Finally, some assessment as to the aesthetics

of the michte itself will be made based upon the relation of language

to purpose.

II. THE CRITICISM AND THE ARGUMENT

There is much rhetoric but little analysis on the style of

Alexandros Papadhiamandis. G. Valeta, in his book, Papadhiamandis:

 

His Life, Work, Era, summarizes the rhetoric as follows:

 

The bibliography concerning his life and work is
enormous and surprises by its extent and variety. Yet, sub-
stantive it is not, only a pile of chaff. The greater part
of the bibliography on Papadhiamandis consists of occasion
articles, announcements, accounts, annals, scholia, opinions,
poems, descriptions, anecdotes, information, recollections,
obituaries. The serious critical articles are few. They can
be counted on the fingers and the studies which offer some-
thing substantive are those based upon textual study of the
work. In all the publications there is worship, praise,
attempts at judgment, much subjectivism.

Much of the "worship, Judgment,

" and "subjectivism" Valeta

mentions above is the work of partisans--demoticists Kfi.5mu0TLKLOTég)
and purists, (0‘L uafiaoeuowudvot.) --praising or damning, claiming
and disclaiming Papadhiamandis in their struggle over the Greek
"Language Question."2 The rivalry between the camps was often comic.
We are told, for example, that for Papadhiamandis' (uvrnuyjuvcfl
memorial

. . . the chief defenders of the katharevousa of Constan-

tinople in order to counter and thwart the memorial of P.
/sic/ by the demoticists (1911), claimed him one of their

 

 

1G. Valeta, Hanaétaudtvrlg: ‘H Zwfi, T6 "EOYOL .H'ETIOLfi
E}; (Athens: 'ASnva'CnaL 'Enéoocg, 1955), p.372.

For a summary of the Greek "Language Question," see Robert
Browning, "The Development of the National Language," Medieval and
lkflern Greek (London: Hutchinson and Co., 1969), pp. 103-18.

 

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own hoping to _s_ave his "abused memory" declaring that
"nakktapofi _/_extreme demoticists] and Papadhiamandis
are as soot and silk, two extremes diametrically Opposed,
that the celebrated memorial, from which surely the bones
of the deceased writer would rattle, if it came to pass,
would be nothing other than infringement upon the [right-
ful7 duties of others. . . . "

Neither side, however, was particularly happy or comfortable
with the utx‘tfi , or michte, "mixed" character of Papadhiamandian
prose. Though the demoticists claimed Papadhiamandis as their own,
Psiharis, founder of the modern demotic movement, described

Papadhiamandis' language as being "very much more katharevousa"

 

( napdt noAL') naptooorepo nafiapeuouoa )-2 The Purists, 0n
the other hand, while praising Papadhiamandis' narrative talents,
"didn't look upon his mixed language favorably.”3 Purist K. Rankavis,
while praising Papadhiamandis' short story, "Dream.on the Wave,"
("OVSLQO 0T6 M13110. "), finds fault with the language.4 N.
Hatzidhakis calls Papadhiamandis an ”artist with the pen" but not one
of those writers who "leads the spiritual life of the country.”5
As for Papadhiamandis, he apparently took very little part
in the rhetorical polemic himself. Vlahoyannis claims Papadhiamandis

"could never stand psiharism . . . never read a book written in

 

1Valeta, Hanaétaudvrng , p. 63

2Psihari, " "Evmon 8d thj OOVCXLLTI," Noumas III (January,
1905).

_ 3Valeta, Hanaétaudvrng , p. 384, citing periodical Nea
Zoe IV (April 1908).

4Ibid.

 

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1 Valeta concludes that Papadhiamandis ”Loved the demotic.

2

demotic."
Hated psiharism." Papadhiamandis' argument with the psiharists was
perhaps not as a purist but as a demoticist. But the fact is that,

except for the essay "Language and Society" (" 1")»(3000. Raf. KOvavia "),3
which deals somewhat with his antipsiharism, he never really entered the

katharevousa versus demotic arena either by word or deed. For the most

 

part he kept silent and continued writing in michté.
Though the rhetoric concerning Papadhiamandis' style may be
prolific, analysis is limited, often superficial. Modern scholars

usually describe his prose as katharevousa except for the dialogue.

 

For example, P. Bien in his book, Kazantzakis and the Linguistic

 

Revolution in Greek Literature (1972), writes: "Papadiamantis, the

 

most widely read of the naturalistic novelists who flourished circa
1880-1910, employed demotic for dialogue and puristic for narration."4
As we shall see from the analysis which follows, the characterization
of Papadhiamandis' narration as "puristic" is imprecise.

Some scholars, those who approached the writings of Papadhia-

mandis objectively without trying to bend his prose into "pure"

demotic or "pure" katharevousa, recognized that they were dealing

 

with some sort of michte the nature of which, however, they were never

quite sure of. D. Balanos in his article, "Papadhiamandis: Legend

 

1
G. Vlahoyannis, " mpg ypdcpercxl. r'] ioropfia" Lea
Hestia (December, 1938), p. 1634.

ZValeta. Hanaé LauavrrLg, P - 461 -

3A. Papadhiamandis, m'Anavra 1:06 Akegéyépou HanaéLduavrn,
entuéAELa 1". Bale-co, Vol. 5 (Athens: 'Hpankng Banaln,I954)’
pp. 300-310.

4Peter Bien, Kazantzakis and the Linguistic Revolution in

geek Literature (New Jersey: Princeton University Press, 1972) ,
p.121.

 

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and Reality, which appeared in the Christmas, 1941 ”Nea Hestia"

dedicated to Papadhiamandis, summarizes the scholarship on
Papadhiamandis' language and attempts a description of his own:

As for his language, there is disagreement: Most
consider him a katharevousian, others however characterize
him as a friend of the demotic or user of the demotic; most
accurately of all, Palamas states that ”he changes grammar,
style, language in accordance with his circumstance, taste,
disposition." I. Kambouroglous finds that his language
" noré éév noupdgm, " (is never tiring); the more precise,
less given to exaggeration, K. Hatzopoulos, of the opposite
view, has thelopinion that his language "noupdgm," (is
tiring) . . .

. . . From a language point of view, Papadhiamandis does not
have any definite direction; as he says himself, he writes
as it occurs to him; and he himself does not know if he is a
katharevousian or a demoticist . . . Papadhiamandis' natural
inconstancy is very evident also in the language which he
uses; sometimes-~more often-~he writes in the katharevousa,
sometimes in the demotic, more often, however, in a very
unaesthetic, for me at least, manner, /for7 he mixes in the
narrative, in thezsame phrase, forms of extreme katharevousa
and demotic . . .

 

 

Even Valeta in his exhaustive study, Papadhiamandis: His

 

Life, WOrk, Era, only superficially analyzes the language. He traces

 

a trend toward the demotic, but his examples are few and impressionis-

tic:

. . . The syntax leans toward the demotic--it simplifies
itself. Nevertheless in 1893 and 1894 he still hesitates
over forms. He writes: " eig Tfig Bouoktalg'hut also

" eig rdtg duuouétdg...".He writes: "c‘wdueoa sig rdg...‘
and " avdueoa etc Inc. . . . " He writes: "usrago mv...‘

. . . ." More correct would be to say how there
comes a period when the language becomes demoticized . . .
One step was necessary for himp-the change of form and the
uniformity of syntax--in order to arrive at the demotic.
But he did not do it! . . . He turned back . . .3

 

11). Balanos, " ‘O Homaétaudvrng: @pOAog uat rtpay-
mnnérnc." 355 (Christmas, 1941), 24.

2Ibid., p. 25.

3Valeta, Hanaétaudvrng , p. 461.

 

 

 

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.. a: nu w. L... {A a 5 e t t.
.: F. .. b s .C .\u .1
w.. it“ Lu u S An .J.
c . Vs a! 5 ac . I. a .fl. IA .1“
1 ‘ . . 9. a. «\U Q... S '7‘
I. n‘ a.» .l 9“ r. J a o u a;
.. . .1 ». a: .1 a... .91 HI
. s v. o u o . Q . 5‘.
.c. .v» Q. c.“ o u A.» N. .t a
“7 u. r“ .1— ... .u.. .c 1.“
\. an; .~ . ‘u ~ . a.» v. c I ‘
.p. . . .. u . . LI .e. v . .A .11
o .
C

Yet, Vlahoyannis, writer, critic and friend of Papadhiamandis
as late as 1938 characterizes Papadhiamandis' writing as being anti-
demotic.

How then can the question of Papadhiamandis' style be more
accurately settled? While it is true that Papadhiamandis' early work,

especially Ghyftopoula, is written in "pure" katharevousa; and two

 

later works (Holeriasmené and Thavma Tis KaisarianES) in "pure"

demotic,2

neither of these extremes represent the style of the more
than two hundred stories in the Papadhiamandian corpus. They are
written in what has been called a michté. But while the more serious
scholars, those who remained objective in the "language question"
polemic as it concerned itself with the writings of Papadhiamandis,
recognized a michté, no one attempted a systematic analysis to deter-
mine its nature. Such an analysis is the subject of this thesis.

I believe the place to analyze the style of Papadhiamandis is
in a work in the so-called michté; a work written at the height of

Papadhiamandis' powers. during his most mature period; a work generally

considered by critics a masterpiece. Such a work is The Murderess

 

("H <l><5vLooa ). Written during the summer of 1902 and published as
a series between January 15 and June 15, 1903 in the periodical

"Panathenaia," The Murderess represents Papadhiamandis' style at its

 

finest. Of this work G. Valeta, the foremost Papadhiamandian scholar,
undies: "The Murderess is from all angles the masterpiece of

l?apadhiamandis, for written during the years of his advanced maturity

 

1Ibid., p. 464, citing Kritikes Selidhes III (April, 1938).

 

ZValeta,Hana6Ldyavrng , P- 461-

“s
\

Ann-baA
' a

b...Ȣ..n_

‘0
.-

 

... 5 .3 .H .H v. C . . 2. t T ,T T m.. .. L. .. T.

V . . .q o :u g c . c . :u no ~\v . . .... ‘r .\ c v s \I . .. 5 la.
.5 u . —_ .. . .9 . ~. . . . .C .L M . 5; C) o . TL .. s . V .
..,. .-.. : o; ... .n vt ... AC 3 ... s (H
9. ~» J. ... .s 3 .t o; u... u m Rid

.. o L. . . 4.. v . u“ .- a I: x: 9 3L 5 a r

.5 .u v . . . .1 2 . . .. .. .3 .C .x In :4

a. .O . . . c .. .4 b “b b s n. n. . .‘¢

3 :. r... C 3. :. 3 a. I z .. .. .

1:. ~ . u.. v. o .. u .3... .‘ . {Cu 1‘ -.P.. :o. ...e— Nu" 4v

. . . . 1
it contains the richest examples of his art. . "

And on this
point there is general consensus throughout the criticism.

The Murderess then has been chosen for analysis, the purpose

 

of which is to describe as precisely as possible the nature of
Papadhiamandis' prose. The results should refine the often crude

description that he uses the katharevousa for narration and the

 

demotic for dialogue; should indicate whether he is a writer of the
katharevousa making concessions to the demotic or whether he is
fundamentally a demoticist; should establish whether the michté as
generally defined applies to Papadhiamandian prose; and finally,
should reveal some characteristics upon which a judgment as to the
aesthetics of the style can be based.

The method of analysis is based upon critical distinctions

between the katharevousa and the demotic as dictated by grammar and

 

usage, especially distinctions of orthography, morphology, and lexical

choice.3 The elements separated out of the text into the katharevousa

 

and demotic fall into the following categories:4

 

lIbid., p. 606.

2For a suunnary of the criticism, see Valeta, HanaétaudV‘tng
pp. 373-425.

 

3For derivation of this method, see Browning, Medieval and
Modern Greek, pp. 118-19. A photocopy of the entire text of Th3_
Murderess as it appeared in its first printing in "H. Panathenaia"
(serialized January - June, 1903) is included in Appendix C. This
text has been numbered in Stephanus fashion for positive identifica-
tion of examples and quotations. All page and line numbers in the
studies which follow (i.e., 203/5) refer to this Appendix. In
addition, I have translated the entire text into English (Appendix B).

 

4After Browning, Medieval and Modern Greek, p. 118.

 

T. on” I. .. t. -1 2.

 

 

Phonology and Orthography

A. Neuter nouns in - L / LOV

B. Consonant combinations

C. Orthographic variation

Forms

A. Subjunctive third person plurals
B. Augment: Temporal and Syllabic
C. Participles: passives in - uévog

Vocabulary

-'u-~ O.‘_r
--~._.‘.-.u:
o. - ‘

.r "'. I
‘--‘ \

-_,. .
‘ v
Q. I
F‘.
.. o- ? G.
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}.
.
-‘ A. A
.
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a._ ,

- A \ u

-.: " no.

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r-‘Ih

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F-‘
‘K n‘.
's 4:
‘ u
. ‘« “-
~.‘ ~
-. & ~
I-‘ ‘ C
\\'\ , x
.. i,
‘e

III. PHONOLOGY AND ORTHOGRAPHY

A. Neuter Nouns in --l.; - LOV
Modern Greek neuter nouns ending in - Levolved from the
diminutive forms of ancient masculine and feminine nouns which in
time lost their diminutive meaning. They thus revert to the meaning

of their prototype. In the katharevousa, these neuter nouns end in

 

-- Lov ; in the demotic, they end in — L .
Below is a listing of all — L /- LOV which appear in the

descriptive passages of The Murderess.

 

 

 

 

 

TABLE 1

Katharevousa: Neuter Nouns -- box) *
Word Translation Location (page/line)
dundptov store - room 372/44
dvriov pole 266/34
éuudpLov cupboard 373/89
nakdfitov basket 235/29, 38; 405/9
uapmfiov nail 308/66
natdxpltov door-step 406/38
nnpfiov candle 307/56; 432/44
ukuétov key 372/48
oonfitLov house 233/17
natéiov child 198/51, 54; 472/71; 501/94
navfiov cloth 266/35; 528/74; 529/4, 14
nordutov river 306/64
TLOTT'IOLOV glass 196/96; 408/9
DdB5LOV cane 405/9
TUDCOV cheese 408/9; 470/17
(mytfltov wick 304/11

 

a'fExcluding all words in quoted dialogue; words inside quotation marks
in descriptive passages; and proper nouns.

10

TABLE 2

 

Demotic: Neuter Nouns ending in - L *

 

 

Word Translation Location (page/line)

dYépL boy 501/96; 502/10

duné A, L vineyard 197 / 9 1

dV'rl'. pole (distaff) 266/42

augc breast 472/72

YDCSOL piaster 234/33

51.0.11. reason 470/55

boUAdTLL closet 236/42

gaunékt satchel 196/57

LquCHL coffee-pot 472/12

uaAdfiL basket 307/56,68; 341/60; 432/44;
435/67,96; 436/56; 437/72,74;
471/61; 472/14; 499/4; 501/69;
528/27,68; 529/25; 530/27;
531/14; 532/62; 436/98; 533/86

Rolando L ink-well 19 7/6 8

MQAOBL hut 470/52,58; 471/82; 498/30,67;
500/46; 501/55; 528/34; 529/60

nadeL boat 235/62

110.1(va cellar 234/82; 237/86; 238/46

MLACuL mug 408/13

MA€L5C key 432/48

uondéL flock 436/74

npaot wine 199/11

18 L 86.5 L meadow 235/101

Auxvdp L lantern 498/69

uavfifik L kerchief 306/55

luxvépi fold, pen 500/46

LLONI'COGvL remedy 500/16

“udIL eye (glance) 237/82

uscmuépL noon 371/38

uOLpvoY L dirge 470/22

uovoner path 406/82; 437/51; 438/27; 470/45;
471/68; 500/1; 530/39; 533/60

uROCTdVL melon patch 197/9

unpfiuL coffee—pot 528/69

naLc‘St’. child 271/81

‘nepLBéAL garden 434/59

TmYdGL well 308/58; 372/l,22; 471/3

'nlde flank 272/50

‘nofidpL foot 431/28

1107.0120fo maidenhair 306/49

norfioL glass 199/10

nowudéL premature (baby) 197/56

DdBSL cane 432/44; 435/56; 437/75; 471/61;

499/3

11

TABLE 2—-Continued

 

 

Word Translation Location (page/line)

pant raki l96/71,77

pTLdel. Shelf 196/77; 236/41; 498/70

oapdnL termite 196/34

oekdx1 belt 532/78

0 L V561) L sheet 408/14

OTLLTL stairs 266/54

CNICTL house 197/8,90; 371/39,42; 406/78,86;
431/49; 434/44; 435/72

TnYdVL fry pan 197/9

TpaYOGGL song 470/21

Tupi cheese 435/68

cpéOL fez 406/17; 431/25

(010.0116 flask 470/ 17

xayLdtL porch 268/2,29; 308/56

xépL hand 431/29,3O

xpduL shawl 303/35; 425/95; 531/15

xwpdcpl. field 195/72; 368/25; 434/44

dmnlf bread 407/31; 435/67

 

*Excluding all words found in quoted dialogue;

inside quotation marks

in descriptive passages; and proper nouns.

0n investigation, it at first appears, at least in the realm
of the neuter -L/-Lov noun, that Papadhiamandis was tending, as

1

Baleta observes, to demoticize the prose. Of 146 instances, 119 or

81—1/2 percent are demotic forms (see Table 3). But it is important

TABLE 3

 

Proportion of L/TOV Neuter Nouns in the
Descriptive Passages of The Murderess

 

 

 

 

 

Demotic Katharevousa Total
Neuter Nouns
Frequency 119 12 146
% 81.5% 18.5% 100%

 

1See page 5.

.
0. ..§- OP»!

.- o
6» .‘~-. unn-
..--- ~ v-u

* I
-
...—~: .5 I‘.

 

 

l" a
L. w '
-
\
c
I
.-
.-‘
[V
‘. A
.
~
“I.
3‘ ‘:‘.
"§ - -
7": \

 

 

‘.
.-‘
“ § r
‘ "‘ k
‘5
a!
II
\—
..
§
‘.
\Q
\
“’\.
.
‘-t:"'-
x ‘.
‘\.'

   

 

4
«n
N-

 

 

\
.‘_ -
\ I“
w "
‘ -
‘..-
\
t
‘ - .
-—-. ‘
“ x
__ Q
\.—~\
‘-\ -

12

to note that the proportion of multiple occurrence to single occur-

rence is virtually the same for both the katharevousa and the demotic

 

(see Tables 4 and 5). Words which Papadhiamandis uses in the

TABLE 4

 

Distribution of Katharevousa Neuter Nouns in - LOV
Frequency of Occurrence Exceeding One

 

 

 

Word Translation Frequency Percent
*naLéfiov child 4 14.8
nowfiov cloth 4 14.8
11016.0 L ov basket 3 11 . 2
nnpfiov candle 2 7 .4
rupfiov cheese 2 7 .4
norfio LOV glass 2 7 .4
Sub—total 17 63.0
All Others (Frequency of 1) 10 37.0
TOTAL '27 100.0

 

*Multiple occurrence in both the demotic and katharevousa form.

 

katharevousa are repeated proportionately as many times as are the

 

demotic words. Moreover, of the 16 different words which appear in the

katharevousa, almost half are used in the demotic form as well (see

 

Table 6).

Thus, though Papadhiamandis' use of the demotic in this instance
is numerically overwhelming, there appears to be no deliberate choice.
We cannot say, as might have been hypothesized, that Papadhiamandis
chooses one set of nouns in the demotic and another set in the
katharevousa. We can only say that when confronted by the need to use
one of the ancient diminutives in the nominative or accusative case,

Papadhiamandis most of the time uses the modern demotic form.

"

{\k“

\

 

13

TABLE 5

 

Distribution of Demotic Neuter Nouns in - L
Frequency of Occurrence Exceeding One

 

 

 

 

Word Translation Frequency Percent
*uaAdSL basket 21 17 .6
OTLIZTL house 9 7 .6
uaAOBL but 9 7.6
uovondtL P8th 8 6-7
deéL cane 5 4.2
TLUYdGL W811 4 3 .4
MGTG’N L cellar 3 2.5
xwpdmL field 3 2.5
anLer pordn 3 2.5
xpduL shawl 3 2.5
0(1ch shelf 3 2.5
aYépL boy 2 1.7
maul bread 2 1.7
wéOL fez 2 1.7
‘xépL hand 2 1.7
pant raki 2 1.7
Sub-total 81 68.1
All others (Frequency of One) _38_ 31.9
TOTAL 0 119 100.0

 

*Multiple occurrence in both the demotic and katharevousa form.

 

TABLE 6

 

Neuter Nouns in L/LOV Occurring in Both the
Demotic and Katharevousa Forms

 

 

 

 

Katharevousa Demotic Translation
dvrfiov dvrt P018
naAdOLov naAdSL baSkeat
uAsLéiov MASLéé key
OUTIL‘L’LOV CTIL‘L'L house
HGLGCOV ‘naLéfi Child
nornofiov notfipL glass

TUQCOV Tupi cheese

 

0‘
u.

.1.
..

p

qun
.QLN

"1:
.6-

 

.

-..

h‘.
\~
\‘

.
--
‘s

v

«

.n

x.

Q

Q»

14

That there appears to be no deliberate choice can be further
illustrated by examining passages in the text where the same word is
used in both forms. The word "basket" is repeated 21 times in its

demotic form and 3 times in its katharevousa form. Below is a quota-

 

tion from the text for each:

'Awofi efxe ysufiosL To MdkdOL Inc, not b fiALog
éuALve molt xaunkd,. . . 307/68—69

"Since she had filled her basket, and the sun slanted very

10W, 0 O O

-- rd éuonrsv fi rd énsppfingsv, éyéuLgs to
uakdaLov Ing, n'énéorpsms to BodGL etg Ifiv otnfiav.
235/37-39

--she cut them or uprooted them, filled her basket, and
returned at night to the house.”

"In both sentences, the grammatical setting for ”basket" is
identical-~object of the verb"ygnifigu)", ”to fill.” The forms, of
course, of ”basket" are interchangeable-~both use identical phrase-
ology--"her basket." It is this kind of random mixing of forms
that is so characteristic of Papadhiamandis' style. And it was
written at a time when most Greek authors were attempting to
"purify" their language toward one or the other polarities or toward
a rational and consistent michtE.

It is in the investigation of the genitive case for the - LOO
and ~1k30 neuter nouns that patterns of habit within inconsistent use
begin to appear (see Tables 7 and 8). Here the figures reverse theme

selves (see Table 9). Of 26 occurrences, almost 80 percent are

~

1
See Bien, Kazantzakis, pp. 13-34.

 

15

TABLE 7

 

Katharevousa

: Nouns - LOU

 

Geni

tive Singulars

 

 

 

 

 

 

 

Word Translation Location (page/line)
oeoiou of the fez 195/48
naLOLOU child 195/95; 196/44; 305/58
mm Lou paper 197/ 73
IGELétou journey 301/65
natwyg (on basement 266/14; 408/11
rupfiou cheese 303/35
Auxvap 60L) lantern 304/19
uqkqfifiou basket 306/55
ueoocpop {,QU petticoat 341/89
OXOLVLOU string 371/83
ouauvfiou stool 407/11
nepLBoALou garden 435/3
tponaptou hymn 471/ 19
uavénkfiou lamp 472/2; 528/79
1101108 Lou cabin 498/33
uovaornotou monastery 502/104
TABLE 8

Demotic: Nouns — LOO

Genitive Singulars
Word Translation Location (page/line)
ualauap L00 ink-well 197 /70
mouorav L00 dress 302/7
TmYOLSLoO well 371/78
nouALoi‘) bird 434/101
MOAUB LOO cabin 472/50
uOVCXOTanOO monastery 502/85

TABLE 9

 

Proportion of Demotic/Katharevousa Words in the
Descriptive Passages of The Murderess

 

 

 

 

 

Genitive Singular Demotic Katharevousa Total
Frequency 6 20 26
% 23.1% 76.9% 100.0%

l6

katharevousa. Here we must say that Papadhiamandis, when confronted

 

by the need for a —COL)/-LCfi) neuter noun in the genitive, usually

uses the katharevousa. We shall see this reverse pattern repeat itself

 

in the analysis of Consonant Combinations.

B. Consonant Combinations

Robert Browning in his book, Medieval and Modern Greek, traces

 

the changes in pronunciation "of certain consonantal combinations
involving plosive plus plosive, spirant plus spirant, and <3 plus
spirant" from the later middle ages. These changes in most dialects
are as follows:
111: m: 03 > CT
> X13 >431:
x8 (08 ox > on
He is quick to point out that even today, the changes are
"incomplete, insofar as loan words in the demotic from the purist
language tend to preserve the traditional pronunciation." In other
instances, the changes are "only partially carried out: OXOAEEO
is as good demotic as 014018115, {fidOXDUOQ as dounuoc."
Browning's chart (in the same text mentioned above) of the

"Diagnostic Features of Klatharevousaj and Diemotic7" lists RT, )Lt

(p3, X3 for the katharevousa and (DT: X17 for the demotic as chief

 

distinguishing consonant combination features between the languages.

 

l
Browning, Medieval and Modern Greek, p. 79.

2Ibid.

3 .
Ibid., p. 80. See also M. Triandaphyllides, MLupn Neo-
SAAJuutnn PpappaILnfl (Thessalonica, 1975), pp. 34—35, for partial
list of loan words.

4
Browning, Medieval and Modern Greek, pp. 116—17.

 

 

. . n
. 1w
I‘ 7‘ ‘ Av .
"uu ~.. «a.
.3.
I.- r.
s. .
. n.
. n .“4. ,.__
..-.!.-' ......e..
- .
a:.u-,.v,..,‘ _.‘
r- v .
.g..-.-_.-._..
o. ‘1
-0.“ ‘V'"‘
"‘-'-una._.
.' ' -
‘7 I... ‘
u— . _‘V
"h vu .__“ t4
.q ' -
\-.'.' n-
.‘ 1‘ ‘ «o ‘
Av _‘ \
"u...” .4
.: 7 1 .
-__
.~' c...
. n
A
-.1:‘( 3““. a
-
b~_“ 1

 

 

 

 

 

 

17

Based on Browning's diagnostic chart is the survey of "Chapter One"

of The Murderess for consonant combinations (Table 10). This survey

 

quickly indicates that Papadhiamandis, at least in this most basic
differentiation, prefers the "consonant combinations" (OlnumnVqui

ouunkéyuara) of the katharevousa. I even think a case can be made

 

for the four exceptions in (p1: on the chart: upucprév "hide and
seek" is of course a children's game and no doubt only a word of the
demotic. (This illustrates the difficulty Greek writers had in writing
novels about everyday mundane affairs in the formalized purist tongue
which is poor in concrete vocabulary.) As for calling robbers
"ukéqnxxtg" , it may be that even the learned used the demotic
pronunciation for this word. The great body of songs of the guerrilla
mountain Chieftains which arose from popular ballads of the early
Middle Ages and reached a climax in the eighteenth century is called

the "brigand songs" ( kléftika ).1 And in the narrative of

" the repeated term " HXéCDT-‘GLQ " refers to such

"Chapter One,

mountain guerrilla bands pursuing the mother of Hadula Frangoyannou

at a time prior to the liberation of Greece from Turkish occupation.
Yet the chart is somewhat misleading, for we find as we have

in other categories that in specific instances there appears no

deliberate choice. Below, for example, is a survey on the use of the

word "stream" or "draft," a word which is repeated throughout the text.
In the nominative and accusative Singulars, which account for

one-half of the instances of occurrence (see Table 12), the demotic

(Déuuo. occurs almost as often as psihul in the katharevousa. Here

 

 

See Kimon Friar, "Introduction," Modern Greek Poetry (New
York: Simon and SChuster, 1973), p. 9.

 

..x u 7:... u e X n . I .. ..........>.. .3; :54

31:-...-.._.......Zu......_._... .2 .2... LL. ~L.2~..v ::...~ 2.2: :2.~£::.C :2...:.r.:.....

Q» ~ ...~.~=<.P

 

lil‘llll'lll’ll'l .1" [fir ‘
l llllll‘n' Il'l

l8

 

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£33 new? 552.3
333 3333 905530
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mmfiuafi 396qu $3 >8Px3s©
233 “Ema: 98.92.;
SR3 ”Em: 9052.5
mm§m\m3 woman 3.8 wbcpxwéo
mmRS umuumumnu moompxooox
R23 33230 woocpxdodx
DRE :3. «(:53va
SEE unwfic 69.5.5
11111111 Inllnnu:Innisnlwmnlnlllnulnnunln Q.
0303 umuooa dowpoxapfi
$33 30.3”. >wptsaow
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3:3 mwfia 610.. 3255»
alimma wmmwuamn Ammav Cmbupfidmw
33$ muonnou advent“: 91mg 3393 «500.9553
333 xoom wow o3: «69830: 03mg 335 >053Q0m
~3qu anon—non usopewaax SENS 30.23 wpflsqaw
35:0me cofiumfimamum. HQ. Amfizowmmv :oHumHmamuH HE:
mowuwooq p.33 oowumooq . v.33

PX 3.9 “owuoEmn
0x “09 3.: SE “mm:o>oum:u§

 

 

mmoumvusz 9E. mo 95 “mucosa Scum maowumawnfiou uamcofiuoo

 

o H mumflw

A 3... —\.....:I_ v p..._ .3- :I: ..—.
rug—u -§.v.v.~

A 32‘ ~ \.:&-:~»

p...~ u:.v...h

 

CC x L -~ :C-sLL. I ll‘

l‘III - .l -1 1 - n \u-~..\o.
avov-unnu s-..-..~ I 0a» - U~.-.~<.~. i. I

 

l9

 

 

m\mmH 30H Mfi&dfidax

llllllllllll Hm mm
333 53 booms
333 3.3.3 .. wOfime
mmfiuma @9593 >O>d®9w
axing 33”.:on >O>O®9wu
om . wmfiwma mg: mango:
a ONES.” woof/am. fiQw>M%9

Ao:HH\owmmv aowumamcwuH Aocwa\owmav cofiuwamamuH

dowumooq v.33 cowumooq v.33

 

pong." uncounoH mange

 

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"‘~O-~3s.l~ ...
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v , I
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l"‘“"“'5 ...
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20

TABLE 11

 

Use, Form and Location of the Word "Stream" (or "Draft")
in The Murderess*

 

 

 

KATHAREVOUSA
Nominative/Accusative pethul 272/95; 306/30,66,80;
(sing.) 435/33,44; 436/80,83,
96; 437/85
Nominative/Accusative peinulto. 235/34; 531/10
(plural)
Genitive (sing.) peuuorog 306/11,50,58,63; 341/
13; 501/11; 502/103
DEMOTIC
Nominative/Accusative péLuMI 305/44; 306/64; 307/
(sing.) 2,72,80; 372/59;
437/59; 501/6
Nominative/Accusative pétnulto. 501/72
(plural)
Genitive (sing.) péLuMIrog

 

*Excluding Dialogue.

is an almost even mixing of forms with no apparent deliberate choice.

Papadhiamandis, on the other hand, switches to the katharevousa in

 

other case and number forms, as we have seen already in the -L4/LOV
nouns. In the — L/LCH) nouns, though over 80 percent occur in the
demotic in the nominative and accusative, the genitive is almost the
reverse. Similarly, with the word "stream," the number of occurrences

in the katharevousa accusative plural are double those in the demotic;

 

in the genitive singular, katharevousa accounts for 100 percent of the

 

forum.

_ .~ ....F

.vu u».....vA—

227-...5 .4 a ~nv....:~

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‘v-h.v3 own. a .i.‘

tiw Q u.~.§- <.-.

.u.~ u .~ ~
nupv~ u.~n:n.u-~.~

.uytm...\a.~r~.u.s -wux

21

 

 

 

 

 

 

 

 

 

 

 

 

 

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m>flummsou< m>Humm=oo<
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N0.00H N¢.¢q N©.mm
wH w OH
.wcfim .wafim
0>Hummsou< m>wumm=ou<
\m>.3ma.maoz ddiwo \mtfiumsfiaoz dimwo
Hmuoa oauoamo mmso>wumnumm
wagon uwuoaon paw mmso>mumnumm map a“
Alumna: uov :Ewmuum: 303 93 mo coauuoooum ill‘llll

 

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22

Contrary to Valeta's claim, this does not constitute a
demoticization of the prose; nor does it appear that "only one step
was necessary for him." The evidence here points to Papadhiamandis
being habituated to writing in the "savant" language. As for elements
of the demotic, "no deliberate choice" seems to define the peculiari-

ties and characteristics of his own michte.

C. Orthographic Variation

Mirambel in his essay, Les "Etats De Langue" Dans La Grece

 

Actuelle (1937), discusses the problem of multiple forms in the
orthography of Greek vocabulary and makes a comparison with French
which has a stable and fixed orthography regardless of geographic
variations in pronunciation:

La graphie de la langue demotique n'est pas unifiee, et
presente souvent des incoherences: on ecritltécnxo "je

prends" et noflpvw, gépw "je sais" et Eofipw, uondfiw
"je regarde" et nurrdgw, worth. "meche" et (erCAL,<ptLdvco
"je fabrique" et (DTELONOJ, uUpOXéYL "chant funebre"

et uOLpvoYL, qufitepog "meilleur" et uokktrspog

ou uaMS'Ct-Zpog etc. L'orthographe du francais est pour le
moins arbitraire, mais elle est fixee, et il est convenu que

la graphie n'admettra pour un mot qu'une seule forme; 1a
prononciation pourra d'ailleurs varier, et le meme mot sera lu
differemment par un Francais du Nord et par un Francais du
Midi, mais il sera identiquement orthographie; de meme, en
francais, bien que l'on ecrive petit, on n'eprouvera, a une
lecture rapide, aucune difficulte a prononcer p'ti, conformement
a l'usage de la langue courante; en grec, au contraire, le
prestige de la graphie est tel qu'on lira touiours gghgui_g§£_
ecrit, meme si cette graphie contredit les habitudes du langage
courant, parce que seule la notation passe pour l'expression

de la realite; nous continuous, en francais, de prononcer
gpm-ter, ch'iel, malgre les graphies dompter, cheptel (qui
parfois exercent une action sur la prononciation); mais 1e

grec qui, dans son langage courant, ne connait quecpTdAMJ
"j'arrive", éx‘rpog "ennemi", lira toujours (pfidvm, éxfipég
s'il voit ces formes ainsi ecrites; en grec prevaut 1e principe
que tout ce qui est ecrit se prononce.

 

 

 

1
Andre Mirambel, Les "Etats De Langue" Dans La Grece Actuelle,

Conferences de l'Institut de Linguistique de l'Universite de Paris 5
(Paris, 1937), pp. 38-39.

 

 

~.-u‘o. .- "
i I

:0- so 55 ..

b .-

"C ov".
...- .-.
.. -

u. _

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’ “.
.-. ..,.. ._.
a
.....

 

‘V‘o—
r. ..
‘ v
. ‘i 4
4 p
n.--“ B‘
Q .
-~-o ‘.
s.

 

 

o.-
‘;.-: .
..‘.‘.:\

 

5“,
~“ “‘ c.
V
‘4‘
.
“ I
. 4..
~ 4...? .
‘n —. b.
h A
. ‘~.. N
ll‘f‘
‘-
4»
“I
. ‘C
K
'7. "‘ : .
v
A ‘5‘..-
‘\
.-
.
.H “J
_—.io
.n. q .
s a.

 

 

23

Mirambel points out further that since Greek is particularly
subject to inconsistencies in matters of orthography there have been
efforts (especially by the malliarists), to resolve some of the
problems. These attempts have failed because of lack of consensus
and conflict with long established tradition:

La liaison étroite des questions de graphie et des questions
de prononciation ou de langue, en grec, explique que, sur le
plan de l'orthographe, se soient retrouvés les memes

conflits que sur le plan de la langue elle-meme ;la question
de la graphie ne se pose qu'a partir du moment oh la langue
démotique s'écrit: il s'agit de lui donner une forme qui
réponde h la réalite phonique ; mais on se heurte aux
traditions graphiques de la langue savante et il y a difficulté
a trouver une norme ; jamais les efforts n'ont ete plus
individuels, plus disperses qu'en matiere d'orthographie
neohellénique : ils vont des tentatives timides qui se bornent
‘a remplacer 'nT par (or, )Ut par 'xT aux tentatives plus
hardies qui remplacent les graphies 0.0, 61) par 010, 8(1)

on (13, EB (selon la prononciation) et Ou,OV,aB par Cu,
§\), QB h celles, plus osées encore, qui suppriment les
esprits sur les voyelles initiales, et n'admettent plus qu'une
forme d'accent, l'oxyton, qui ne s'écrit que 13 db il se
prononce, et jusqu'aux essais d'abandon de l'alphabet
hellénique auquel aurait eté substitué l'alphabet latin, avec
quelques complétifs pour la notation de certains sons.

While most writers strive for orthographic consistency within
their own styles, Papadhiamandis did not. One of the clearest examples
of Papadhiamandis' "natural inconsistency"2 or of the contention that
he writes "as it occurs to him" can be seen in the orthographic varia-

tion of identical words which appear in The Murderess. A sampling from

 

all parts of the text is shown in Table 13.

 

1Ibid., p. 39.

See the Balanos quotation, p.5 .

 

'0

v . .
.. i... r, as I .3
t.» l: . u a. v? .. .. t
.7. . u to J . . v nu . a. . c.
. .9 Wu C. i v .. 7. ... VA .1
u a». Nu .. .A» a» n. .. !.. la f. f.
...V. .Vu . . Wu 9 . g v . In . o p. a )1. av: . Aw . 1H
. ‘. .. .. t . .n. ... 7.5.... is f.
.Mm .. . . . ~ .v» .. .. .I. .u. 93 .3
.. N; «a a. a; A. I. I. -«a -A. . s“
'k .I. Q.~ n a Q . ~ ~ .4 .»I if L. \D H. v .

N-

A.‘

' t-
I

"ha.“

-.~'

 

24

TABLE 13

 

Orthographic Variation of Identical Words
which Appear in The Murderess

 

 

 

Word Translation Location (page/line)
uau'Iw L basement 238/46
nanny a flop basement 408/11
oa'firrav shuttle 266/30
oo'Cto (shuttle 266/32
ooyfirro. shuttle 266/42
ouukoéeuévo dog-tied 234/73
onulloosuévo dog-tied 234/83
vd Eurwfion to wake up 435/24
Vd égunvfiom to wake up 270/19
fi Agxdwa woman in childbed 498/6
f] Agxd) woman in childbed 498/10
rfig Agxdwag woman in childbed 272/48
‘L’fig Agxofig woman in childbed 472/7
uEOOHduoTo. daily wage 233/25
hueponduoro daily wage 195/55
éuuwex» to bend 371/76
éouuwev to bend _ 371/86
DEOLLO. stream 271/95
Déuua stream 305/44
uLooyeuo'Lro half-full 234/64

fiuLaVOLuTfig half-open 272/91

 

«‘ .
.ru. _ a .
‘ 4“,. c
o.... -‘.b"~ .
o .. . ‘
: h‘ In
I

Lcy\{
\
1
‘ I
q
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1
7 II
a

. II

a .,T
I
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In
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l
u ',
I I.
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‘ N
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at 7fiy~‘
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4
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A
y
u

w
T‘.‘
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“k "2-:
‘m.“
1i“ . c
l' -
"5 ‘h .
“l r.-_
“t

 

IV. FORMS

A. Subjunctive Aorist Third Person Plurals

The morphology of the subjunctive aorist constitutes one of the
basic divisions between ancient and modern Greek. For the purposes of
this analysis, I have chosen the third person plurals. Table 14 gives

a full tabulation from the descriptive passages of The Murderess.

 

 

 

 

 

TABLE 14
Subjunctive: Aorist, Third Person Plurals*
Katharevousa
Translation Location

No. Chapter Word (Inf.) (page/line)
1 I VG: AdBwOLv to: Supply 194/78

2 I noafiowou. sit 194/88

3 II 6éx6woLv accept 194/88

4 II dnaL‘cfiOmoL demand 197/90

5 VI dnéASmOLv set off 301/75

6 VI évepy towOLV take steps 301/76

7 VI énLOTpéwwOLV return 302 /42

8 VI nAefioQOL sail 302/48

9 VI napoAdBmOL take delivery 302/50

10 VIII upoBc‘bouv hide 306/76

11 X XELDOKOETUSGOLV emancipate 371/57

12 XI dvanpfivaLv interrogate 372/79-80
13 XI npoomnouoorfiowOL imprison 372/81-82
14 XII HCQXIUV drink 436/79

15 XIII dvapp LxrfiSQOL climb 437/78

16 XV oioaovfifiot, feel 501/82

17 XV dvanlnpébowol. substitute 501/83-84
l8 XVI MAE ComOLv close 532/86

19 XVII 5 LQBCKIL traverse 533/82

 

*Excluding all instances of quoted dialogue; words inside quotation
marks in descriptive passages.

25

 

_........._

 

C

 

v

. o
l v
. ‘

a
‘ Y
. §
‘ "
s

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P ..‘
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-

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I V“
. ...
K
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4

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‘.

'vo
.J A.
‘u

'v.
-. C.
'Q

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‘.

A.
~-

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‘.

~'
I
"'
.‘
c.

*-

‘ to
§- ‘
«A
u

'w

o
«a

a
Q.
I .l.
q.

0t
h.

 

   

l .
A“
‘ 5
fi' .l.,
a. “‘-
‘
§‘. ~..‘
I
., H‘-
~.
~- ."‘.
.
.‘ ‘-‘
h ’1".
.. h"
I
~
. Y?“
.

 

 

 

 

.‘
‘o
.
's “v.
's
l. .
C
‘ I
1"»-
.
‘ ..‘ l
0*
‘-
“
'6
.I
‘5
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is
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’4
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‘-
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t
‘ ‘\
\
o
1"-
.

26

 

 

 

TABLE 15
Subjunctive: Aorist, Third Person Plurals*
Demotic
Translation Location
No. Chapter Word (Inf.) (page/line)
vo: to:

1 I BQTIT BOOUV baptize 193/45-46
2 I éHéLMflSOBV revenge 1914/25

3 I dyuaALdOOUV embrace 194/75

4 II ougntfioouv diSCUSS 1.94/64

5 II énavéxaouv return 1.98/34

6 III fiéoouv give 234/77-78
7 III Y tvouv become 236/1

8 III bugvépefioouv marry Off 2.36/12

9 III ficho’ouv give 236/14

10 IV nLdCOUV catch 238/3’4
11 IV ndpouv take 238/4

12 IV égékfiouv come out 238/77-78
13 IV (DOYOUV leave 238/78

14 IV EASOUV come up 238/78-79
15 V égopufioouv drive away 271/92

16 X Léofiv see 371/12

17 X néoouv fall 371/14

18 X e ioékfiouv enter 371/28

19 X éEéASOUV exit 371/28

20 X YEULLGT floouv line 371/44

21 X AdBouv take 371/57

22 XI (pLAoucboouv imprison 373/68-69
23 XIII (DSdOOUV reach 437/83

24 XIII xaunkcboouv descend 437/84

25 XIII 5Lélfiouv cross 437/85

26 XIII 5 Lavuureoeiwoov spend the night 470/39-40
27 XIV otpaBmfioOv become blind 499/10

28 XIV Léofiv see 499/10-11
29 XIV opyr'yoouv delay 499/16
30 XIV évvofioouv comprehend 499/16
31 XIV BQAOOOV launch 499/17

32 XIV uuvnyfioouv hunt 499/17
33 XIV npoonokéoouv summon 499/27

34 XIV (pépouv bring 499/29

35 XIV cpépouv bring 499/50

36 XIV uLp ioSouv trace 499/55

37 XIV Katopacboouv succeed 499/56

38 XIV ovouokutbouv find (discover) 499/56

39 XIV lidEOUV search 499/57

40 XIV e g e Tdoouv examine 499 / 58

41 XV OUVékaouv recover 499/90

 

 

. ~.

‘0. ,' «a.

..I vnd, ‘2'
l

u“
‘ u‘vv'

‘~ ..\

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' . i

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o
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C. '

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.0 "Iv
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C

a, Q.

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"Q..

I

ll. ‘
3

tr...
VI ‘

‘II .
9p

‘ ”I
.. K ‘

Gl‘ .

.

‘

2 3""
s

u!

 

 

.‘ ,
‘1

a to .
".3. ‘t-J

 

L. '—
..‘
\
‘s- .
§:".‘~
\ "
§k k. H
L
t.
.
.
. .-
"\, an“- ,.
"cy4'h
. *u..
' I
.H‘.-‘
‘~_.pdv "'
‘ .;_‘
V.
-.‘
n
JAM
' in.
\~‘ n
\“ D-A
\ ‘3

 

.:~1
‘ - V-
-‘_
\u. h
g .
a
J.
v
.Ԥ.r
\
xg a:
3 ‘3‘
‘\.

 

-
-I"'~
‘.“:'2‘
,4
.
‘0
A! I I
\ “ .
k
s
s“ t
“
J_t:.-
. ‘t - :

TABLE 15—-Continued

 

 

Translation Location
No. Chapter Word (Inf.) (page/line)
42 XV évvofigouv comprehend 499/92
43 XV Entfioouv ask for 499/93
44 XV nerdgouv throw 499/98
45 XV BdAOUV set Ollt 499/99
46 XV KUV LYfiCOUV chase 499/100
47 XV (3)101: toouv be anxious 503/12
48 XVI 51301“) come 531/20-21
49 XVI éndpouv take 531/21
50 XVI ua‘cékfiouv descend 532/50
51 XVI ouuwfiofw rise up 532/52—53
52 XVI pupaofm hurl 532/53
53 XVI MUVnYfiOOUV chore 532/54
54 XVI TIEDdOOUV CI‘OSS 533/59
55 XVII Bdkouv put 534/10
56 XVII n‘cofioouv frighten 534/30

 

*Excluding all instances of words in quoted dialogue; words inside
quotation marks in descriptive passages.

Upon examination, we find that in 88 instances of subjunctive

aorist third person plurals in The Murderess, 66 or 75 percent are

demotic forms (see Table 16).
one, Papadhiamandis here favors demotic forms.

further demonstrated by the frequency of recurrence.

 

Clearly a michte with a mix of two to
His preference can be

Of the 66 demotic

occurrences, 33 or 50 percent appear more than once (see Table 17). In

the katharevousa, 16 of the 22 occurrences are single occurrences and

and of the remaining 6, only 3 words constitute the repetition (see

Table 18).

Here in this verb form, the pattern of "no deliberate choice"

is similar to that which we saw in the previous section on Phonology

and Orthography.

form with the demotic -OU\) form in the same paragraph.

example of this from Chapter I:

 

Often Papadhiamandis mixes the katharevousa - QXjL(V)

Below is an

28

.. .To xLXLerég éévooov firov ouomtotoouévov
uovrd sic Tfiv bfigav, udrm, eio tov Ytyovrtat-
ov noouov, rov onofov 6év finnooofioav v'dyuak—
Ldoouv névre dvooec. 0L Boouot not oi QXLELg
15v ELXOV GuamtoLdoeL, TOO efxav oudwet tfiv

nooéfiav, 106 eixav MOLAdvEL Id éyuara, étd vd
AdBmoLv éuetaev dmaovov 6&60.

194/72—79

*Italics mine

TABLE 16

 

Proportion of Katharevousa/Demotic
Subjunctive Aorist Third Person Plurals

 

 

 

 

 

Demotic Katharevousa Total
Frequency 66 22 88
Z 75% 25% 100.0%
TABLE 17

 

Distribution of Demotic Subjunctive: Aorist, Third Person Plurals
Frequency of Occurrence Exceeding One

 

 

Word Translation Frequency Percent
To: (p L Aanéoouv imprison 3 4 . 6
Léofiv see 3 4.6
ndpouv take 3 4 . 6
Barn: COOUV baptize 2 3 . 0
wépouv bring 2 3.0
RLdGOUV catch 2 3 .0
ékaouv come 2 3.0
égékaouv come<nu1 2 3.0
EXSOUV cometq> 2 3.0
évvofioouv comprehend 2 3 . O
neodoouv cross 2 3.0
xaun Acboouv descend 2 3 . O
5¢OOUV give 2 3.0
ouuwaofiv risexq: 2 3.0
Stavuutepeéoouv spend the night 2 3.0
Sub-total 3’3— 50 o
All Others (Frequency of l) §_3 SO . 0
Grand Total 66 100.0%

 

29

TABLE 18

 

Distribution of Katharevousa Subjunctive:
Aorist, Third Person Plurals
Frequency of Occurrence Exceeding One

 

 

 

 

Word Translation Frequency Percent
To: dvaup 1',va L V interrogate 2 9 . 1
dvankannwOL substitute 2 9 . 1
nooownouoarfiowot hmnjson 2 9 l
Sub-total 6 27.3
All Others (Frequency of l) 16 72 7
Grand Total 22 100.0%

 

B. Augment: Temporal and Syllabic
In modern Greek, temporal augment is generally dropped, the
initial vowel therefore remains unchanged throughout the tenses,
unaffected by the rules in ancient Greek for lengthening vowels.
Syllabic augment--the addition of " E " to the theme for imperfect and
aorist indicative verbs—-is still retained in demotic Greek except that

the augment disappears in forms not accented on the initial vowel.

'nm3" 'évoawa. €YDG®€Q° dAAd (é)Ydeaue, (é)Yodanne "1

Browning traces these developments back to the early middle
ages when "a phonological change took place, many of whose effects

were masked by analogical influences. Pretonic initial vowels dis-

appeared."
bonfirtov onttt 'houmy'
huépa uéoa 'Hay"
oOéév éév 'hot"

For summary of demotic rules for augment, see Triandaphyllides
.M L 7401') , 649-56 .

«cl, Infiltri. 41.1117; i
A. .

30

épwrc‘b own?) "ask”
olfivog Atyog "little"
ebotomo Bofionm "find"
Ownkbg wnAOg 'Tfigh"
owdptov tbdot "fish"
QOdv adv 'hs"]'

Uncertainty in the use of syllabic augment developed, and the
"aphaeresis of initial vowels" resulted in the disuse of temporal

2
augment.

Perhaps nowhere as much as in the augmentation of past tense

verb forms does Papadhiamandis illustrate his preference for the

katharevousa and his tendency toward random morphology. Not only does

 

the text of The Murderess reveal an almost exclusive use of the

 

katharevousa for both syllabic and temporal augment, but it reveals an

 

array of archaisms including double augment; augment preceding preposi-
tions in compounds; and omission of augment.3 Often these archaisms
alternate morphology for identical vocabulary exhibiting an uncertainty
or hesitation of choice.

Table 19 is a list of all simple verbs of syllabic augment

appearing in the first one hundred lines of The Murderess:

 

 

1Browning, Medieval and Modern Greek, p. 63.

 

2
Ibid., pp. 63-69.
3

For summary of ancient Greek augment, see H. W. Smyth, Greek
EEEEEQE (Cambridge: Harvard University Press, 1965), Sections 428—59.

TABLE 19

 

Syllabic Augment of Simple Verbs
First One Hundred Lines of The Murderess

 

 

 

Translation Location

No. Word (past tense of) (page/line)
1 éMOLufiTO sleep 193/5

2 éfiuofiage sacrifice 193/6

3 érpeuéoBuve flicker 193/11

4 épptnte throw 193/12

5 écpatvovro appear 193/14

6 éooLnrov throw 193/16

7 €82.8va see 193/31

8 éyewe become 193/34,37,39
9 énaoxe suffer 193/46

10 éBaTILT COST] baptize 193/49

11 écpdvn appear 193/49

12 éuonaoev stop 193/51

13 écpav'tdfie‘to imagine 194/3

14 éuueke be fated 194/5

15 évavoupLge lull to sleep 194/10

16 figeupe know 194/21

17 énpagow do 194/25

18 ém‘wawow go 194/26

19 éoxékagov rest 194/27

20 finnéoeoav able 194/28

21 ééoutuaoe try 194/36

22 éYEAdOSUCOA) deceive 194/39

23 finouoe hear 194/42

24 étoegev run 194/46

 

Upon examination we can immediately see that there is no

instance of dropping the syllabic augment when unaccented: Verbs
number 1, 2, 3, 5, 10, ll, 12, 13, 15, 18, 19, 20, 21, and 22. In a

micht'é predominantly katharevousa we would, of course, expect this.

 

It is even common in the demotic.1 But where possible, Papadhiamandis

distinguishes his choice of the katharevousa through verb endings or

 

other morphology. For example, #16, OEEUDE from the archaic

flEFSUMO instead of the more modern 565003 or 50.5000 ; number 8

¥

1See Triandaphyllides, MIME” , section 649.

 

 

32

H H

€Y€LV€ instead of éYLve ; O ending for number 1, 5, l3; and

the numerous final " \)"s establishing the katharevousa.

 

In considering the compound verbs ‘(GOVSSTCL pfiuata) “ there
are several examples, within the same one hundred lines, of augment

preceding the preposition:

TABLE 20

 

Augment Preceding the Preposition

 

Translation
Word (past tense of) Location (page/line)
énoogéve l. cause 1951/5»
énpoéwnev betray 194/42
énpoonéoaoow 133% before 194/99

 

In other instances, Papadhiamandis uses internal augment (écxorexatnfi
afignon);

TABLE 21

Internal Augment

 

Translation
Word (Past tense of) Location (page/line)
{maulJLSl'JpLQe Whisper 193/22
('méutnoe make 193/31
dnéurnoow make 193/38
énégn live 194/5
GLETOmwve formulate 194/7

UETééLée transmit 194/41

 

33

In temporal augment (xpovtm'j GOEnon) Papadhiamandis demon-
strates similar characteristics--a mixing of systems-~as he does for
syllabic augment. On the one hand, there are only rare instances of
demotic terms, but where Papadhiamandis may neglect temporal augment,

the morphology of the word or its ending is usually katharevousa as

 

is the case in syllabic augment.

TABLE 22

 

Temporal Augment

 

 

Translation Location
Word (with augment) (past tense of) (page/line)
fiofidvfinoow feel 194/ 83
(bvouooev name 195/ 50
e toydtero work 195/58
fiproav start 198/59
fiYDOTLVEL to keep awake 198/88
GJuLAoOoe talk 199/14
(without augment)
sfiptonero find 193/21
ebpflouero find 195/69
eiSpev find 197/24

But there often appear inconsistencies in the morphology:

(with augment)

fiVOLEE: open 234/95
fluouoe hear 234/99
nfipe find 272/60

—‘“-——_—_—————————__———_—-——_—_-———

(without augment)

dvoLgav open 234/53
duouow hear 371/ 59
8608 find 432/43

 

34

Papadhiamandis' use of the augment is not illustrative of a

katharevousa/demotic michtE, but rather a michte, so to speak of the

 

katharevousa itself. Papadhiamandis' mixing and inconsistency of forms

 

is open to criticism from both purist and demoticist alike. Octave
Merlier, the French Papadhiamandis scholar and translator, may have
been too uncritical in his praise concerning Papadhiamandis' use of
the entire spectrum of the Greek language.1 I believe it is as much
the mixing of puristic forms as the introduction of demotic forms
which caused Balanos and others to call Papadhiamandian prose

"unaesthetic."2

C. Participles: Passives in —- 11¢on

Papadhiamandis' use of passive participles in --Lu5vog are
usually in accordance with modern syntax, there is as adjectives or
predicate adjectives, with or without the particle.3 His morphology,
however, is mixed which constitutes for our purposes the distinguishing
features between purist morphology and that of the modern vernacular.
The katharevousa retains reduplication (sometimes augment); the
demotic does not. Table 23 is a full tabulation by chapter of the

passive participles in —- uévog from the narrative passages of The

Murderess.4

 

1See Octave Merlier, "Alexandre Papadiamandis: Sa Vie et Son
Oeuvre," Skiathos Ile Grecque (Paris: Societe D'Edition, "Les Belles-
Lettres," 1934), p. 65.

2
See Balanos quotation, p. 5.

3
See Andre Mirambel, "Participe et gerondif en grec medieval et

nmderne," Bulletin de la Societe de Linguistigue (Paris, 1961), Vol. 56.

 

See also Triandaphyllides, Mtnefi sections 734-740.
Does not include participles in ——dugvog’ --Ol')u€\)og,

r-ouevog.

35

 

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dowumooa Imago coaumoog tango

 

 

W0>wd II a.“ mmaafiofiuumm

MN MAGSH

36

 

 

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Amafiimwmav coaumamcmue 0.33 .30 Amcfiimwmav coaumamcmue 0.33 .80
defiumuoa Imago coaumooa Immnu

 

vmsawucoollmm mama;

37

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3:3 :muuowuom d>wnc>010F§
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AmGHQmwmav coaumamamuh v.33 Hmu Ama:\mwm3 coaumamcmum. v.33 umu
aowumuog I925 coaumooq Immno

 

 

mmsafiuaoounmm mgm<a

38

 

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coaumuoq Immno coaumooq Lamao

 

 

 

cosafiuaooaumm mqm<a

39

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.moxmuumawn .0 ca vcsom mmfiuuam mo mwmwn mnu co huommumo m>Huomammu Hfimnu wwsmfimmm cmmn m>mn maumea

 

 

 

 

229. ram: 5334855 new 32mm 833 5353 SE
Amaaa\mwwav coaumamamua whoa Hmu Awawa\mwmmv cowumamamuy vu03_ umu
coaumuoq Iamso cOfiumuog Imago

 

 

wwsawufiOUIlmN mam<fi

40

The analysis shows a text rich in the use of participles. In --

liévcm;there are over 160 instances (see Table 24), only one-third of

 

 

 

 

 

TABLE 24
Proportion of Demotic/Katharevousa
Participles in -- uévog
Demotic Katharevousa Total
Frequency 107 54 161
2 66.5% 33.5% 100.0%

 

which are repeated (see distribution Tables 25 and 26). The mix is
similar to that found for the Subjunctive Aorists, favoring the demotic

two to one: 66.5 percent demotic, 33.5 percent katharevousa. One-

 

third of the terms with archaic reduplication or augment is considerable
and substantiates a claim of "no deliberate choice." The listings by
chapter provide a composite picture of how the michté is distributed
throughout the text--sometimes evenly woven, sometimes alternating by
chapter.

It should be noted, however, that though many words fall into
the demotic column for lack of reduplication or augmentation,
Papadhiamandis formalizes many of them by the addition of final " "
or other archaic ending. This tends to neutralize the effect on the
prose of any statistical dominance of the demotic. What we see here,
as elsewhere, is the maintenance of a puristic style despite the intro—

duction of considerable demotic morphology.

41

TABLE 25

 

Distribution of Katharevousa Participles in -—‘uéxugg
Frequency of Occurrence Exceeding One

 

 

 

 

 

 

 

 

 

 

Word Translation Frequency Percent
at uarwuévn bloody 5 9 . 3
M0 Luwuévng asleep 4 7 . 4
usuauououéva far off 2 3 . 7
€5,on Louévo L enraged 2 3 . 7
uafinuévnv seated 2 3 . 7
’45 LuéV'fl ‘ situated (lay) _2 3.7

Sub-total 17 31.5
All Others (Frequence of l) 31_ 68.5
Grand Total 54 100.0%

TABLE 26
Distribution of Demotic Participles in —- Luévog
Frequency of Occurrence Exceeding One

Word Translation Frequency Percent
Tw LYuévn drowned 5 4 . 7
cppayuévog fenced 3 2 . 7
MM: Louévov closed 3 2 . 7
5Lnkwuévmv folded 3 2. 7
Tultyuéva wrapped 3 2 . 7
xaée uuéva beloved 2 1 . 9
Eeykmooauévn breathless 2 1 . 9
urLouévov built 2 1.9
narnuévov crush 2 l . 9
(onuLouévog famous 2 1. 9
('1ch Louévog foaming 2 1. 9
uolaouévou glued 2 1 . 9
cpuAau Louévou imprisoned 2 l. 9
naoakoy Louévn irrational 2 1 . 9
éeuévo. tied 2 1. 9
010 Luévov twirled 2 1. 9
MGM L emnuévog well-cultivated _2 1 . 9

Sub-total 41 38.3
All Others (Frequency of 1) 66_ 61.7

 

Grand Total 107 100.01

 

VOCABULARY

Among the diagnostic features of Browning's chart which

separates elements of the katharevousa from the demotic is a list of

 

vocabulary words "sufficient to identify the language of a sample

text." Below is the complete listing from page 118 of Medieval and

Modern Greek:

 

 

TABLE 27
K D

etc évag

uéyag ueydlog

txfiég odor

ntnvév nooAt 'bird'
numv onukog, OMUAC 'dog'
boroOv nounaAo 'bone'
éwfiaAuég udTL 'eye'
big 1161-11 'nose'
finap ooucbr l. ' liver'
toraual. oréuouont 'stand'
flown veoo 'water'
1100 (Don LdL 'fire'
éoufipég noun Lvog 'red'
{Bepuég £80169 'hot'
dang (pfiét 'snake'
dvfiog AOUAOOéL ' flower'
navvuw nay o'ww ' freeze '
uénrm 1(on 'cut '
nAnotov novrd 'near'
(1)361) onpcbwi ' push ‘
b C firm 0 l', wi ' throw'
écwoaivouat. uupt’. gouaL ' smell'
51309., 621410169, xpévog 'year'
5LC5TL‘ YLGTC 'because'

¥

42

43

A similar list (in many instances comprising the same words)
has been compiled (Table 28) from the narrative passages of The

Murderess to illustrate the michte quality of Papadhiamandis'

vocabulary.

Examination of Table 28 indicates that (a) many words are used

both in the katharevousa and demotic forms; (b) some vocabulary is used

 

only in the katharevousa; and (c) some vacabulary is used only in the

 

demotic.

In many instances, where words appear in both forms, Papadhiamandis

alternates the katharevousa with the demotic apparently for lexical

 

variety. For example, in paragraph one, Chapter I, HCfifUi and
1IAJK3(O\, "near" are used alternately which avoids repetition (see
p. 193/1 and 6); in paragraph two of the same chapter, 500M”: and
M~013TOOUDOV "log" are used in the same fashion (see lines 15 and 16).

These choices seem to be based on an aesthetic principle, though the

jLuctaposition of the katharevousa with the demotic was itself considered

 

"unaesthetic . "

On the other hand, much of the usage appears without deliberate
Choicma as we might expect from a text using all the options--(a), (b),
and (t:)--above. Upon examination of the text itself, we find much the
Same Itind of random selection as we saw in previous studies. For
example, in a situation where we might expect a pairing of forms, we
find jllSt:the opposite:

‘O narfig rng firov otuovouog not so-

YGTLMOQ not mooVLuog. ‘H udva tng fitov noun,
Bkdownuog not wfiovepd.*

194/18-20

*Italics mine

 

.A ....~ -:~:.:.>

«#N n.~.~—~ <.~.

44

.cowumuumSHHH wow wouao oocmumaw moo xacos

 

 

 

 

 

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r‘ o A.» C. a .. Flu. and rua f4} (s14 A.)
r. t E a v v & u . Q It I! e n a If.

«b

45

Use of the word "mother" in Chapter I with its three forms
-- ufirnp , un-cépo, , and udwa -- illustrates the random pattern
of appearance of this word throughout the text as well as the pattern
for most words which appear in their dual forms (see Table 29),

especially the more frequently used vocabulary-- erg /§vc1§ "one";

oiufiav/cmfirt "house"; (poe'ap/Tmydét "well":

TABLE 2 9

 

Phrases with Word "Mother"
(Chapter I)

 

 

No. of
Location Lines
(page/line) Later Phrase *(Italics mine)
193/8 rfiv Entéga r06 ndoxovrog Bpécpoug. . .
193/41 33 ‘H gnu-Egon 100 ere Mdun BQDELd Aexwofia”
194/19 29 ‘H MSW—C1 rng firov uomrfi, .
194/55 36 1‘1 m Tfig (Doayuoy Lowvofig.
194/90 35 1‘1 Em tfig onueptvfig <I>powquLowvoUg . .
i95/33 43 rd buota étnyetro dvéreoa f1 £6319 Tng . . .

 

The number of lines separating the repetitions of the word
"mOther" (see Table 29) average 35--a distance sufficient to preclude
any assumption that alternate forms are used for variety's sake. Use
of the three forms in the same text constitutes a kind of "double"
%. Mnrépa and udvo. are demotic words, the former a more
formal term than the latter; ufirnp is ancient Greek. If one were

to examine the prose of The Murderess solely on the basis of Browning's

 

diagnostic vocabulary list, it would indeed be difficult determining

46

the "identity of the language.” Such is the nature of Papadhiamandis'
miChtE--perhaps a more important third possibility than Browning and

others have allowed.

VI. SUMMARY

The foregoing analyses confirm the assertion that Papadhiamandis'
prose is of a nature best defined by its own characteristics. That is,
it is not a michte in the sense of the purist language making conces-
sions when necessary to the vernacular tongue. It is rather a michte
of random selection. On the one hand, the selection of the demotic
elements are of a magnitude which render a description of the prose as
"puristic" inaccurate. On the other hand, the prose maintains a purist
cast and the introduction of the demotic, which in some areas is
overwhelming statistically, never changes the character of the writing

sufficiently as to be described as "demotic."

47

VII. CONCLUSION

A. The Nature, Style and Aesthetics
of Papadhiamandian Prose

Definitions

 

Andre Mirambel, in his essay Les "Etats De Langue" Dans La

 

Grece Actuelle, distinguishes and defines five "états" of the

 

language in use in Greece (1937) which refines into a workable spectrum

the crude designations "katharevousa” and "demotic." These he lists

1
as:

 

la langue savant ou nafiapeuoooa _/_katharevousa7

 

20 la langue E13332 ou HLMTT‘] (utxtfi) _/_-'Tmixed:_'_7

30 la langue couramment parlée ou Maaoutlouuévn
outlouuévn Ikathomilomneni?

40 la langue demotique ou énturttufi

50 la langue désignee familérement par le terme uaAALqpfi

ou ultra-demotique. lmalliari7

(1) The Mafiapedouoa katharevousa or "langue savante,’ notes

 

 

Mirambel, avoids all forms, syntax, and vocabulary which in its eyes
is not "pure Greek" and which is not consecrated by the tradition of
ancient writing. It is rich in adjectives and abstract nouns; contains
rigid formulae; lends itself to subordination; easily expresses foreign

words and phrases through the formation of calques. The katharevousa

 

functions as the official language of the State, the army, the school,

HMirambel, "Les Etats," p. 21.

48

 

1].... ”undue“... tr: . .. .7!-

llfl: $4...

49

and the Church. Those who are versed in the katharevousa are considered

 

cultured and "educated."
(2) Thejltulnfi "mixte" or "mixed" language is in structure

similar to the katharevousa but makes some concessions to the living

 

language, even avoids extreme archaisms. Where there are no equivalents

in the katharevousa, it accepts terms of the spoken language without

 

change. Though it is a tentative conciliation between the two extremes,
it introduces into an established structure, elements of a structure
"evoluée." Thus it juxtaposes heterogeneous forms. It is both a spoken
and written language: written by those who believe in making conces-
sions to the demotic; spoken sometimes out of necessity.

(3) The Mafioutkouuévn or "daily tongue," referred to as
kathomiloumeni, unlike the first two is a language with a demotic

structure, though it contains elements from the katharevousa. The

 

major part of its vocabulary is demotic, but it rejects some neologisms
and modern innovations. For example, it prefers the prepositional
construction 6 OTIO'COQ , "who" to the demotic TtOL') . In spoken forms
it uses demotic endings, but for technical and abstract terms, it

retains purist morphology. The kathomiloumeni easily adopts elements

 

of the katharevousa into its structure in the belief that each thought
must be expressed in its mode, homogeniety notwithstanding. It is the
language of the middle class and of Athenian society.

(4) The 50110133”) or "demotic" is the form of the Greek
language today, the result of a natural evolution. This evolution has
resulted in: the reduction of the number of cases, substituted by the

use of prepositions; the elimination of certain moods accompanied by

50

the development of periphrastic verb forms; the unification of nominal
flexion; the appearance of nominal and adjectival suffixes especially
those of foreign origin-- -dtog, -dL1:Lno, -L'too., -d6a, -o'L6Luo,
"TEIH; ; the ability to form compound subordinating conjunctions.

It is a language capable of extension, enrichment and development. It
is the monther tongue of all Greeks of all classes.

(5) uakktaofi . This term (literally "hairy") is a derisive
name given by the purists to the attempt by grammarians to systematize
the demotic language. Where several forms exist in the demotic where
one might hesitate, the malliarists would search for a unifying system
for choosing one form over another. There were attempts to render the

demotic a service through the reform of orthography which still pre-

sents inconsistencies: one writes népnxp "I take" but also TKICOVM);
gépw "I know" but also gat'poo . One writes Makfitepog "better"
and also KaAO‘tepog , or nakkfi'repog . The malliarists became the

object of criticism even by the partisans of the demotic language,

above all in matters of vocabulary. However, the principles to which
they adhered had foundation: the necessity for the living language to
have unity; a refusal to make concessions to the purist language; and
finally, a systemization of the demotic language.

B. The Nature, Style, and Aesthetics
of Papadhiamandis' Michté
Papadhiamandis' early novels as we have pointed out, are written

ill what has been described as a "pure" katharevousa. With the intro-

 

dtuztion of demotic elements into the later short stories and novels, the

wuxiting becomes a michte, the nature of which is not congruent with the

51

description of the michte as a compromise. On the contrary, rather
than moving toward a "tentative conciliation" between extremes,
Papadhiamandis' prose seems to fit more Browning's description of
medieval texts of chronicles and tales as being "mixtures of living
speech and dead tradition."l

Papadhiamandis not only does not avoid "extreme archaisms," he
often uses Old Testament, Psalm or Troparia as integral language of the
text. For example, the passage below is a narrative detail from Chapter

One of The Murderess, which is language from Psalm 132, (133):

 

,, , oeo efxe fiéOEL finvov etc 106g
6m3alu069 Inc, oOéé etc to Blemaod
rng vuorayuév,. . .
193/52; 194/1
. . . she gave not sleep to her eyes nor slumber to her eyelids.
The instances of demotic, which are quite extensive, are, for

the most part, not "concessions" to the demotic in the usual sense-~used

because katharevousa forms are not available. On the contrary, the

 

demotic forms as we have seen in the analyses are rather unstable--soon
replaced by corresponding puristic forms often as early as the same
paragraph. Sometimes these replacements appear as a case change--
nominative and accusative change to the genitive (see analysis of -L /
'Lov neuter nouns and comparison charts for 080110. / Déuuo. ).
Often demotic vocabulary switches back to formal language. These changes
constitute,in a sense, a kind of concession in reverse—-a concession back

to the demands of the katharevousa.

 

 

1Browning, Medieval and Modern Greek, p. 14.

 

 

 

Ala. r! ...... . .rr... .a,.a..u. ’5‘ JIM-‘1‘
a . mu..|

52

In fact, there is an interesting stableness and consistency
about Papadhiamandis' michté which critics seem not to have noticed:

the evenness as to the proportion of katharevousa to demotic through-

 

out the text. No single paragraph or section of the narrative
(excluding dialogue, of course) "degenerates" so to speak into the
demotic. If there is a principle at work behind what appears to be a
random introduction of demotic in the prose, it must be an overriding
sense of never allowing the writing to become too demoticized. This
is why I believe Valeta and others were wrong in believing that for
Papadhiamandis "only one step was necessary for him . . . to arrive
at the demotic."

There is another device, that of setting off demotic words,
phrases, or expressions in quotation marks, which is an integral part
of the Papadhiamandian michté. It provides him with the easiest and
perhaps most "rational" solution for making concessions to the demotic.
Moreover, this device throws additional light on the fact that
Papadhiamandis insists, even in his most mature work, on stating facts

and details of narration first in the katharevousa. The first para-

 

graph of The Murderess provides us with an example:

 

. . . rfiv nemakfiv duouufimoa etg to
updoneoov rfig tortag, to Aeyouevov
"mouvonééapo" . . .

193/2-4
. . . her head leaning against the border of the hearth,
called the "fougopodharo, . . .
On the other hand, Papadhiamandis' use of this device is illustrative

of his need to express matters as common folk " O M169 " would express

53

" one might say, in spirit--

them. In this way, he was "malliarist,
. . . . 1
exh1bit1ng the de81re to preserve the nat1ve language.

Since Papadhiamandis' michte is basically katharevousa, its

 

style is largely determined by the characteristics of that structure.

In "Remarques Sur Le Style Et L'Esthetique De La Langue," which is

Chapter VII of Andre Mirambel's study La Langue Grecque Moderne,2

Mirambel uses Papadhiamandis' prose to illustrate significant struc-
tural differences between the purist and demotic languages which
necessarily cause divergences in style between the two. The quotation
below is cited for its enumeration of these structural differences as
well as for a comparison later of the early and late styles of
Papadhiamandian prose:

l. Dans la mesure, en effet, oh grec demotique et grec

puriste offrent des structures divergentes, 1e style (ou
les styles) de la langue ecrite, si elle est savante,

n 'offre guere defpgints communs avec celui d3 la langue
parlée. Voici, par exemple, sur un sujet analogue deux
textes qui montrent comment deux écrivains dont l'un est
vulgariste, l'autre puriste, sont amenés a des precedes
d'expression différents étant donnes les états de langue
qu'ils utilisent. Le premier texte appartient a un conte
de Drosinis ('H 6.011an népnp. 77) : ‘H HOOD T719 0
dounun slxe ytvEL h ouopmoreon noon 106 uéouou!
To uaAALd Tng énemrav ortg flAdTEQ rng odv awaken
wuévo xpoodwt, fi own rng firav okoéooon not poéouo
uuLvn, rd.x€LAn xmpfigcvrov us ykuuo xquoyeA£>- " 58 fille

laide etait devenue la plus belle fille du monde I Ses

cheveux tombaient sur ses epaules comme une poussiere d' or,
son visage etait tout frais et tout rose, ses levres

 

 

 

 

 

 

l
The Malliarists, especially Nikos Kazantzakis, deliberately

collected words from the villages and the islands and included them
in their writings with the aim of preserving them. (See Bien,
Kazantzakis and the Linguistic Revolution in Greek Literature,
especially Part Two, "The Demoticism of Kazantzakis.")

2
André'Mirambel, La Langue Grecque Moderne: Description Et
Analyse (Société Linguistique De Paris: Paris, 1959), pp. 426-27.

 

54

I I
s'ecartalent d'un doux sour1re...". Vo1c1 ma1ntenant le debut

d'un roman de Papadiamantis,0i€unOpOL TEN éSVC’N
(p.7-8): 'Ev €T€L omrnpfim 11%9066etg uafi'olov to
Aiyatov nékayog elxev moatorépav ooguyov rfig roU'Imdv-
vou Mouxoa, nAooofiou sOnatpfiéou KQTOLMOOVTOQ év ngm...
‘H ouguyog IOU» mpaio.uoi éfimo.dg HEDLOTEqu firo to oéuumwa‘rfig
otnfiag. 'Apxouoa éwoeudéog Sepanatvfiéwv Bteuauvs moor-
iuwg rd r00 otuou
"En l'an de grace 1199 personne dans toute la mer Egee n'avait
d'epouse plus belle que Jean Moukhras, riche noble résidant 5
Naxos... Son épouse, belle et innocent comme une colombe, etait
l'orgueil de la demeure. Commandant a une douzaine de servantes,
elle gérait sagement les affaires de la maison". Laissons de
Cate les divergences portant sur les formes et le lixique. Il
reste que le texte savant contient des formules "officielles" du
type év éTSL Gmeofio "en l'an de grace", que la langue demotique
littéraire évite. De plus, le texte savant fait grand usage des
participes pre'sents (naTOLuofivTOQ"résidant", dpxouoa
"commandant"), mais limite les adjectifs ; au lieu de la
construction “Cd. 1:06 OCMOU "les affaires de la maison", la
langue demotique utiliserait un adjectif ( I'd. OTLLTLMO. ). Le
texte savant, le plus long, n 'est compose que de trois
propositions, ce que permet l' usage des participes tenant lieu
de subordonnees. La langue demotique, au lieu de rechercher 1a
subordination systematique, juxtapose les enonces propositionnels
(n noon elxs yivEL...,Td uaAALd rng énsmrav ...,n own
Ins firm) rd xeflkn xmofiiovrow ...). Pour exprimer
1a comparison, le texte savant se borne 21 (1)9 nepLOTEQd"comme
une colombe :, tandis que 1e texte demotique, au lieu de dire
seulement cow xpLocich "comme de 1' or" dit adv dvaAELmuévo
xpuodcpl. "comme de 1' or en poussiere, fondu' . Enfin, dans le
choix des epithetes, si la langue savante n 'utilise ici que les
mots (bnaia ("belle") drama ("innocence") nkouofiou ("riche"),
qui n 'ont pas d'expressivite particuliere, la langue demotique se
sert de 016500071 ("toute fraiche") et OOSOKCSWKLV'O ("rouge
comme une rose"), adjectifs composes, dont 1e second, en
particulier, fait image.

In summary, Mirambel points out the following: katharevousa

 

(2(311tains "official"formulaic expressions which the demotic avoids;
deBends heavily upon present participles, not adjectives; uses other
(:(3thstructions (especially the prepositional phrase) in place of
adjectives; tends toward series of subordinate participial phrases as
c)13I303ed to the demotic's simple or coordinate constructions; lacks the

particularly expressive ability of the demotic to compound adjectives.

55

Mirambel's choice of the opening of Papadhiamandis' novel, The

Merchants of Nations (0L 7EU-TIODOL' TCDV 7E8vwv)is useful to us not

 

on 13' for the stylistics of the katharevousa but also as a means of

 

evaluating the demotic elements in The Murderess.

 

The Merchants of Nations was published in installments in the

periodical, Me Hanesai ("M75 xdvgoac'), between November 5, 1882 and

February 8, 1883. It was written a year before The Little Gypsyl

 

( " H Fumronoula) in a ”pure" katharevousa. Valeta states that _T_h£
Merchants of Nations characterizes and delimits the first period of
Pap adhiamandis' writing.

Below, for purposes of comparison, is the opening paragraph

0 f lhe Murderess:

 

MLoonAaYLaouévn novrd Sig rhv éorfiav, ué
omaltotd Id ouuara, rfiv uemakfiv duouufimoa eig
to updoneoov rfig toting, to Aeyouevov "mouyo—
noéapo", fi GSLd Xaéoula, h MOLvag uaAouuévn
PLavvoO h @pdyutooa, 66v éMOLudro, dAA' éSuoC—
age tbv Unvov nknofiov etg to Atuvov rfig doSev-
oéong utuofig éyyovfig Inc. 'Ooov Std rfiv Aexm,
rfiv unréoa r00 ndoxovrog Bpémoug, corn moo
olfiyou erev dHOKOLunSfi ént rfig xSauaAfig HEVLx-
Dag ulfivng rug.

193/1-10

We can immediately see that the basic style and structure of
the katharevousa twenty years later in the mature period of
Papadhiamandis' writing is still very much. intact. Note the
"Officielle" formula RONNIE uakouuévn "commonly called"; the

repetitive puristic " €139" for the prepositions "in," "at," and "upon":
\

1See p. 6.

2 . .
Papadhlamandls, Td 'Anowm, I, p.476.

 

56

6119, rflv éorfiow "at the hearth," etg To updoneoov "upon the
border," Sig To Afiuvov "at the crib." The long first sentence is
a series of subordinate constructions with the predicate éév énOLuc'iTO
(not sleeping) appearing near the end. Participles abound: LHAJO'
Inlay Laouévn ("curled up"); 6010111186600. ("1eaning");lev-
Ouévov ("called"); Makouuévn ("called"), etc. The adjectives
which appear--utupc'ig ("small"); xfiaualfig ("low"); and HSVprc’iQ
("poor")-—are not the "particularly expressive" type found in the
demotic.
As for the demotic in the prose, the structure remains unchanged.
For the most part, the demotic elements are word substitutions or form
substitutions-~not the structural changes which transform a puristic
text into a modern one. Below, for illustration, is a paragraph which
ends Chapter XI:
‘H ypata egonvnoev évrpouog, dyeerdxan
oAn. 'Aveonnéfin uafi fiofidvero uéyav onepayuév,
611d ouvxpovmg not uaAALréoav owuartnfiv dVEOLv.
‘O 06vrouog éustvog Unvog efxev egaket¢8L nap'
aurfi to veuoonafiéé not to dvfiouxov. 'Ewnldmnoev,
8608 Id onfipra, fivawe to unpflov, énfioe to paBéfi
rng, to uaAdSL Inc, éBaAe uéoa etc obto not tag
équéag rng, not dvunooorn, ué the udAroeg, eut-
vnoe yd muyn.
432/38—47
The old woman woke up terrified, shuddering all
over. She got up feeling great heartbreak, but at the
same time, more physically rested. That short sleep
had washed away from her the nervousness and anxiety.
She groped, found the matches, and lit the candle, took

her staff, her basket, put her shoes inside it, and un-
shod, in stocking feet, she started to leave.

57

For "old woman" Ypai’o. Papadhiamandis keeps the ancient

morphology as opposed to the current yptd ; similarly for
"' candle" nnpiov instead of kept: . But demotic 00.8611
" S taff" and nakdal. "basket" might just as easily have been 0055COV
and naAdSLOV . Nouns of foreign origin here-- CTICpTO. "matches"
and udk'roeg "stockings" (words of Italian derivation)-—are considered
demotic; but for "shoes" instead of the commonly used Turkish word
TIQROOTOLO. , Papadhiamandis returns to the ancient language with
équéag from équoov "on foot."

While most writers of the time were seeking to "purify" their
prose, and while this micht'e' does not perhaps represent the kind of
aesthetic solution which became generally accepted and defined, it
does represent one writer's experiment toward that solution however
difficult it may be to reconcile it with preconceived notions of what
c-‘-<:)nstitutes an aesthetic style. That Papadhiamandis moved from juxta-

pOSing strict katharevousa in the description with colloquial expression

 

in the dialogue to a michté in the description, indicates, I believe,
tIla—1t he sought somehow to soften the contrast. Admittedly, the hap-
1'IEIZard manner, as illustrated above, would not satisfy the purists,
especially at a time when the nature and future of the Greek language
Was such a burning issue.
Now, however, more than sixty-five years have passed since
PaPadhiamandis' death, and the passage of time permits a more objective
appraisal regarding the aesthetics of his prose. It can now be judged

on its own terms without the prejudice of "Language Question" allegiances.

58

Papadhiamandis' style must be evaluated as to the success of

it: s purpose. It is insufficient to say, as does Balanos, that "he

writes LPapadhiamandfs—f in the katharevousa, sometimes in the demotic,

mo re often, however, in a very unaesthetic, for me at least, manner.

In examining the prose of The Murderess, I find not only a

master story-teller, but a writer in command of his language, however

"mixed." There is in the Papadhiamandian style that uniqueness and

power of expression which only great writers impose on the structures

within which they are confined. The fact that Papadhiamandis' choices

 

between katharevousa and demotic forms appear statistically random says

nothing about the power of the words themselves to evoke and express

what is intended. Why is it that throughout the criticism there is

I'lOthing but great praise for The Murderess, for example, while the

ME. receives such cool reception? It can only mean that the michté

does not destroy the "illusion" necessary to all great art. It means

f‘n‘lrther that the style cannot be evaluated properly if forced to conform

to arbitrary definitions.

In appraising the aesthetics of Papadhiamandis' prose, it may
be Well to remind ourselves that Papadhiamandis was also a poet whose
Collected poems number close to fifty, for his prose, it seems to me,

cot‘ltains many of the elements we associate with poetry: rhythmic line

Supported by alliteration; synthesis of the physical environment with
the emotional state of someone; and philosophic comment.

The Murderess,
in Particular, offers many examples of these.

First there is the characteristically long descriptive sentence

w . . . .
1th a sweep and rhythm1c movement all 1ts own wh1ch carr1es the reader

along over beautiful terrain:

59

Tfiv fiuéoav Aounbv éueivnv, rfig éBéoudéog
rév Batwv, émaaoev fi ooayuoytavvofi Afiav nomt
Sig rfiv nooumfiv IOU bwnkofi nerpéooug Aomou,
T06 dvrtnnugovrog én Boouév Tfiv nolfixvnv, not
onéfisv uekayxoltuov nfinret to Bléuua ént TOO
uLuoofi uOLuntnpfiou, dnAouuévou ndrw, ént own—
Afig Sakaooonlfiurou Amoiéog yfig, ué rd Aeuud
uvfiuara, not sOBbg medyet Cntofiv matépornra
not Qmfiv etc rd yalavd nuuara, etc rev sOobv
TanAoOv ALuéva, not etc oneod, xapfievra
vnofiéta, rd mpdrovra Tofirov ég dvorokmv Hat
neonuBofias-

305/96 - 306/6
Well, that morning, during Holy Week, Frangoyannou

arrived very early at the peak of the high rocky hill,

west of the town, and from there, melancholic falls

the gaze on the small cemetery, spread out below, upon

the high sea-battered strip of land, with white tomb-

stones, and directly leaves, seeking cheerfulness and

life in the blue waves, in the wide triple port, and

in the verdant, charming islands fencing it from the

east and south.

Papadhiamandis takes us up high-—T1'W MODUCDT'IV T06. . .Aécpou
"the peak of the . . . hill," and from there directs our gaze Mil-'0)
"down" which Efiabg (DEI'WEL "directly leaves" for the islands in the
<111£3tance. Note how the momentum gathers speed by the repetitive strong
grade vowels 00 and C; :

r06 bwnlofi meromooug Aomou. . .

I06 utnpofi MOLunranou dulouuévou . . . MAR.

rd valavd uuuara . . . Atuéva . . .

Td xkosod, xaofievra vnofiota, Id wéarrovra . . . uln.

Here is another long descriptive sentence from the same chapter

w‘
1311 the movement in the opposite direction:

60

. . . To Adlov, dofiynrov uekdénua tmv noo-
oumov dvrfixet douOVLnov Big to édoog, to
nepLOTémov olnv rfiv ourtufiv MALTOV, not dv-
éonov etc rfiv uopumfiv T06 'Avayuoou, éwg Ifiv
'Aerommktdv énde --onou éléyerog ort etc So-
Aaooaerég elxe uat0LnfioeL ént rpe&;ysvsdg dy-
apmnwv éuet, not télog éEéALns xwptg v' dmfion
deronouka.

306/81-88

The warbling, the incessant chirping of blackbirds
echoes harmoniously in the forest, surrounding all the
western slope, and glides up to the summit of Anargyros,
until the Eaglenest above-—where is said one sea-eagle
had lived for three generations of men and at the end,
left without leaving eagle-fledgings.

Note the lovely alliterated liquid " A"s : Tb Aélov, dOLYnTOV
11810.5an "the warbling, incessant chirping." Here also

:E’Erpadhiamandis uses the katharevousa final "'0 " to great alliterative

 

advantage as he does through much of this prose: élnv Tr'w 601' Lur'w
1t)\trflv, Mat dvépnov etc rfiv uopumfiv . . . MAR.
Note also repetitive sibilant "o ": dOfiYnTOV . . . uoooétpwv
- . . etc to 6doog, to neptorémov . . .

It has been said of Papadhiamandis (especially in The
I"’Iu‘r'deress), that he is a master of welding together--atmosphere,

1andscape, and the psychological state of his characters.

 

 

" lGreek poet and Papadhiamandis critic, G. Vlahoyannis writes:
Aéi for . . . the aesthetics of the work [The Murderesgf . . . the

tc’POlogical accuracy is joined to the psychological by Papadhiamandis

' . - as if both conceptions were one inseparably fit together .

"fl“?re the landscape becomes one with the psychic state of the heroine.”
8' Vlahoyannis,"'Evag dyooupog yuvatuetog vouog not f1 oovoooa
T06 HanaéLaudwrn," Nea Hestia RI’r (1938), 9-12.

61

Below is an example--again, a very long sentence comprising the entire
Iauza:xagraph. In the story, Hadula Frangoyannou, now a fugitive from the
];p<:> lice, exhausted after days and nights of wandering from place to
13:21.13ce in the mountains where she has fled, comes to a deep, thickly-
ff<:>jliaged water hole and crawls down to it for a bit of shelter and
1E’é3:5t. Day is breaking, and Papadhiamandis describes the sunrise and

:i.t::3 transformation of both her hiding place and her spirit:

Mia durtg Sepufi, épxouévn uauodv, duo
to mksyouevov néAayog, 6Lé0xL§e rfiv nuuvfiv
muAAdéa uat 10v ML000v rov neoLOMénovra To
aoquv Tfig Takatnépou vpafiag, not éuauavs
vd 0tfiABm mg nkfifiog uanayaerav fi 500009 fi
nomtvfi, fi BOéXOUOQ rov nlouctov Ouapdyétvov
nénlov, n’ émoydéeuev 010v To ptyog tfig
uypaciag, not 010v to upéog 106 @6800 ICC

nelLévofi, méoouca nooonatpov élnfiéa not
Bdlnog.

435/85-94

One warm ray, coming from afar, from the flaming
sea, penetrated the thick foliage and ivy covering
of the tormented woman's refuge, causing the morning
dew, the drenching of rich emerald peplum, to glisten
like lots of pearls, and all the shiver of dampness
and all the cold of livid fear fled, bringing, for the
time being, hope and encouragement.

In The Murderess, there are many such memorable passages--in

 

tZFHe caves, on the cliffs, in the mountains, by the sea coves--where
‘ttua panic, fright, despair and sometimes hope of Frangoyannou are all
intensified by the physical surroundings. Here, as in so much of
PaPadhiamandis' fiction, the setting is the island of Skiathos, one

of the Sporades of the northwest Aegean, where the author was born

and raised .

62

Pa adhiamandis' rearin on this island was both aristocratic
P g

 

and religious, which accounts for his strong tie to the katharevousa.
His family belonged to one of the old established families of Skiathos
wh :ich had lost its wealth but retained its dignity and traditions.
Young Alexandros was influenced by his father, an educated man, who as
c :Leric and psalmist led a religious life in the monasteries and chapels
which he served. Alexandros often accompanied his father and soon
learned the Psalms and troparia--short hymns of the fourth and fifth
centuries--by heart. This no doubt accounts for the inclusion of Old
Testament language and other sacred material in the michté' as mentioned
earlier.

This background no doubt also accounts for those rare but very

engaging moments of philosophical discourse almost exclusively in the

 

1(Eltharevousa. Though we might expect, from the demands of realism,
tflat characters express themselves in narrative reflective passages,
if not in the demotic at least in the micht'é——peasant characters
uSually articulate Papadhiamandis' innermost thoughts and beliefs in
"pure" katharevousa. The quotation below is but one example. Hadula
1‘I‘li‘angoyannou, whose language in the dialogue is as colloquial and
"Unlearned" as we might expect from a poor peasant woman, speaks to us

abOnt the world and its miseries in a most learned tongue:

Kaamg dvfipxero rfiv pdev dvrtupé, néoav
rmv Kfinmv, dvm r06 pebuarog, fiuouoe rov uLuoov
umémva r00 uova0rnpfiou vd fixfi yluud, rematvd
not uovérova, vd égunvd rag fixobg r00 Bouvofi,
nut vd éovfi rhv uakaxfiv afipav. 'Hro dpa ueoov-
Ourtov, mod r06 Meoovunrtuofi, moo r00 'Opapou!
ng fioav abruxetg 0L dvaowROL abrfi, otereg eo-
Sbg dué0wg, éu vsapdg hALntag, mOdv duo Satay
€unveu0tv, efxov at08av0fi noEov firo r0 nakkireo—
0v, r0 enotov fiunoooOoav Va uduouv -- to ya ufi
méoouv onkaofi dAAoug etc rov udouov 6u0roxetg!
... not nerd roOro, 01a floav 686repa.

63

502/102 - 503/10

As she climbed the opposite ridge, beyond the
Gardens, above the stream, she heard the small
bell of the monastery toll sweetly, humbly,
monotonously, awakening the echoes of the mountains,
and stirring the gentle wind. It was therefore
midnight, hour of the Midnight Office, hour of
Matins! How happy they were, these men who, early
in their youth by divine inspiration had the pre—
science to do what was best--not to bring, that is,
others into the world ill-fated! . . . after that,
everything being secondary.

But the katharevousa among the modern Greek languages is

 

Cléalrtainly the most appropriate for philosophic thought--rich in
Ei'IDstract terms and directly related to the ancient tradition.

All these examples illustrate what Palamas, a poet himself,
‘111C1erstood and expressed about the capriciousness of Papadhiamandis'
lElégg§§£§_when he said that Papadhiamandis "changes grammar, style,
language in accordance with his circumstance, taste, diSposition.

‘ - ."1 In choosing katharevousa for philosophic comment, demotic

 

ifc’t7 colloquial expression in dialogue, and michte for narration in—
between, Papadhiamandis demonstrates the poet's instinct for just that:
‘nuitCflning grammar, style, and language to circumstance, taste, and dis-
Position.

These are the subjective elements in literature which usually

defy Statistical analysis. Though he had no imitators and founded no
\

1See quotation, p. 5 .

64

school, Papadhiamandis' writings remain one of the great contributions
t: 0 modern Greek letters. They remain so because his fictions pass one

of the most important aesthetic tests--—they are memorable.

 

APPENDICES

 

APPENDIX A

 

 

APPENDIX A

Introduction to Stylistic Characterization

While the dialogue of The Murderess has been excluded from

 

all analytical matter in this dissertation for purposes of studying
the michte in isolation, the study which follows--"Stylistic Charac-
terization in The Murderess"--has been included here to give the
reader a view of Papadhiamandis as "pure" demoticist and dialogist.
The analysis, though designed to show Papadhiamandis as narrative
technician, will perhaps more importantly shed additional light on

the aesthetics of his style.

Stylistic Characterization in The Murderess

 

While Papadhiamandis' narrative prose in The Murderess reveals

 

a "hesitancy" perhaps--"5bOT¢§€L T009 TOROUQ " in choosing between
ka‘tharevousa and demotic forms, the dialogue shows a steadfastness and
mastery. There is little evidence of hesitancy here. Most charac-
teristics of the katharevousa are gone. Demotic contraction and
Gildlsion replace ancient formula and formal forms. There is a profusion
(If idiom and proverb. There is dialect and imitation of dialect.
F0reign derivatives--Serbian, Turkish, Albanian and others—-words
anathema to the purist, are often preferred to the Greek words of

ideIltical meaning.

Moreover, there is evidence that speech in The Murderess

 

V ' o o
aJTIJES Significantly from character to character in manner or style.

65

 

66

It appears, also, that a manner or style is particularly apt or charac—
terizing and that the difference is of a magnitude which precludes

chance. Perhaps such stylistic characterization in The Murderess is

 

just further evidence of a long tradition in Greek literature extending
back at least as far as Thucydides.l
The two studies below which offer evidence of stylistic charac-

terization in The Murderess examine: (l) the "rhetorical question" as

 

the chief characterizing element in the speech of Hadula Frangoyannou;
and (2) the "exclamation" as a stylistic characterizing device for
differentiating the speech of various personages in the novel.

The Rhetorical Question in the Speech of Hadula Frangoyannou

 

The strong and determined nature of Hadula Frangoyannou's
personality is established early in the story by description (page 193,
lines 25-40) and narration (page 235, lines 9—23). Observation
indicates as well that Papadhiamandis sustains this impression through
idiosyncracy in her speech—~namely the habit of answering statements
with questions; of answering questions by questions; and of expressing
ideas by questions. This device not only individualizes her speech
but also concretizes the imperious and commanding quality of her
personality.

Table 30 (from the text of The Murderess) illustrates the

 

frequency of her rhetorical questions.
The selected quotations below illustrate the nature and variety

of her rhetorical questions:

 

1

See Daniel P. Tompkins, "Stylistic characterization in
Thiuzydides: Nicias and Alcibiades," Yale Classical Studies, Vol. 22,
pp). 181-214 for derivation of the studies which follow.

 

 

67

TABLE 30

 

Rhetorical Questions in the Dialogue
of The Murderess

 

 

Character Location

 

Hadula Frangoyannou 196/11(s)*, 12(3), 12-13(s), 15(3), 38, 49(3),
61(3), 70(3), 83(3); l99/51(S), 63; 233/45-47;
236/80(3), 80—81(s); 237/l(s), 5, 14-15(s),
17—18, 18-19(s); 271/6, 8; 272/22(s), 72(3);
303/21-22; 304/20, 23, 25, 25(3), 46, 78(s),
80(3); 305/3, 34; 307/86, 100; 308/71, 73,
75(3); 341/34, 81(3); 342/50(s), 58, 79(s);
368/31; 370/11; 373/78; 405/14; 473/14, 23, 33;
500/58, 79; 501/99; 502/49(s), 50; 528/6l(s),

61-62, 62-63.
Amersa 196/64(s), 90(3).
Dandis 196/93-4(s).
First Policeman 268/39.
Portaitaina 303/23.
Yannis 370/30.
Delharo 304/48, 57; 373/81.
Maroussa 407/48, 51.
Khambanakhmakis 437/37, 66; 500/64.
Father Jehosaphat 501/32.
Officer 533/25.

*(s) indicates "sarcastic" retort.

1.-

2..

.3.

4.

'Auépoa:

Xaéofika:

Amersa:

Hadula:

Amersa:

Hadula:
'Auépoa:

Xaéoéka:

Amersa:

Hadula:
'Auépoa:
Xaéouka:
Amersa:
Hadula:
va/tfig:

Xaéoéka:

Konst.

Hadula:

68

--H&g udEL, udva;
--H&c vd ndn! ...TC 8d udum! ...éév
8d BfiEU;
Hég to BkéneLg, udva;
ng vd to LEO; 195/10'15
"How is it doing, Mother?"
"How can it be doing}... What will it do}...
Won't she cough?"
"How do you see it, Mother?"
”How can I see it?..."

-— Kaknuéoal...n®g efore;...nag nepdoare;
--'E06 'oaL, 'AuéDOG; 196/35‘38
"Good morning!... How are you?... How did you
pass [the nigh£72"
"That you, Amersa?"

-—T’ Elva udva;

--TC vd etvs!..10 vaoravrfig... 196/60-61

"What's that, Mother?"

"What_£31s§7 could it be!... Constandis..."

--Aév éXEL uavéva oOuo;...

--HoO vd Bpsafi TétOLo nodual... 196/80-83

"Isn't there any fig?..."

"Where can such a thing be found!..."

 

 

69

Auth roO €6L6€ rfiv uévnv AoYLufiv not rfiv

uévnv npénouoav dudvrnOLv: “‘Eob uovdxa

6x3Lg uopCTOLa udoropn; ‘0 dAAog noouog 53v éxouv;"

233/45-47

She [fiadu1a7 gave him the only logical and the only appropriate

answer: "Only you have girls, boss? The rest of the world

doesn't have any?"

'Auépoa: --El6a orov finvo uou nmg néfiave, efne us
ndlkouoav duoun mwvnv h ownkfi veoovrouopn.

Xafioéka: --'Auu'odv sfxs nsfidvn; rdxa It; elne
nuvtuég h Yoata... K'éonuéang...u' fiofieg
vd téfig; 236/77-82

Amersa: "I dreamt that she died," said the tall old maid

in a still trembling voice.

Hadula: "And if she had died, so what?" the old woman
said cynically. "So you got up... and came to see?"
’Auépoa: --Ef6a nmg néSave To noptroL, nut nag éob

slxeg Eva uofipo onudéL oré xépL oou.

237/3-5

Amersa: "... I saw that the girl died, and that you had a
black mark on your hand..."

Hadula: "Black mark?"

8 . Xaéouka:

Hadula:

9 . Xwoo/omog:

Xaéofika:

Policeman:
Hadula:

10. Aekxapm:

Xaéouka;

Delharo:

Hadula:

Delharo:

Hadula:

70

--...Ti 3' dnfikaoev duo rd Bdoava roO
noouou; Kat oOr' éCfiAeus udv! TC vd
inkéwn; 271/6-8
". . What would she enjoy of the miseries of the
world? And neither was she jealous at all.
Jealous of what?"

--...Mdg AéEL nag efvs dooworn.

--'Appworn Elva! nég vd ufiv etvs!

272/70-72
"... She tells us she's sick."

"Sick she is! How not to be!”

—-T' efvs, udva; efne.

--T' efve! SIRE, Itnora. Eunvnoeg;

--MoO wdvnue nag HdTL etneg... nmg u'
émévageg, uég' rev bnvo uou.

--'Eyé;...6xL. TOOTLG oou nduave.

--Tt moo vd etve, udva;

--TL mod; Eépm'yé;... 304/17-26

"What is it, Mother?" she said.

"What is it!" she said. "Nothing. Did you wake up?"
"It seemed to me you said something... that you
called me in my sleep."

"Me?... no! You're hearing things."

71

"What time can it be, Mother?"

"What time? Don't know?... "

11, Xaéouka: --'Ag ndw orov unaxroé r00 PLdvvn, vd
roO yuoéww uovéva udroo noouuééta,...
Ti 8d xdow; 307/84-86
Hadula: "Might as well go to Yannis' garden, to beg him

for a bunch of onions... What can I lose?"

12, Xafiouka: Etta 66869 ndALv uaS' éaurfiv.
-—TC éooxswt vd uavetg orh mréxeta!

307/99-100

Hadula: Then immediately again she said to herself:

"What service can one offer the poori... "

13. Xaéouka: --Tfi AeufiepLd 8d rfig énavav rfig mrthdg,
rfig HepLBvoOg, dvtomg Enemrav uéo' In
orépva u' énokuunofioavl... Nd LéoOus,

5x3L vepo; 308/71—73

Hadula: "... What relief it would give the poor Perivolas
if they were to fall into the cistern and swim!...

Let's see, has it water?"

14» Xaéoula: --TC r'amfivst €53, ustvog o narépag tong
uand uootroua, clue ndALv fi @payuoytavvofi.
dea 63v unooofiv vd néoouv not uovaxd Toug
uéoa;... 308/76-79

Hadula: "How could their father leave them here, little

girls," said Frangoyannou. "As if they couldn't

3.6.

217.

153.

72

fall in by themselves?..."

Xaéoula: ‘H @payquLavvoO éouéman:
"@d mmvdgouv, dea;...®' duouorfi; H06 v'dnouorfil...
341/33-35

Hadula: Frangoyannou wondered: "Will they scream

perhaps? Will it be heard? Where can it be

heard!..."

Xaéouka: ...Aév éxere to voO Gog, xpLorLavo£;...
nag uduav€;...Kat rdmfivere uovaxd roug,

uovrd orfiv oréova, vepo wsudrnE... 341/81—84

Hadula: "... Haven't you any sense, dear?... How could
you?... and you leave them alone, near a cistern,
full of waterf..."

Auptvuog: --Eép€Lg rinora, @Etd PapouwoALd; énovékaBev

o Aupfiynog RAnOLéoreoov épxousvog.

Xaéofika: TC vd Eépm, YULé uou; 437/12-14

Lyringos: "You know something, Aunt Garoufalia?" Lyringos
repeated coming closer.

Hadula: "What can I know, my son?..."

FLépyn: --...8éAm, not vdve anmuévn yond! Ndxn

Hat nsruéQL!

Xaéoéka: --H06 vd Bpefifi to neruéEL, YULé uou; 501/97—98

 

73

George: "I want a pancake, a folded pancake! With syrup!"
Hadula: "Where can syrup be found, my son?" said
Frangoyannou.

.19. Kaunavaxudung: ...Zé AunofiuaL uafiuévn! Ti uptua éuaueg;
Xaéoula: --'Eym; npfiuara noAAd... 502/48-49
Khambanakhmakis: "I pity you, poor thing. What crime have

you committed?"

Hadula: "Me? Many crimes... "

Examination of the quotations reveals that Hadula Frangoyannou
llsses rhetorical questions for the most part either (1) to express
SBzarcasm (No. 1, 3, 4, and 6) or (2) to gain polemic advantage-~to dis-
credit or "put down" the assertions of others (No. 5, 7, 9, l4, l6, l7,
JLEB, and 19). Sometimes the expressions combine both.

We find further that the speech of Hadula itself is somewhat
ifcarmulaic; that she is habituated to a certain phraseology in the forma-
tion of the rhetorical question--name1y, the use of the interrogative
followed by " vd ": It. vd; nag vd; not") vd; This formula is

£153 common in Greek as predicate following subject in English, but
I’éilaadhiamandis' use of "'Vd." for Hadula is particularly "characterizing"
t>eac:ause in the "\K1 " resides the power of her sarcasm or her verbal
v'e‘ige" over others. For example, Hadula's attitude toward her son—in-
law noisily collecting his tools in the morning is clearly expressed

(also by rhetorical question) five lines above quotation No. 3:

Xaéouka: --'Auofig, rt oauavrfi ndveL! efnev fi ypata...

Aév unopst vd uaEéEn Id CLGEQLud rou,

. 3

OR

o.\.

 

2»

L.

. NW. .0
N u a \ NH «
« . Ab
.u ; o~,; ht.
\ ~1L‘ .3

rot
?&

.tv‘

‘L

74

xmpfig v' duouorffi. . . . 196/49-52 ("Hear, what a ruckus he is
making?" said the old woman. "He can't collect his irons, without

their being heard...") Then, when his wife wakes up from the noise and
asks: T. EEVS UdVGI ("What's that, Mother?"), all of Hadula's
irritation is vested in the tiny "VG." of her answer: Tl: Va EEWL! O KW/TIJQ
oéxve rd ouveoyd rou uég to gamut! the fa yoata. ("What 131337 is

it! Constandis is throwing his tools into the satchel!... said the
old woman, sighing.)

The force of the formulaic"\)O'L" in Hadula's speech can perhaps
be even more dramatically illustrated by examining a situation in
which the "pd" is conspicuously absent. It is the only instance when
Hadula is at a loss for words. It is during tense moments of conversa-
tion with her daughter, Delharo, who has just woken up and is about to
discover that her baby is dead. The baby was moments before suffocated
by HaduLa, its grandmother (the quotation is No. 10, repeated here
for further illustration):

Aekxaoé: --T' efve, udvva; Effie.

XaéoOAa: --T' sfvs! efns, Itnora. Bunvnoeg;
--MoO mdvnus nmg MdTL efneg...nmg u'
émévageg, uég' rev finvo uou.
--'Eyé;...6xt. Taurtd coo Mduawe.
-- Tfi épa vd Elva, udva;
-- Ti épa; gépw 'yé;... Tooeg mooég Adknos

not Eavakdknoe r' bovfiSL.

.l. a P. ... . . . . ~ . . J .1
e C .sL. ~\. >\ C c MUN cg
>1 YA u t a la ‘1 We

. an H.“ ... a,» .C III. LAWN mm «mu m.
. ..u. C nu w! . a .. .

u" e ‘7 N O

I.
5

01c"

h
V

75

Delharo: "What is it, Mother?" she said.

Hadula: "What is it!" she said. "Nothing. Did you wake up?"

Delharo: "It seemed to me you said something... that you
called me, in my sleep.‘'

Hadula: ”Me?... no! You're hearing things..."

Delharo: "What time can it be, Mother?"

Hadula: "What time? Don't know... The cock has crowed and

crowed so many times over."

Here Hadula Frangoyannou is so stunned by the situation that
the usual command and sarcasm in her voice is gone. And so are the
sarcastic "va" s,the principal vehicle of her individual style. Under
Ordinary circumstances, Delharo would have asked: Tt (1300. etvat;
not TL (1300. Vd EEVGL ; and her mother would no doubt have sarcasti-
cally answered: Tl. vdL ECVOLL; H6); vd. gépw; Tooog cpopég Adknos

310.1 Eavaldknoe T'épVCSL. (”What could it be? How can I know?...
The cock has crowed and crowed so many times over.")
It is interesting to note here, that though this time Delharo

enunciates "

Vd"—-juxtaposed to the question, not the answer--her TL!
(1300. v6. EIVOLL is quite devoid of sarcasm or command. Quite the

Opposite. It serves rather to heighten the tension of the moment by
V0 icing Delharo's anxious, confused, apprehensive state. The reason
is that 6300. has been placed between TC and mi changing the impli-

cation of mi to 5.00. (I wonder). " N6." is one of those

chameleon-like words in modern Greek which so easily and so subtly

76

changes meaning by positioning or other slight alteration of the

l
sentence .
There is even one instance (373/81) in which Delharo asks a

It is the moment

rhetorical question in conversation with her mother.
with the death

1:11e police arrive and suddenly her mother's connection
of her baby becomes clear to her: Tl: vd. TNT) M'éYd): Tl uafiuévn!

But here again, there is no force to

("Vnun:can I say, poor thing?")
the "va'" It has been attenuated by the addition of "H" ." TL v6.
“(7) or Tt Va “5): éYd’ is forceful speech; TI. vd T163 14' 6Y5)
i_s; submissive complaint.

"vdfl

Papadhiamandis reserves the clipped, sarcastic, forceful
It is, as we have seen,

fOrHadula Frangoyannou almost exclusively.

t1”leedevice which defines her character and maintains her advantage
It is

€111<j dominance in most situations throughout the narrative.

perhaps no accident, but very much in character, that Papadhiamandis

€1:L{30 assigned to Hadula Frangoyannou the exclamatory m\K1" discussed

t3€3L]_OW.

Exclamation as Stylistic Characterization
Below is a passage from Chapter VI in which Constandis learns

0f the death of his infant daughter (italics mine).
--Tt!...néaavs to naLofi;...

va/rfig
Bpé!...énauev o Kmvoravrfig, uefivag us 6-

vOLurov to Groua.

Etta noooéSnue:

 

 

\
"v0." see D. Demetrakos, NeOV'OQOOYpoupLuov

'1For modern usage of
(Athens, 1969), p. 948.

‘~——-Esilj£jveurtudv AegLndv,

 

Constandis:

77

--FLd roOro EBXERQ Mart dvdnooa ovatoa, EdBaAe!
304/89-94

--Hdw.'AnoOg, Aéetl...'Qx! upfiuo, QdBaAel...
Kala n06 to Bamrfioous'ut' okag.
305/13-14

--"Ax! npfiua, EdBaAe! elus...K’éBAsna MdTL

ovatoa1...Bpé, naLétd! 305/39-40

"What... the child died?... Stupid!" cried
Constandis, standing with open mouth. Then he added:

"That's why I saw such mixed up dreams, devi1!..."

"I'm going. Listen, to that! Och! pity, devil!

Good thing we baptised it at least."

"Ach! pity, devil!" he said... "And what dreams

I saw!... hey, kids!"

And below is part of the passage in Chapter IX in which Yannis

J.eezarns of the drowning of his two daughters:

Ftdvvng:

——'Q!...r£ duaprCEQE...éx€Lg Stuno, xoLOILavfi
uou! "Ax! 370/18-19
--"Qx! éfiuno Estg, 6,1L not vd nfig, xpLo-

rLavn uou. "Ax! dx! It duaprfisg;

"Oh!... what sins!... you're right, good woman!

Ach...

n~m

at“

.5

r.

.d.
wl.

Fug

v
“h
-, 5..

 

CK

U;

.'V
nlJ
~44

78

"Och! you're right, whatever you say. Ach! ach!

What sins."

The circumstances of the above passages are identical: both
men learn of the deaths of their children. The language of their
reactions is not identical, however, especially their exclamations.
Constandis uses gdBGAEE (devil) and Bpé!(a word etymologically
related to 1100069 _/_3tupid_7); Yannis uses TL duaorfiec! (what 81118)-

Examination of the entire text of The Murderess reveals that only

 

Constandis uses CdBGAEE and [3055! ; only Yannis uses If. éuaptieg!

(though on one occasion, Hadula says .9 dUGDTCEQ! (500/79).
Constandis and Yannis, however, are not the only two characters

eExpressing differentiated exclamations. Table 31 shows that in most

(leases, characters in The Murderess have been assigned their own expres-

 

Sions.
Though common, undifferentiated exclamations appear throughout
_'_I‘he Murderess such as "A: '9: ”E! "AX: 'QX , as we might EXPECt,
there are those as Table 31 indicates which are used solely or at most
by two characters. Those which appear once tend to be lost in the
rhetoric of the narrative. But those which are repetitive, tend to
beCome associated with the character. For example, Hadula's 986':

0
LL L) 2 "My God!" or the "'06:" already associated with her as a verb

f ,
orm, as we have seen, can appear as an exclamation at an unforgettable

j uncture: --Nd! . . .1106 1:5qu to onusto ‘o "A'Cg-r‘tbwvng, Elna
uéo o | ~ 7 '
0!. Tng, oxeédv 0.14.000le n (DoowyuoyLavvou, duo: €1.63 I'a OUYOLIQLOL.

(3 .
08/67-79). ("There!... you've given me the sign, St. John."

79

TABLE 31

 

Differentiated Character Exclamations

in The Murderess

 

 

 

(Iharacter Exclamation Location (page/line) Translation
HADULA @605) LL01)! 194/8; 235/100; 308/2;
371/70; 437/41 My God!
(Amersa) 236/21
HADULA Mud! 237/10 Bah!
HADULA Nd: 196/16,37; 308/68;
341/85; 368/55 There!
AMERSA m2”), m3' 236/21 Oh, oh!
YANNIS T3 ampwegg 370/18,30 What sins!
( Hadula) 500/79
CONSTANDIS Boé! 304/78,90; 305/40 Stupid!;Hey!
CONSTANDIS ZdBaAe! 304/94; 305/14,39 Devil!

\

 

 

‘ 1 . ~
2.. u a v . . ._ 24 P» .a .
r. .G «I. «4. .1” L... . . .3 .3 A
‘Hu P. s a. — sk . b ~\~ .v a «1.

us.

80

iFrangoyannou said almost involuntarily to herself when she saw the two

(daughters...) And who can forget poor Yannis' anguish, his TC duapTLeg!

ifor the two "daughters" which happened to be his.

(Zonclusion
Most readers of The Murderess would agree, I believe, that the
(zllaracters are both distinctive and unforgettable. As in any story,

‘tlne events and circumstances associated with characters contribute to

()er lasting impressions of them. But we have seen here that it is

:SIIbtlety and flexibility in Papadhiamandis' demotic, especially as it

iLs used for character delineation, which accounts for our real knowledge

C>f his characters.

APPENDIX B

PB

APPENDIX B

THE MURDERESS

 

Curled up by the fireplace, eyes closed, head leaning against
the border of the hearth, called the "fougopodharo," Aunt Hadula,
commonly called Yannou the Frank, was not sleeping, but was sacrificing
her sleep beside the crib of her sick infant grandchild. As for the
woman in childbed, mother of the suffering infant, she had some
moments ago fallen asleep on her low humble bed.

A small oil lamp, flickering, hung below the mantle of the
fireplace. It cast shadow instead of light on the few pieces of
shabby furniture which appeared cleaner and finer at night. The three
half-burnt logs, and the large upright branch in the fireplace dropped
much ash, some Cinders, but seldom burst into flame, causing the old
woman to remember in her drowsiness, her absent youngest daughter,
Krinyo, who, had she been now in the room, would have murmured
rhythmically, "If it's a friend, may it prosper, if it's an enemy,
may it choke..."

Hadula, called the Frank, or Frangoyannou, was a woman almost
sixty, comely, stout, mannish, with even a faint mustache at the corners
of her upper lip. In her reverie, she gathered together the whole of
her life, and realized that she had done nothing other than serve
others. When she was a child, she served her parents. When she
Inarried, she became a slave to her husband—-though, through her

strength and his weakness, she was at the same time his guardian; when

81

SL1

>—

...

p. .

_t
L;

82

she had children, she became their maid; when her children had children,
she became again the maidservant of her grandchildren.

The infant had been born two weeks earlier. Its mother had
suffered since giving birth. It was she who was sleeping on the bed,
the first daughter of Frangoyannou, Delharo the Trahilaina. They had
rushed to baptize it on the tenth day because it was suffering terribly;
it had a bad cough, whooping—cough, accompanied by signs of convulsions.
As soon as it was baptized, the infant seemed a little better the first
night, and the coughing stopped for a while. For many nights, Fran-
goyannou gave not sleep to her eyes, nor slumber to her eyelids,
keeping awake beside the little creature who could not imagine the
trouble it was causing others, nor the hardships awaiting it if it
survived. And it was unable to sense at all the questions which alone
the grandmother secretly formulated to herself--"My God, why has it too
come into the world?"

The old woman lullabied it, and would have been able to tell
"her sorrows in songs" above the cradle of the little one. During the
past few nights, she indeed became "irrational," meditating upon all
her suffering in detail. In images, in scenes, and in visions, her
entire life passed through her mind: the futileness, and fruitlessness
and weariness.

Her father was frugal, hard-working and prudent. Her mother
was wicked, cursing and envious. She was one of the witches of her
time. She was versed in sorcery. Bandits had hunted her two or three

times, palikars of Karatassos and of Gatsos and of the other Chieftains

‘
I

.3

IE

V .

83

of Macedonia. They did this for revenge, because she had hexed them,
and their exploits were not going well. For three months, activity had
ceased and they were unable to plunder anything from either the Turks
or the Christians. Even the government of Corinth did not send them
any aid.

They had chased her, downhill, from the top of St. Athanasios
to the plateau of Prophet Elias with its enormous plane trees and
generous spring, and from there to Merovili, on the side of the mountain,
between the wild woods and the bushland. She tried to hide in a thick
copse, except she did not fool them. The rustling of the leaves and
of the boughs, her own terror, which transferred trembling movement to
the branches and bushes, betrayed her. Then she heard angry voices.

"Ach! silly girl, we've caught you!..."

She jumped then from inside the bushes, and ran like a
frightened turtle-dove beating its broad white wings. There was no
more hope of her escape. Once, the first time, they hunted her, she
managed to hide down by Pirghi because that place had many paths.
Here in Merovili there were no little roads or labyrinths, only
clusters of trees and untrammeled brush. The then young Delharo,
Frangoyannou's mother, hopped like a hare from bush to bush, barefoot
(because long before she had cast off her shoes from her feet, one of
which had been picked up as a trophy by one of the pursuers), and
the thorns punctured her heels, cut and bloodied her ankles and shins.
Then, in her hopelessness, she had an idea.

There by the copse, on the mountain's flank, was the one and

Orlly well-cultivated olive grove, called the "Pine of Moraftis."

84

Old Moraitis, grandfather of the proprietor, had emigrated from
Mistra to this place toward the end of the last century during the
reign of Katherine and Orlof. The famous pine stood in the middle
of the olive grove, like a giant among dwarfs. The thousand year
old tree had been grottoed down near the roots of its colossal
trunk, which five men could not embrace. Shepherds and fishermen
had hollowed it, had dug deep into its heart, had scooped out its
entrails in order to get from there bountiful kindling. Yet despite
the terrible wounds and disembowelment, it stood another three
quarters of a century until 1871, when in July of that year inhabi-
tants for miles around and all the way down to the sea felt
tremblings like a frightful earthquake. That night the giant fell.

Into that hollow, inside of which two people could sit
comfortably, ran the then young Delharo, mother of today's
Frangoyannou. This stratagem was hopeless, almost juvenile. There,
no one would hide except in make-believe, like children playing
hide-and-seek. Surely her pursuers would see her there. It was
invisible in fact only from the back. If the three bandits had
arrived from the opposite side, they would have seen her as if she
were nailed there.

The three men ran passed it, and continued running. Two of
them never looked back. They imagined the "silly girl" had run
ahead. Only at the last moment, the third, somewhat puzzled, turned
around and looked everywhere else but at the trunk of the pine. He

saw the pine together with all the other things, never imagining

85

that the trunk had a hollow and was hiding a human soul. And had
be known of or recognized the hollow in the gigantic trunk, at that
moment it would never have crossed his mind. He looked to find
perhaps a void in the earth which had by all means swallowed her,
for there was not a ripple to be seen to hide her. Nymphs, forest
fairies, summoned perhaps by her magic were protecting her, had
blinded her pursuers, casting clouds of greenish mist, verdant
darkness into their eyes. They never noticed her.

The young woman was saved from their claws. And for a long
period thereafter she continued to work her magic against the
bandits, causing them so much "trouble" that booty could no longer
be found. This continued until, by the grace of God, things quieted
down and Sultan Mahmoud returned as they say, the "Islands of the
Devil" to Greece. But ransom gave way to taxation, for exemption
had come to an end, and from then on the chosen people continued to

slave for the great central belly "which hath not ears."

Hadula the Frank, though very young, was born then and
remembered her mother recounting all these stories later. Afterward,
when she grew up and turned seventeen and things had somewhat quieted
down with the years of stable government, her parents married her off
to Yannis the Frank, whom his wife nicknamed ”Tasselcap" and "Calcula-

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These two nicknames were not given without reason by his
wife, Hadula. "Tasselcap" she named him even before she married him
when she would mock him with innocent guile--without foreknowledge
that he was to be her luck and husband--because he wore a long
bright-red nightcap with a short tassel instead of a fez. "Calcula-
tion" came later, after she married him because she discovered he
was incapable of figuring either the sum of a few drachmas or his pay
for two days' labor, though he was in the habit of saying, "that's
the calculation." If she were not there, they would cheat him daily,
never giving him correct pay for labor at the drydocks or at the
shipyard where he worked as carpenter or caulker.

For a long time he apprenticed and caulked for her father
who followed the same trade. The old man, seeing how simple, frugal,
and unpretentious he was, approved of him and decided to make him a
son—in-law. For dowry, he gave him an abandoned house, ready to
fall, in old Castro, where people at one time lived before the
revolution. In addition, he gave a place called Bostani--"melon
patch"——lying just outside deserted Castro on a coastal cliff three
hours distant from the present town. Similarly he gave a wild field
which the neighbor claimed to own; but others asserted that both
fields in dispute were "church property" of a defunct Convent. Such
was the dowry old Statharos bestowed upon his daughter. She was
moreover his only daughter. For himself, his wife and his son, be
retained two recently constructed houses in the new town, two

adjacent vineyards, two olive groves, some lands--and whatever cash

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Up to this point, Frangoyannou's reveries came that night.

It was the eleventh evening since her daughter had given birth. The
infant had fallen sick again and was suffering terribly. It had

come into the world ill. From its mother's womb the deterioration

had continued... At that moment, spasmodic coughing interrupted the

day dreams, the reveries. She moved from the lowly mattress where

she was lying, bent over the child and tried to give it a little

aid. She drew near a small bottle in the light of the oil lamp.

She tried placing on the baby's lips a teaspoonful. The baby swallowed
but immediately coughted it up again.

The mother in childbed stirred on her low, narrow bed. She
was apparently not sleeping well. She was only drowsy, and had closed
her eyes. Opening her eyes, she raised her head slightly above the
pillow and asked:

"How is she, Mana?"

"How is she?" the old woman said sternly... "Quiet down now!
What will it do!... it's going to cough, isn't it?"

"How do you see it, Mana?"

"How should I see it?... It's a small baby,... there, had to

come into this world too!... the old woman added in a harsh, singular
tone.

After a while the mother in childbed fell asleep more soundly.
The old woman had just closed her eyes for a while at daybreak after

the third crowing of the cock, when she awakened by the voice of her

daughter, Amersa, who had come so early from the small house, next

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88

door, impatient to learn how her sister and the baby were and how her
mother had passed the night.

Amersa, second of the children, was unmarried and an old—maid
already. Swarthy, tall, rather masculine, she was very industrious
and "accomplished," well-known for her weaving--her trousseau had
been filled many years ago with dresses she made herself, but which
were for some time now locked away in a homely chest to be eaten by
the moths and termites.

"Good morning!...How are you?...How was your night?"

"That you, Amersa? There, this night is over too."

The old woman had just woken up and rubbed her eyes, stammering.
Noise came from the small adjoining room. It was Dandis the Trahilis,
husband of the mother in childbed who slept on the other side of a
thin wooden partition beside another daughter and a very small son,
and he had just woken up that moment. Collecting his tools--adzes,
saws, planes--he was preparing for the shipyard and another day's work.

"Listen to that ruckus," said the old woman. "Can't collect
his tools quietly. What will the neighbors think!..."

"That a gypsy's house is burning!" laughed Amersa ironically.

The noise of the tools from the other side of the partition
which Dandis,without being visible, was throwing into his box--adzes,
saws, drills, etc.--woke up his sick wife.

"What's that, Mana?"

"What else!... Constandis throwing tools into the satchel!"

said the old woman, yawning.

Dreweri

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89

"And with respect for life?" added Amersa, finishing the
proverb.

Then Constandis' voice was heard behind the small partition.

"Did you wake up, Mother-in-law?" he said, "how did you pass
the night?"

"How should we pass it! 'Like the hen at the mill...' Come
and drink your raki."

Dandis appeared at the door of the winter room. He was broad-
chester but ungainly; "clumsy" his old mother-in-law said, and almost
beardless. The old woman showed Amersa the small flask of raki on
the narrow shelf above the hearth and nodded at her to pour a glass
for Constandis to drink.

"Isn't there even a fig?" he asked, as he took the glass of
raki from his sister-in-law's hand.

u

"Where can such a thing be found!... said Hadula. "A million

and one things missing around here,"

she added, meaning the splurging
which usually takes place even in the poorest of homes on ”happy
occasions," like the birth of a baby daughter.

' said Amersa, his sister-

"You'd like a son-in-law with eyes,’
in—law, remembering another proverb.

"You'd be satisfied with a blind one, I suppose?" said
Dandis... "Viva! To her forty days!"

And he shot down the liquor in one gulp.
n

"Good evening!...

He picked up his satchel and set off for the shipyard.

on the

her bed

 

90

II

The fire died down in the fireplace, the oil lamp flickered
on the narrow wainscoting, the mother in childbed lay half asleep on
her bed, the infant coughed in its crib, and old Frangoyannou, as
she had done the previous nights, lay awake upon her mattress.

It was toward the first crowing of the cock when her reveries
came in the form of visions. After they "matched her up" and married
her off, endowered her with the ramshackle house in old uninhabited
Castro, with the uncultivated melon patch in the wilds of the island's
northern confines, and the wild field disputed by the neighbor and
the Monastery, the young bride with her husband and a few possessions
set up housekeeping at the home of her widowed sister—in-law. Her
marriage contract, such as it was, listed in detail, a number of
dresses, so many blouses, so many pillowcases, a few pots, a frying
pan, one andiron, etc. Even some knives, forks and spoons were
mentioned in the contract.

On the Monday immediately following the marriage, the
sister-in—law took inventory and found that two sheets, two pillows,
one kitchen utensil and a complete dress--items listed in the
catalogue--were missing. That very day she advised the mother—in-
law to bring the rest of the things. The selfish woman answered
that "all was well given and enough." Then the groom's sister had
words with her brother; he complained to his young bride and she
answered him: "Had he cared about his interests he would never have

agreed to a house at Castro, where only ghosts live; and, what

vi..-

 

91

difference were the sheets and the blouses when he was unable to
acquire a house, and vineyard and olive grove?"

During their engagement, Hadula had tried indeed to tell the
groom much the same. Though she was very young, thanks to her natural
tendencies and the lessons learned, consciously and unconsciously
from her mother, she had become very cunning for her age. But her
mana smelled the thing, and fearing lest the little Shrew (her usual
name for Hadula), give the groom any ideas about asking for more dowry,
began a tyrannical surveillance of the engaged couple, prohibiting the
slightest private talk between the two. This she did on the pretext
of propriety:

"I've no mind...for that little shrew...to put me one in the
slips prematurely," she said.

See, the transfer of the verb she took from her husband's
occupation. ("In the slips" same as "lay a keel") but her real motive
was to avoid giving larger dowry.

One evening, on the eve of the engagement, at the time when
the groom and his sister had come to the house to discuss the dowry,
the old shipbuilder was dictating the marriage contract to Anagnostis
Syvias, church precenter, who had taken a bronze ink pot from his
belt, and a goose feather pen from its long case, much resembling a
pistol and had placed on his knees the "Book of the Apostle" and on
the book a leaf of heavy parchment. He had written according to the
dictation of the old man, "In the name of the Father, and of the Son,

and of the Holy Spirit... I marry my daughter, Hadula, with Ioannis

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Frangos, and I give her, first my benediction,..." Hadula stood
opposite the hearth, beside the "templa"——the pile of mattresses,
quilts and pillows covered with a silk sheet, and crowned by two
enormous pillows-~motion1ess and proud, it seemed as the templa
itself... All the while, however, she was motioning, secretively,
impatiently, indeed with great caution, motioning to her fiance,
motioning to the sister—in—law, not to accept as dowry "house in
Castro" and "field in Stivoto," but to demand a house in the new
town and a vineyard and olive grove in the vicinity of the new town.

In vain. Neither the groom nor the sister-in—law noticed
her desperate signs. Only the old woman, her mother, who, though she
was obliged to turn her back to her daughter in order to politely face
the mother-in—law and the groom, sat in such a way as to have one
shoulder turned toward the young girl. Suddenly, as if informed by
an invisible spirit that something was going on, she swiftly turned
toward her daughter and saw her forbidden "antics."

She stared at her threateningly.

"Eh! stupid shrew!" she murmured to herself. "Bewarel...
I'll fix you!"

Directly afterward, however, she realized it would not be in
her interests to make an issue of it. She feared it might prompt a
complaint to the father. And surely that could make matters worse.
The old man might give into his only daughter's pleadings and give
her additional dowry. So she said nothing.

Hadula wondered how, though her mother clearly caught her in

the act of making those dangerous signs, for the first time in her

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93

life, when they were next alone, she did not scratch, nor pinch, nor
bite her, things which otherwise, she often did. Note that dowry of
a house in the old uninhabited village had these advantages, that a
number of houses were still intact in Castro, that certain families
used to spend the summer there, and that in the minds of the people
there was a bias in favor of the "Old village, which the elders pined
for, for they were not yet accustomed to the new order of things or

to peaceful life free from incursions by robbers, pirates or the
Turkish armada, and the conditions in the new town were still uncer-
tain and there was an expectation that the people would again be
forced to return to their "old haunts." But while everyone remembered
Castro and Castro was being missed and mused upon, and spoken of, the
construction of homes in the new town did not cease--demonstrating
once again that men commonly think one thing but do another, imitating
one another mechanically.

In any case, two weeks after the engagement the marriage took
place. This was the wish of the mother-in-law. It was not to her
liking, she said, to have an unmarried groom visit the house,
especially one formerly given free access as a co-worker and appren-
tice to her husband. And the sister-in—law, widowed, elderly, with
a teen age child, also working at the shipyard, and another dependent
boy and girl, took the newlyweds in. Then, about a year later, the
first child, Stathis, was born. Then came Delharo, followed by Yalis,
afterward Mihalis, followed by Amersa, after her Mitrakis, and finally

Krinyo. During the first years, peace seemed to reign in the house.

grand.

 

94

Later, war commenced in the house when the first two grew old enough
to play with the youngest two of the sister-in-law. Then Frangoyannou,
now aged and experienced, as she herself would modestly admit,
managed to build a small house of her own through frugalities and
resourcefulness. The first year she was able to build only the four
adobe walls, small and low, and roof them. The second year she
succeeded in boarding over three quarters of the house, that is to
say, she laid a small floor of old and new planks of unequal lengths
and thicknesses. Then, without losing time, impatient to free herself
from the tyranny of her sister-in—law who with age had grown eccentric,
she moved to her own "quarters," her own "nest," her own "corner"
together with her husband and children. That day, she would often say,
was the most joyful of her entire life.

All these things Frangoyannou remembered, relived, so to
speak, during those long, sleepless January nights while the north
wind, soughing outside, intermittently beat against the roof tiles and
shook the windows as she kept vigil beside the crib of her infant
grand-daughter. It was already three o'clock in the morning, and the
cock crowed again. Having just quieted down, the infant began
coughing distressingly. It had come sick into the world and in
addition, caught cold it seems on the third day, in the baptismal
font when it had been immersed. After that the coughing began. For
days, Frangoyannou eagerly watched for signs of convulsions in the
sick creature--knowing that if they appeared the child would not
survive-—though fortunately she did not see any. "It is destined to
suffer and cause us suffering," she murmured to herself, beyond ear-

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95

At that moment, Frangoyannou opened her closed sleepless
eyes and rocked the cradle. At the same time she wanted to give
the suffering baby its usual medicine.

"Who's coughting?" called a voice from behind the partition.

The old woman did not answer. It was Saturday evening and
her son-in-law had drunk one glass of raki too many before supper
and a large glass of vinegary wine afterward in order to relax from
the week's labor. Well, Dandis, from drinking too much, was talking
in his sleep, or perhaps babbling.

The infant did not retain the drop of liquid in its mouth,
but spit it out in a fit of the coughing which had increased rather
distressingly.

"Shut up!..."said Constandis, father of the infant, in his
sleep.

"And chokel..." added Frangoyannou ironically.

In her sleep, the mother in childbed took fright, hearing
perhaps the coughing of the little one mixed with the brief bizarre
dialogue across the partition between the sleeping man and the wake-
ful woman.

"What is it, Mana?" said Delharo, sitting up. "The baby
is not well?"

The old woman smiled bitterly in the trembling light of the
oil lamp.

"I hear you daughterl..."
That "I hear you daughter" was said in a very singular tone.

and it was not, by the way, the first time the young mother heard

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96

something similar from her mother. She remembered other occasions
when the old woman, with neighborhood mothers and grandmothers,

would discuss at length the great surplus of young girls, the con-
ditions of poverty and want, the emigrations, the demands of suitors,

Christian suffering to establish the "weaker sex, that is to say,
provide for daughters--all concerns of one's neighbors, but especially
when her mother would learn of young girls fallen ill, she would

shake her head and say:

"I hear you neighbor... There is no Charon? There are no
rocks?” because she had the habit of repeating proverbs very expres-
sively. On other occasions she heard her phi1030phizing about how
it was not in one's interest to have many daughters or even marry.

And her usual wish for little girls was ”may they not survive!..."
"may they not grow up!"

Once she even went so far as to say:

"What can I tell you?... Sometimes peOple feel like choking
them the moment they're born!..."

Yes, she said that, but surely she could never do such a

thing... She did not even believe it herself.

III

In this way the nights passed since Delharo Trahilaina's con-
finement. After the child was baptized, and named "Hadula," same
633 its grandmother--who shook her head, murmuring ”What a blessing
I”

tIO have my name. --the old woman still continued her vigil even

tllough the child seemed a little better. Besides, it was natural for

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Frangoyannou to stay awake, for a thousand things crowded her mind
and she usually found sleep difficult. Thoughts and events, somber
pictures of the past, flooded her mind in waves one after the other,
passed before her eyes and filtered through her heart.

Well, Hadula had had many children and built a small house
in which to live. As her family increased, so did her troubles.

Yes, her own frugalities and not her husband's savings had built the
house. Master Yanni, the Tasselcap, or "Calculation" could not even
calculate his daily wage for four, five or six days at 1.75 or 1.80 a
day (that is how much third class carpenters were paid). On occasion,
when he caulked for 2.35 or 2.40 a day, he still could not figure his
pay.

He only knew how to drink most of it away, almost all of it,
on Sunday. Fortunately his wife took measures against this and took
the money from him Saturday night. Or she collected it directly from
the foreman, though not without argument. His boss preferred paying
Master Yannis himself because he could withhold money, same as he
did from everyone else-—10 or 15 cents extra saying, "I have girls,
dear friend, I have girls!" But cheating Frangoyannou was difficult.
She gave him the only logical and only deserved answer: "Only you
have girls, I suppose! What about the rest of the world, they don't
have any?"

Or, if she did not succeed in getting the money herself from
the shipbuilder, Yannou took it half jokingly, half seriously, from

her husband's hands after making sure first she had cajoled and

98

maneuvered him into a good mood. Or, in the end, late Saturday night,
she left him to doze off and stole it from his shirt. Then on Sunday
morning, she would give him 40 or 50 cents "spending money."

Well, she managed to build a house by being frugal, but as
for the original little capital, where had it come from? Now, during
this night's vigil, Hadula confronted herself with it for the first
time. She never even confessed it to her priest though at confession
she admitted the usual small sins which he knew even before she said
them--bla8phemes, arguments, woman's curses and the like. She never
confessed it to her now deceased mother—~though she was the only one
who suspected all along, but never said anything to her. Yes, it is
true that she considered and had decided to tell her mother just before
her death, but unfortunately the old woman's last moments were semi—
conscious. She became deaf and mute, "like a vegetable" her daughter
described it, and thus the chance to confess her mistake was lost.

She never told her father either, or her husband. Well, this
was her secret:

Before her marriage, Hadula began stealing little by little
from her father's meagre savings-~half a piastre at a time. So little
he hardly noticed, though twice he sensed something, but thought he
himself had made a mistake counting his small treasure.. This treasure
he kept in a hidden place which was soon discovered by his wife and
only much later by his daughter. Then for a time, Hadula stopped
stealing so as not to alarm her father. Later, however, she began

stealing again, though Hadula could not hold a candle to the thefts

of her mother.

I'm och.

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99

She had stolen a lot, artfully and methodically. Most of it
from other sources to which she had easier access such as produce of
the family farm, profits from olive oil and wines; and some, about as
much as their daughter, from the old man's daily wages. After a time,
when trade increased and old Stathis became a small shipbuilder-—(he
built boats and caiques himself with his son and an apprentice in the
front yard of the house)-—it then became possible for the old woman to
steal considerable profits from the art of shipbuilding as well.

Finally, a few months before her marriage, Hadula managed to
find her mother's hidden money sack. Down a hole in the cellar, between
half-filled jars and empty barrels, lay a long, wide strip of black
kerchief in which the old woman had "dog-tied" over a hundred and
seventy silver pieces--colonial coins, crowns, Turkish money--all
stolen from the old man's profits and farm. Astonished, overjoyed,
terrified, the daughter counted the coins, the dog-tied bundle, before
placing them back in the hole, not daring to take a single one.

But on the eve of her marriage, at dusk--seeing how persistent
her parents were about a meagre dowry, and the callousness of her
mother——she carefully watched for the time the old woman would leave
the house on a short errand. Then, with heart pounding, she crept into
the cellar, searched and found the dog-tied money sack, and untied it.
'Ihis time there seemed less of it, but she had not counted the money
for some time. Perhaps the old woman had taken some coins and spent
them for some unknown purpose. At first she decided to take the whole

thing, all of it, together with the piece of her mother's old kerchief.

 

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100

But she was too afraid. So she took only eight or nine silver pieces-—
that much she imagined would not make a perceptible difference in the
size of the sack, or be noticed quickly. Then she began re-tying it
only to open the sack once again, taking another five or six pieces—-
fifteen in all. Tying it again she made a new movement to open it
intending to take two or three more coins. Suddenly, she heard her
mother's footsteps outside. Hurriedly she tied the sack and put it
back in its place.

A few days after the wedding, the old woman discovered the
theft but said nothing to her daughter. She was relieved the whole
thing had not been taken. "Must have been blind!" she said through
her teeth.

The amount, which Hadula had stolen from her parents from time
to time, amounted to about four hundred piastres, the coinage of that
period. This she kept carefully hidden for many years. But, in order
to build a house she added to the sum through other means which she
was always able to do. Hadula was indeed energetic and resourceful.
Whenever time permitted between caring for so many of her own children,
who came one after the other, she worked for strangers. Moreover, in
those small villages there were no specialists but jacks—of-all—trades.
Just as the town grocer was at the same time dry—goods merchant, druggist,
even a pawnbroker, so a good weaver like Frangoyannou practiced mid-
wiving, doctoring and other jobs so long as she felt capable. And
Frangoyannou was one of the most capable of all among the women.

She prescribed herbs, prepared unguents, administered massage,

and exorcized the "possessed," prepared medicines for the sick, for

 

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101

chlorosic and anemic girls, and for female ailments, especially those
accompanying pregnancy and immediately thereafter. With a basket under
her left arm, the two youngest children in tow, Dimitrakis, eight, and
Krinyo, six, she would wander about the fields, climb the mountains,
traverse the glens, the valleys and the streams, searching for familiar
herbs--wild onion, snakeweed, clover and others. She would cut or
uproot them, fill her basket, and return at night to her house.

With these herbs she prepared various salves which she recommended
as infallible against chronic pains of the chest, of the stomach, of the
intestines, etc. Though these means really brought her very little,
by economizing she managed, in time, to build her small nest. Yet it
was not long before her young ones grew up and began leaving for foreign
lands!

During that period her first boy, Statharos, already twenty,
left for America and after two letters was never heard from again.

Three years later her second boy, Yalis, by then a grown young man,
also embarked.

Both boys had tried their father's trade during their early
years but neither the one nor the other progressed very much or took to
it very well. Yalis, an affectionate son and brother, wrote his mother
from Marseilles where he had sailed on a navy ship, that he was headed
for America in search of his older brother in hopes of finding him
somewhere. But months passed, years. Neither the one nor the other

was ever heard from again.

By this their mother was reminded of a folk tale, one of the

funnier ones, concerning a honey mattress. An Old Woman sent her oldest

102

son for some honey. He became stuck in the mattress and so she sent
her second son to dislodge the first, and the third, who she sent to
free the other two; then the Old Man who went to see what happened to
the sons. Finally, the Old Woman decided to go herself to see, from a
distance--for being an old woman, she was cunning—-what happened to her
husband and her boys who did not return from the "errand" she sent them
on. She escaped and did not get stuck. Then, turning on the four of
them glued to the mattress she said: "Ah! You found a bed of honey,
what about me, honeys!"

Meanwhile, while Statharos and Yalis had estranged themselves
in America, eaten of the lotus or drunk of Lethe, Delharo, the eldest
daughter though younger than her two lost brothers, was growing older
and older. And Amersa, almost four years younger than her sister, also
"shot up," like Delharo. Mannish, swarthy and mischievous, the
neighbors called her "Tomboy." The youngest one, little Krinyo, alas
did not have a lily complexion though she was naturally slim; she too
showed signs of growing up.

"How fast they grow, my God!" thought Frangoyannou. What
garden, what meadow, what spring season produces this plant! How it
buds, blossoms, flourishes, prospers! And all these sprouts, all these
tender shoots, will they become arbors, groves and gardens one day?

And what then? Every family in the neighborhood, in the community,
and in the town has two to three girls. Some have four, others five.
One mother had six daughters and no son. Another seven and one son,

who from the start seemed worthless.

the s

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103

Now all these parents, all these couples, all these widows,
each obliged at all costs to marry off their girls—-the five, the six,
the seven! Giving each a dowry. All poor families, all widows-~1iving
on one—half acre in wretched dwellings; hapless creatures, working for
others--either picking figs and mulberries in the fields of well-to—do
families--collecting leaves, producing silk; or caring for two or three
goats or lambs and becoming hateful to all the neighbors, paying
penalties for trivial losses; taxed unmercifully, surviving on barley-
bread embittered by the salt of their sweat; duty-bound without fail
"to establish" all these females, to give five, six, seven dowries! Oh
my God!

And dowries according to island custom. "A house in Kotronia,
a vineyard in Ammoudia, olive orchard in Lehouni, a field in Strophlia.’
And toward the middle of the century, another pest appeared. The "sum,'
which in Constantinople they call "trachoma"; a custom, if I am not
mistaken, prohibited by the Orthodox Church. The obligation to give
each one a cash dowry also. Two thousand, one thousand, five hundred,
whatever. Otherwise, one's daughters become old maids. Remain on the

shelf. Closed in the closet. Sent to the museum.

IV

At this point the old woman's memories and meditations came to
an end. The cock crowed for a second time. It was about two in the
morning. January, the month. The time, night. The north wind was

blowing. The fire in the hearth had gone out. Frangoyannou felt a

104

chill in her back and her feet were ice cold. She thought about getting
a little wood from the hall outside to throw into the fireplace to
re-kindle the fire. But she felt a little drowsy, the first sympton
perhaps of falling asleep. She put it off.

At that moment, so early, while her eyes were closed, a strange
rapping was heard on the door outside. The old woman was startled.
Not wishing to shout "Who is it?" for fear of waking the mother in
childbed, she shook off her drowsiness, which had already been rudely
interrupted by the knocking, got up slowly and left the room. Even
before she reached the exterior door, she distinctly heard a whispering
voice:

"Mama!"

She recognized the voice of Amersa. It was her second daughter.

"What happened?... Why so early?"

She opened the door.

"Mana," repeated Amersa in a feeble voice, "How is the little
girl? She isn't dead is she?”

' said the old woman. "What is

"No-—she fell asleep, just now,’
the matter?"

"I dreamt that she died," said the tall old maid in a trembling
voice.

"And if she died, so what?" the old woman said cynically. "And
so you got up... and came to see?"

The Yannou house, where the old woman usually lived with her two

unmarried daughters—~though for the present she was staying nightly by

the not

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105

the mother in childbed--was only a few dozen steps to the north. This
house of Delharo's had been given her in dowry. It was the original
one Hadula had built by economizing and that first nucleus from the
money sack of her never-to-be-forgotten parents. Later, a few years
after Delharo's marriage, Hadula was able to build a second nest,
smaller, more wretched than the original, in this same neighborhood.
Two or three houses separated the first from the second.

Well, it was from this new house that Amersa had come so early--
unafraid of ghosts and the like at night, daring and determined as she
was.

"And so you got up?... and came to see?"

"Suddenly in the middle of my sleep, Mana. I saw that the girl
died, and that you had a black mark on your hand...."

"Black mark?”

"You wanted to wrap her in a shroud immediately. And the
moment you wrapped her in the shroud, your hand turned black... and
then you quickly put your hand in the fire to get the black off."

"Bah! Clairvoyant!" said old Hadula. "And so you stupidly
came here at such an hour..."

"I couldn't calm down, Mana."

"Krinyo doesn't know you left?"

"No, she's sleeping."

"And if she wakes up and doesn't find you next to her, what

will she think?... won't she start crying?... she'll be frightened!"

 

 

 

 

106

The two sisters, indeed, stayed by themselves in the small
house. Amersa was unafraid and sure of herself like a man. Their
father had passed away some time ago and their surviving brothers
continued living abroad.

"I'm going back, Mana," Amersa said... "Truly I didn't think
about Krinyo waking up so early and not finding me... she'd be
terrified."

"Maybe you could stay here," said the mother, "only if Krinyo
doesn't suddenly wake up and become frightened."

Amersa thought for a moment.

' she said, "Would you like me to stay here so you can go

"Mana,'
home... so you can rest, calm yourself?"

"No," she said after a moment's reflection. "Now the night's
almost over anyway. Tomorrow night I'll go home and you'll stay here.
Only go now. Happy sunrise!"

All this conversation took place in the small narrow hall just
outside the room where Constandis' loud, nasal snoring could be heard.
Amersa, who had come in barefoot, left silently on tiptoe. Her mother
closed the door and turned the key.

Amersa dashed away. She had no more fear of ghosts than she
had of her brother, Mitros, who the townspeople called "Moron,"
"Menace" or "Maniac"——that bully, third son of her mother who the old
woman usually called "the dog of Agarino!" Three years her senior, he

once stabbed her, and though she saved him from the police, he would

have surely stabbed her again had he remained free. Fortunately, he

107

practised his murderous inclinations elsewhere and in the meantime,
was conveniently closed in the Venetian dungeon of the old fortress in
Halcis.

Here is how this came to pass. Moron, or Menace, was ungovern-
able and violent by nature though he was very capable, inventive and as
his mother would say, "too clever." Even as a child he was able to make
many small beautiful things by himself: little boats, masks, statuettes,
dolls and the like. He became the neighborhood bully and leader of a
juvenile gang and under his command he gathered all the innocent boys,
all the barefoot street urchins. Soon he began drinking and carousing.
With his small friends he organized noisy games, demonstrations and
street fights; hurled stones at old men and women, at the poor and
weak. Hardly a person was left unmolested.

He learned the art of knifemaking at a glance from a passing
dealer and began, however imperfectly, to manufacture knives. He had
a large grinding wheel in the yard, hiding it under the balcony, and
almost turned the basement into a factory. There he sharpened knives
and razors for the neighborhood angels and when he had none of theirs
to do he sharpened his own. Ambitiously he set about turning single-
edged blades into double. Then he tried making revolvers, pistols,
small cannons and other lethal weapons. All his money, everything
earned from dolls, statuettes and masks—-except the money he drank--
went for gunpowder. This he tried to manufacture as well. During
Easter, indeed two weeks before, one passed at one's own risk through

the neighborhood where Maniac ruled. The fusilade went on uninterrupted.

SITEé

W
Lu
:1

108

One Sunday, drunk, Menace caused a great disturbance in the
street. After listening to numerous complaints, two policemen went
after him in the hope of getting him "jugged" or thrown in the "Kazarma,"
the barracks. But Moron, very agile, outdistanced them, turned and
mocked them from afar before resuming his escape by hiding in an
inaccessible dry-dock at his cousin's, a shipwright. Later, when the
two men abandoned their chase, he took courage and returned to the
street.

That same day, not yet sober, Moron shamelessly chased his own
mother in the street, threatening to kill her. He complained that the
old woman had stolen money from his pocket. He reached her in their
yard where she ran to hide, and seizing her by the hair, dragged her
fifty feet along the road.

Her screams brought out the neighbors. It was early evening,
just before sunset. Into the commotion of the neighbors walked two
policemen, the same two who had been searching for Menace and who only
appeared to have given up the chase. By this time they were extremely
irritated at the agitator. Seeing them, Menace let go of his mother
and took flight. Finding himself in narrow straits with no safer or
more distant place, he ran into the house.

The old woman, badly bruised and covered with dust, got up and
began to plead with the policemen.

"Leave him alone! He's foolish, that's all. Don't kill him
with your sticks!"

She said this because she saw one of the policemen was boiling,

holding a terrible billy club in his hand. The two men paid no

atte
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109

attention to her pleas and continued running after Moron. They
forced their way into his hideout, the cellar of the house where
Moron had his factory. He ran in there to hide and managed to bar
the door just in time. But the bolt was rotten and badly fitted for
Moron never liked peaceful labor enough to take the time to fix it.
They broke the small bolt and entered.

Quick as a wild cat, Menace climbed through a trap-door to the
first floor. The trap was located near the north wall, and the north
wall rested in part on rock and the rock, jutting out as it did, pro-
vided footholds for Moron's agile feet, footings which in the past he
had dug out for himself alone. It seems he was used to this kind of
exercise.

The wood plank of the trap-door was closed. Moron opened it
with a butt of the head and a push from his left arm. Then, like a
swimmer surfacing, he jumped out onto the floor, closed the trap—door
with a bang and apparently placed a heavy weight, perhaps a small
trunk, over the wooden cover.

Fuming, the two policemen began searching the area, swearing.
They confiscated all knives and pistols found there as well as the
grinding wheel and two other small Sharpeners, and were preparing to
leave or go up into the house.

Up on the first floor, Menace or Maniac was in a rage, still
drunk and foaming at the mouth. He was raving like a maniac. Up
there alone at the time was his then seventeen-year-old sister,

Amersa, who grew frightened seeing her brother emerge from the trap-door

c095}

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110

in such a strange way. She had heard the steps and curses of the two
policemen below. Peering through a small crack between two badly
jointed beams or a hollow knot in the floorboard, she saw the two
officers below in the light which penetrated the open door of the
cellar.

"Stupid! I'll kill you... now I'll drink your blood!" cried
‘Maniac, having nowhere else to spend his rage but on his blameless
sister.

"Hush!... Hush!..." whispered Amersa. "Oh, oh, my God! Two
cops! down in the basement... searching... searching... what do they
want?"

She watched as the two policemen carried away the small, crude
weapons, the handiwork of her brother, as well as the grinding wheel
and Sharpeners. Then suddenly she saw them stoop in the corner where
her mother's loom stood and watched one of the policemen pick up the
wooden shuttle, the dart, which he no doubt suspected was a weapon—-
since indeed it's called a dart. The other tried to pull out the pole
from the loom, the large cylindrical spindle around which the newly
woven material is wound; perhaps he never saw such a thing in his life
before and thought it also could be good for a weapon.

Amersa, seeing this, let out a muffled cry. She wanted to tell
them to leave the distaff and shuttle alone, but the words died on her
lips.

"Shut up, stupid!" cried Maniac. "What're you planning?

What're you looking and laughing at?"

cry f

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below t

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1 t

111

Maniac in his drunkenness mistook his sister's inarticulate
cry for a laugh.

A few moments later, the two policemen, throwing one last
glance at the trap-door which they saw close the moment they walked
onto the ground floor, left. Amersa stood up. She thought she heard
creaking below on the exterior wooden stairs, underneath the roof of
the broad porch, the hiyati. She ran towards the door.

Amersa assumed the two "regularsf‘as they were called, were
coming up the stairs perhaps to force in the door of the house. Bending
down to the keyhole she tried peeping through to get an idea of what
was happening. The only window facing there was closed, so she had no
other choice.

Maniac, seeing Amersa run toward the door, imagined, in his
irrational drunkenness, that his sister wanted to open the door and
deliver him up to the authorities. Then, blind with rage, he drew a
sharp knife from his hip, lunged and stabbed her in the back, just
below the right armpit.

Pierced by the cold steel, Amersa let out an agonized scream.

The two policemen who had not yet gone were standing just out-
side the front door thinking what to do next. Hearing the fearful
scream, they looked up and started running.

Clattering up the stairs they reached the hiyati. They banged
violently on the door.

"Open in the name of the Law!"

At that moment, one of the men guessed that the culprit might
escape through the trap-door to the ground floor. Turning to the ottun:

he said:

 

HOB

Stra
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This

112

"Hey, watch out! Don't let him get out the hatch, the trap!...
How'll we get him then?"

"What did you say?" said the second, not catching on right away.

"Do as I say" insisted the first... "Do what you're told!"

The other policeman, a little dull-witted, ran down as fast as
he could to close the ground floor door or intercept him. But it was
too late already. Maniac in the meantime pushed aside the trunk which
he had placed over the hatch, opened it and jumped through. It was more
than two meters high, but Maniac was light, agile and the ground was
covered with wood chips and shavings. He landed on his feet, safe and
sound.

Running like the wind, he knocked over the policeman who fell
heavily in the exterior stairway. Maniac fled like lightning. He ran
up toward Kotronia, a place known for its owls. It was a high rocky
hill south of the house and Maniac knew its every nook and cranny.
Neither the police nor anyone else was able to arrest him.

The moment Maniac jumped through the trap-door, he recalled
strangely enough--perhaps because the events had shaken and "sobered
him up" as he himself would have said—-he recalled, I say, that after
stabbing his sister, the knife fell from his hand and lay on the floor.
This happened perhaps because guilt and fear overcame him that moment--
for his attack on his sister was really unpremeditated.

When the idea came to him to flee, and he had run to open the
trap, having realized by then that the police were mounting the stairs,
he had no more time to return to that place by the door, bend down and

retrieve his knife. Just before he jumped, he shouted to his sister:

ter
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113

"The 'shade,' stupid!... Make sure you hide that 'shade!'"

He did not want the police to hear the word "blade." At that
terrible instant, criminal and guilty, he appealed to his sister's
loving instincts, sure she would save him. The knife would be covered
with blood and his pursuers would see it. By urging her to hide it,
he hoped to conceal his crime.

Indeed, though blood was already running from her wound, Amersa,
realizing they would by all means force in the old light door with its
rusted bolt and latch, near faint, she bent over and picked up the
knife. Then she dragged herself to a corner by a small pile of
pillows, bedding and folded sheets.

She hid the bloodstained knife under that pile of linen, wrapped
herself in an old but clean patched quilt and sat on the low heap which
sank even lower. Bringing her right hand under her armpit, she tried
to stop the bleeding. Somehow she was unafraid when she saw the blood,
though it was the first time such a thing had happened to her. Every-
thing seemed as in a dream. She just gritted her teeth and wondered
about not feeling pain. A few seconds later, however, sharp pains
came.

At that moment the door was forced in. One of the policemen
noisily burst into the room.

Amersa did not raise her head, just remained stooped over,
wrapped-in the quilt up to her ears.

"Where is that bully?" cried the officer menacingly.

Amersa did not answer.

 

the t
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114

The officer, who had no idea of Menace's escape or that his
comrade had tumbled and fallen, perhaps because it occurred the
moment he was banging in the door and the noise had deafened him to
the other, searched the place where Amersa was, than ran into the
winter room, then into the small adjoining one. He found no one. Only
the open hatch.

A moment later his subordinate appeared.

"Did he get away?"

"Through the trap—door, below..."

"And you let him get away?..." You didn't catch him?"

"I was knocked for a ghoul!... Ah! What speed... Seven miles
an hour!..."

"Ach!" said the first policeman, curving the forefinger of his
right hand and bringing it to his mouth as if to bite it after angrily
shaking his head. "They ought to demote us!"

The second policeman, wishing to appear tough, addressed the
young girl:

"Where'd your brother head for, miss?" he said.

Amersa didn't answer. But deep down she would probably murmur
ironically to herself through her frightful pain, "You know."

"Why are you sitting there like that, sister?" said the first
more kindly. "Did he hurt you in any way?"

Amersa shook her head.

"What did he want with you?... Did he try to stab you?"

"Why did you scream?" added the second.

 

sick

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115

Amersa answered the first policeman's question.

"No!"

"Tell the truth, did he knife you?" the man insisted.

Amersa, in a natural voice, said:

"My brother, stab me!"

"Why are you sitting like that, what's the matter? Are you
sick?"

"I've got fever!"

It never dawned on Amersa that the floor and the pile of straw
might be bloodstained. But the sun had already set and shadow had
filled the house. Besides the place where the stained knife had
fallen, blood spots were in the shadows behind the door which was two-
thirds open to the wall. So the two men never noticed them.

"Why did you scream?" insisted the first policeman.

' said Amersa.

"I felt pain and dizziness,‘

And at that moment, as if giving proof to her words, a real
faint came over her. She gaSped, "Ohh!," gritted her teeth and bent
over. The two officers were touched, looked at her and the first said:

"Where could her mother be?"

As if obeying a command, Frangoyannou arrived on the run.

"There, she's the old woman whose son dragged her into the street
by the hair!" said the second policeman.

Then he added:

"Say, my good woman, where's that son of yours?"

Without responding, Frangoyannou rushed to Amersa's side. She was

a capable doctor and able to care for her daughter.

 

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116

All these memories often came to Amersa, especially during the
long hours of the night or twilight or dawn, whenever sleep eluded
her in the house, next to her sleeping sister, little Krinyo, while
their mother was away those hours keeping vigil many a night now in
the room of the mother in childbed at the house of the older daughter.
And when she returned home after the night's adventure which she had
undertaken, "clairvoyant" as she was, following that dream, she saw
in the dim light of the candle which flickered before the small, old,
blackened icon of the Virgin, that her little sister, Krinyo, was fast
asleep and had not stirred from her place. Only as Amersa entered
did Krinyo, perhaps hearing a faint noise in her sleep, move peacefully,
sigh, turn over, but otherwise not awake.

"Clairvoyant!" Really. The word her mother had so recently used
came back to her indeed the moment when, with the third crowing of the
cock, she entered the house near her little sleeping sister. But was
she truly "clairvoyant"? She whose dreams, visions and hallucinations
often came to mean or prophesy something or leave a strange impression.
And those falsehoods of hers, all she told, involuntarily came true
for her. Like the time after being stabbed by her brother when she
answered the policeman's question saying: "I feel pain and dizziness."
And with these words was immediately overcome by a real faint, as if
some higher deity wished to cover her lie.

Amersa lay down again beside her sister but did not sleep.
Memories continued to flood her mind though less tyrannically and less

somberly than those of her mother. And during those long hours she

 

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117

never ceased reflecting on the destiny of her brother, Menace, who was

now in the Halcis prison.

After Amersa left, Frangoyannou, huddled up in a corner between
the fireplace and the cradle, having lost her sleep once again,
little by little picked up the thread of her bitter, distant, wandering
meditations. Well when the two older boys emigrated to America and
Delharo grew up, it became the mother's responsibility to provide for

' was

the marriage of her daughters since the old man, "Calculation,'
not particularly distinguished for his industriousness. Well, all the
world knows what it means to be both mother and father to daughters
without even being a widow. She herself must marry them off and pro-
vide dowry, arrange the match and negotiate the terms. Like a man, she
must provide a house, vineyard, field and olive grove; borrow money,
run to the notary, settle the mortgage. Like a woman, she must create
or provide dowry, that is to say, supply the sheets, embroidered
blouses, and silk dresses with gold-brocade hems. As a matchmaker
she must search for a groom, pursue, net and capture him. And what
sort of groom!

One like Constandis who is snoring now in the next room on the
other side of the wall-—beardless, useless, worthless. Also capricious,
demanding, stubborn; today demanding this, tomorrow that; one day asking

so much, the next more. Then others "get to him" through rumor, gossip,

slander-—out of self-interest or envy--so he changes his mind. But

 

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118

after the engagement he moves in with his in-laws to "put one in the
slips" prematurely; afterwards acts like nothing happened.

Only after so much trouble, so many headaches, barely,
after so long a time, was this groom finally persuaded to marry her.
Then the bride puts on airs, decks herself out in finery--the fruit
of so much sacrifice and economizing-~trying desperately to show
the trim waistline of her former self.

And three months after the wedding she gives birth to a
daughter-—three years later a son--two years later another daughter--
the new-born for whom the old grandmother was keeping vigil so many
nights now.

And for all these daughters their mother had worked and
suffered so much--so much more-~30 much more than her mother had
endured for her.

Poor Amersa, the tomboy, remained unmarried (God bless
her!). She knew better. Indeed, she was sensible. Why would she
want so many burdens? Neither was she jealous! Jealous of what?
She saw her older sister and pitied her-—wept for her.

As for little Krinyo, if only God will enlighten her as
well! Whatever she does, her mother has no intention-~her strength
and stamina exhausted-~of marrying her off and suffering even a
fraction of what she suffered for her older sister. But I ask you,
is it really necessary for so many girls to be born? And if they
come, is it worth raising them? "There is no," said Frangoyannou,
"There is no Charon, there are no rocks? It's better if they don't

live to grow up. I hear you, neighbor!"

 

 

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119

It was for this much-suffering woman a great and sacred
comfort, to follow when it chanced, a small funeral procession of
priests preceding the Cross. To hold in her arms herself, compas-
sionate and merciful as she was, the small cradle-like casket and
bear the daughter of a neighbor or distant relative to the grave.

She had difficulty catching the murmurings of the priest chewing his
words between his teeth. "Naught is more pitiable than a father,
naught more wretched than a mother..." Oft do they beat their
breasts before the grave and say: "0 my son, and sweetest child,
hearest thou not what thy mother criest unto thee? Behold, also,
the womb that bare thee. Why speakest thou not with us. Alleluia!"
And again: "Who would not wail, my child, beholding thy rosy face
so early faded, which before was beautiful as the crimson lily of
the field?"

But what great delight when the small funeral procession,
after ten minutes' march arrived at the Cemetery. Beautiful country-
side, perpetual spring, sea of green, wildflowers, fragrant garden.
Behold the park of the dead! Oh! Paradise even of this world, opening
its gates to receive the small innocent creature whose good fortune
was to liberate its parents from so much torment. Rejoice small
angels who flutter round and round with white-gold wings, and you,
souls of Saints, Welcome it!

When Hadula would return for the evening "consolation" at the
house of mourning--not a word of sympathy could she find to say for
she was joyful at the good fortune of the innocent child and its

parents. The sorrow was joy, death was life, all was otherwise.

 

 

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120

Ah! Behold... Nothing is exactly as it appears; everything
is otherwise, even opposite.

If sorrow is joy, and death is life and resurrection, then
misfortune is good fortune and sickness is health. These plagues
which seem so dreadful, that prematurely mow down infants--smallpox,
scarlet fever, diptheria and others--are they not blessings, strokes
of small angels' wings who glory in heaven as they receive the souls
of the young? And we, in our blindness, interpret these as mis-
fortunes, as plagues, as evils.

And distraught parents lose their wits, and pay dearly for
Charlatans and quack medicines to save their children. They do not
suspect that "save" really means "lose" the child. For Christ said,
as Frangoyannou understood her confessor explain, "For whosoever
will save his life shall lose it! But whosoever will lose his life
for my sake, the same shall save it."

Must we not then, if men were not so blind, try to aid the
beating wings of angels than seek to drive them away? But behold,
the angels are impartial, grant no pardon, take both sons and
daughters to Paradise without distinction. Especially sons—-how
many beloved and only sons!—-die before their time. The daughters
have seven lives, the old woman mused. They do not sicken easily
and rarely die. As good Christians then, should we not aid in the
work of angels? Oh, how many boys and genteel girls are seized
prematurely. Then again, little rich girls die more easily—-though

rarely more than boys——than the countless daughters of the poor.

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121

The girls of this class have the seven lives! Seems as though they
multiply on purpose to torment their parents here on earth. Ah! the
more one ponders! the more one "loses one's reason."

At that moment, the daughter began coughing and whimpering.
The old woman, enervated by all these thoughts, and innundated by
waves of memory, suddenly felt dizzy, overcome by the turmoil and
tempest of her existence. She slowly sank into a drowsy, uncontrollable
desire for sleep.

The infant coughed, cried and constantly fussed "like a
grownup." Her grandmother stirred, turned, and lost her sleep again.

Its mother slept soundly, unaware of any coughing or crying.

The old woman opened stern eyes and gestured impatiently,
threateningly.

"Eh! Will you shut up?" she said.

Frangoyannou's mind, indeed, began to "lose its reason."

It finally became irrational. It was expected, after laboring on such
profound questions. She leaned over the crib. Forced two long,
rough fingers into the infant's mouth to "shut it up."

She knew very small infants do not usually suffocate. But
she was by now irrational--had no real notion what she was doing nor
why.

She continued the choking for some time; then took her
fingers out of the small mouth which had stopped breathing, seized

the baby's neck and squeezed it for a few seconds.

122

That was all.

Frangoyannou at that moment did not recall Amersa's dream
which her daughter had told to her only an hour before, between the
second and third crowing of the cock!

She had "lost her reason!"

VI

Unable to fall asleep again after returning from her
sister's house, Amersa, wide awake beside her little sister, began
again and for a long while to dwell upon her brother, that poor
unhappy criminal. Since the time he jumped through the trap-door
and fled, she never saw him again. The police searched many days
but he had vanished.

Immediately following Amersa's questioning by the police,
Frangoyannou arrived at the house and discovered her daughter wrapped
in the quilt, head down, pale after fainting from loss of blood.

To the question posed by the first officer whom Menace had
tripped, "Old lady, where is that son of yours?," Frangoyannou did
not respond. But the other one who appeared more humane, said in a
calm voice:

"Look, Madame. What's the matter with your daughter? She
says she's sick."

1

"She i§_sick! How not to be!’ said Frangoyannou with the

ready answer. "She's in shock over the antics of that clever son of

mine... Look my dears!... if you catch up with him, don't harm him..."

gm ..lldsug Wild

123

"Did you see him run off? Which way?"

"I saw him from a distance!... Along by the Wells... past
the Threshing Floor."

Frangoyannou told a double lie. She had not seen Menace
but was sure he had fled in the opposite direction from what she
said toward Kotronia, eastward above the house where as a child he
used to chase owls.

The two men took off on the run. One of them threw a last
suspicious glance back at the half-open door.

Hadula shut the door. Then she Opened the window.

"He stabbed me, Mana!" sighed Amersa in pain as the current
of air flowing through the open window revived her from her faint.

Throwing off the quilt, blood appeared on the blouse she
was wearing over her undershirt.

"Oh! Ach! The murderer!..." "Heaven and Earth punish

him'"

cursed the mother, seeing the blood.

Then she began to examine her daughter, to try to stop the
bleeding and bind the wound. Pulling on the sleeve, Frangoyannou
removed the blouse. Amersa's right arm was firm and taut though
lean and pale.

The wound was only superficial, but the bleeding was difficult
to control. Hadula employed whatever techniques she knew and would
have used a tourniquet had she had one. She bandaged the wound and
soon the bleeding stopped.

Amersa had been somewhat weakened, but she was basically

strong and unafraid. Indeed, after a few days of her mother's care,

the injury healed.

124

Frangoyannou would never have called the doctor. She did
not want it known that her son had stabbed his sister. To all the
inquisitive neighbors whoever asked, she denied--sometimes feigning
indignation, sometimes forcing a laugh—-that Menace had injured her
daughter. What interested her above all was to learn if Mihalis
had escaped from the hands of the police, and, if so, may he go with
God's grace.

Indeed, a few days later it was learned that her son had
secretly embarked at night on a ship, as a sailor and fled the
island. The secretary of the Port Authority was a kind and obliging
man and signed him on as a seaman without hesitation. At that time,
Menace was almost twenty; Amersa was just seventeen.

Time passed before the family had any news of the fugitive.
Finally, more than a year later, rumor circulated that Moron had
committed murder on board his ship. When asked, his sisters told
everyone they knew nothing about it, and deep in their hearts prayed
that the rumors were false. But the mother inwardly believed the
news was true.

A few days later, a letter arrived postmarked "Halcis."
Mihalis was writing from the prison of that town. Reversing the
order of events, he first related in tragic terms his pains and
miseries in the dungeon of the Venetian fortress. Then, contrite of
heart, but in ambiguous terms, making it necessary to read between
the lines, he confessed that perhaps he really had murdered the man,

'1 O O O O C C 0
old Portaitis, the ship's boatswain, but Without realizing it or

'W' " UN '9’

125

meaning to. (Truly, he had no intention of killing him.) His
adversary incited it, he himself was not at fault, the killing was
the result of an argument. He had "lost his head." It had even
been proven that the knife belonged to the "victim." Perhaps he
had drawn the knife (he couldn't remember exactly) from his opponent's
belt, but he believed he had wrangled it out of his hand.

Then he again returned to his miseries and all he had
suffered these two months in prison. Following, he appealed to his
mother's affection and begged her to—-"go without fail--and find

" the murdered man's widow, and his daughter, and

Madame Portaitina,
plead in terms, "persuade them no matter what" to sue for his
acquittal.

"Go, Mana, take the boat over to Platana, beg Portaitina
as well as her daughter, Karikleia, bring them around to beg for my
acquittal and I'll become one of the family, and marry Karikleia
without dowry, and we'll all be happy and love each other... And
they'll see how much I'll love Karikleia, and how good I'll take
care of my mother-in—law, I'll work like a slave to support them,
make them comfortable, because I'm capable and can make money..."
Ending, the murderer returned for the third time to his miseries and
promised, if he should get out of prison, to bring many beautiful
jewels and things for his two sisters' dowries, as well as dolls and
toys for Delharo's little girls.

Well, it is not surprising that Frangoyannou did not hesitate.

She made a small loan, pawned all her silver, took the boat over to the

126

opposite island, to the village of Platana in search of Portaitina.

But what is surprising was her pathetic eloquence, her feminine wiles,
the thousand falsehoods-~Frangoyannou was then fifty-five, but a

robust woman and energetic——with which she was able to persuade the

old woman, widow of the murdered man. (Note that mother and daughter
even gave hospitality to the mother of the murderer) to persuade her,

I say, to pay travel expenses and leave together for Halcis, in order
to obtain through prosecutor, judge and jury the liberty or the
acquittal of the accused. As for the daughter, "Karikleia," she
declared she would not seek vengeance since "father will never return,"
but would not wish his murderer for a husband: remaining unwed forever
was preferable.

The two old women set out together and stayed three months
in Halcis in a dingy Turkish house—~near the Jewish quarter beside
the High Portal of the fortress. Daily, Hadula walked to the prison
during those early hours when the prisoners were let out, accompanied
usually by Portaitina, who sait waiting opposite the prison, not
wishingto see the murderer face to face. Passing before the large,
inelegant, old church of St. Paraskevi, they would crossthemselves,
and then the mother would carry biscuits, figs, sardines and tobacco
for his pipe to the accused. And well—hidden inside the deep pockets
of her skirt was a small flask of rum or raki, additional solace for
the prisoner.

But two or three times a week they exited through the High
Portal of the fortress and saw suspended there, by the dark gate, the

leg of the "Greek Giant" and his "tsarouhi"--boot—slipper with a pom-pom--

127

monstrous in size, which after returning home--God willing--they would
describe for their grandchildren. Then they would walk through the
Souvala quarter or by St. Demetrios Church and visit the public
prosecutor, who would dismiss them through his Secretary; or they
called on the judges, who occasionally admitted them for amusement.

Finally, when the day of the trial was set, they sought ways
of approaching the jurors some of whom had come from mountain villages
wearing foustanellas, or from the islands or sea shores wearing
knickers. Frangoyannou promised each all sorts of gifts and would
have given them had she had them: sweet wines, quality oil-~pure
gold--1obster tails, mullet paste, botargo, dried octopus, choice figs
and anything else her island could produce.

To one of the jurors, a jaundiced, bronchial—looking man,
who seemed to be suffering, she promised a cure through a preparation
she knew. But none of this proved useful, and the murderer was con-
demned to twenty years in prison. All the projects came to grief,
including the matrimonial alliance between the mother of the murderer
and the widow of the victim.

Now it became necessary for them to return home, but the
little money they had was gone as well as all which Amersa had sent
from domestic work and weaving. Frangoyannou inquired of every ship
she saw readying to sail for the Gulf of Maliakos or Istiaia, to take
Portaitina, at least, who was older and less able. For herself, she
had her plans. When she realized the agents required in addition to

the fare, that passengers bring their own food and that, even if taken

128

aboard, she would have had to disembark at Stylida or Orei and find
another ship there-—so she explained her plan to Portai'tina.
"I," she said, "can make it overland on foot from here to
St. Anna--they say it's a two—day journey. There we'll find the mail-
boat and Captain Petserelos, the postman, who will recognize us and
take us on. I'll make expenses on the way collecting herbs, dandelions
and wild vegetables, and any poor soul who comes along with a sick
child or husband, I'll make cures to obligate them. .. Can you make
it? Have you the strength?"

"What can I do? I can, I can't... It's better to stay

together as we came."

80 they started out. Hadula did as she had said, but the
going was slowed by heavy-footed Portai'tina. But she was more
successful than she had hoped. When, a week later she arrived in her
Village, she had things left over from her enterprises. For services

rendered, she brought home a sack of wheat, nearly an oke of cheese,
two hens, a woolen blanket someone had given her as a gift, and some
drachmas cash. Besides these, she comfortably paid Portai’tina's
passage all the way to her own door.
All these things Amersa remembered well, for her mother retold
the story of her journey often. Now, twelve years had passed. Her
brother was still in prison, her father had died some time ago;
Statharos and Yalis never returned from America, little Yorghakis
had also left for distant shores, Krinyo had grown up, Delharo had

given birth to another daughter, and she, Amersa, remained an old maid.

129

VII

Extreme stillness and silence enveloped the dark room after
the last cough and cry of the daughter was so suddenly interrupted.

Frangoyannou had lowered her head, held her forehead in her hands,

and had ceased to think. She felt she no longer existed. Not even

her breathing was audible. Every sound had ceased. No flame trembled

in the hearth, no murmur could be heard, and the half-burnt wick of

the oil lamp glimmered sadly. The small candle before the icons had

long since gone out and the features of the saints could no longer

be distinguished.

Suddenly the woman in childbed roused herself with a start,

breaking the deep silence.
"What is it, Mana?" she said.

Her mother, grim, trance—like, stared at the flickering lamp.

"What is it!" Nothing. You woke up?"

"It seemed to me you said something... that you called me,

in my sleep."

"Me? . . . No. You' re imagining things."

"What time can it be Mana?"

"What time?... Don't know?... The cock has crowed over and

over again."

"You didn't sleep, Mother?"

"I've had my fill of sleep... like a log," said Frangoyannou,

who had not Shut an eye. "It'll soon be light."

130

Iheumther in childbed yawned and made the sign of the cross
cwerhernmufln At the same time she looked up at the small icon
stand opposite.

"Duacandle has gone out, Mana, please light it."

' said the old woman, "I was sound

"Dnhfit notice, daughter,’
asleep."

"Amithe child is sleeping soundly, I see. How did that
happen?"

1

"She's quiet now too,' said the old woman.

" said the mother. "She's really started

"My breasts hurt,
to suck lately. I wish she were awake to nurse."
"Eh!, never mind... We'll find another baby," said the old
woman.
"What did you say, Mana?"
The old woman did not answer. She wanted to say something.
Did not know what to say.

"Would you go to the trouble to light the candle, Mana."
"If you wish, get up yourself and light it, I don't have
hands..."

"hfluat!"

"My hand feels numb."

"Cknne now, Mana, you know I'm not supposed to light the
candle until I've been blessed."

Jiist: as she was saying "my hand feels numb" the old woman

recalled Amersa' 3 dream.

131

Unable to hold herself, she stifled a deep sob under her
breath.

"What is the matter, Mother?"

The mother in childbed jumped off her low bed.

"The baby's not well?"

Screams and sobs and crying followed. The mother found her
daughter dead in its crib.

Sound asleep on the other side of the partition, Constandis,
who had slept well, woke up from the noise.

"What's going on?" he shouted, rubbing his eyes.

He yawned, stretched, jumped up and ran to the door of the
room.

1

"Hey. What are you people doing?... You'll wake up the
neighbors... Can't anybody get a little sleep, at least, around here
without all this commotion?"

No one paid any attention to Constandis' protests. His wife
was bent over the cradle, sobbing. His mother-in-law remained seated
with folded hands, face enigmatic, jaw set, and expressionless. After
her first involuntary sob, she uttered not a sound.

"What!... the child died?...

"Hey!..." cried Constandis, his mouth gaping.

Then he added:

"That's why I had such a crazy dream, devil!..."

Delharo, lifting her head a moment from the cradle, con-

tinuing to sob, said:

132

"Mana, would you get me her little things, to change her...
Where is Amersa?"

Frangoyannou did not answer.

"Where is Amersa, Mana?" Delharo repeated, shaking her
mother's arm.

Suddenly emerging from her stupor, Frangoyannou shuddered
as if pricked by a thorn.

"Amersa?... Where is she?... At home!" she answered.

1

"Wasn't she here? I thought I heard her in my sleep,' said

the mother.

' said the old woman, eyeing

"Let him go over and call her,‘
her son—in-law.

"Constandis, will you go and call Amersa," Delharo said to
her husband.

"I'll go. Imagine that!... Oh! What a pity! Devil: good
thing we baptised her at least."

Dandis crawled around on the floor of the narrow hallway in
the dark groping to find his old shoes. Old pairs jostled noisily
against the wood floor.

"Where's my old shoes," he said.

Finally he put on a worn pair of woman's shoes he found,
which only covered his toes and part of his foot, leaving his heels
exposed. More noise he made trying to open the door, finding neither

latch nor bolt in the darkness. Once having opened the door, he

suddenly came back inside.

133

"Hey, Delharo," he said, "Should I only tell Amersa to come,
or bring Krinyo as well? What do you think, mother-in-law?"

"Go ahead now, stOp your banter,‘ she said. "Whoever comes,

comes!"

Delharo, sobbing softly leaned over the crib. Dandis before
leaving, threw a last glance at the cradle and his wife.

"Oh! What a pity, devil! he said... What dreams I saw!...

And he left on the run.

VIII

One morning during Holy Week, Frangoyannou set out all alone
in the country toward the stream of Mamou. She wanted to visit the
small olive grove which as a gift was left to her by a somewhat
wealthy man she had worked for who died leaving no inheritors. Half
the grove she had given to Delharo as dowry, and the other half she
retained herself.

Some weeks had passed since the events we have recounted.
Nothing out of the ordinary had been said concerning the death of
Delharo Trachilaina's baby daughter who had been buried that same
day. If the mother of the infant noticed small black marks on the
baby's neck, she would never have uttered a word, or otherwise believed
it was her mother's crime. It was thought the child died of whooping
cough.

The only doctor, who was for years in the village, kind

Vavaros V., chanced to be away. Cholera had apparently broken out

134

again in Egypt and the Ministry of the Interior usually chose him to
direct the quarantine station on Delos.

In his place the government had sent a temporary health
officer, Mr. M., who had not yet arrived. In the meantime there was
a former medical student residing on the island. Called by the local
police to verify the death, he superficially examined the face of the
infant, complaining about not having been called while it was still
alive. He issued a "burial certificate," writing "death by spasmodic
coughing."

From that day, old Hadula lived a guilt-ridden, anxious life,
and outwardly it seemed she had ashes on her silver-grey hair, that
she carried her head slightly bent and stiff, and that she wore her
long black shawl like a cowl of repentance. With the coming of Lent
she often went to church, made numerous and deep genuflexions, planned
confession, but always postponed it. Giving up olive oil for Lent,
she ate dry food five days of the week and fasted three during the
first and middle weeks. Ashamed before Delharo, she avoided her eyes.

Well, the morning of that day during Holy Week, Frangoyannou
arrived very early at the peak of the high rocky hill west of the
village and from there, melancholic falls the gaze on the small
cemetery Spread out below, upon the high, sea—battered strip of land,
‘with white tombstones, and directly leaves, seeking cheerfulness and
life in the blue waves, in the wide triple port and in the verdant
charndng, islands fencing it from the south and east. On this peak,

standing solitary, distant, like a beacon glittering in the sunlight

135

is the chapel of Saint Anthony. Frangoyannou passed before it making
the sign of the Cross, and though she intended to enter, she hesitated
at the last moment and continued on her way. "I'm unworthy," she
thought to herself, "to enter a chapel where so often masses are held.
I'd better go to the chapel of St. John the Hidden."

Soon she arrived at the olive grove and inspected each tree
one by one. Already the middle of April, Easter had come late and
she was anxious to see if they had borne fruit. Silently she prayed
to Christ "to provide the olive oil which would ease the poverty."

For two years, they had not borne olives, indeed, an insidious disease
had ruined the crop and blackened the branches of the trees.

After she remained for a time in the olive grove, she started
on her way, often looking back as if bidding the trees goodbye, and
continued on. She reached the stream below, and began the upward
climb as was her custom. With a basket under her left arm, a small
knife in her right hand, she bent down everywhere, in all the familiar
places, searching for dandelion, thistle, cicely and anise. On the
Saturday of St. Lazarus she would bake a cake, the pétga, for herself
and her daughters, sharing it with neighbors as well, having nothing
to lose by it.

Besides these wild plants which she knew so well and collected,
Hadula recognized other herbs also, useful remedies for the sick:
clover, the snakeweed, and the wild onion among the arbutus and ferns
and beside the roots of wild trees, and mushrooms, thorns and nettles,
as well as maidenhair in small ravine cascades——said to remedy the

:fevers following childbirth.

136

Having collected enough herbs, she tied the medicinal kinds
in a separate kerchief and placed them inside her basket. Sunset
was approaching and the sun dipped behind the mountain top. Deep
shadow filled the ravine and the sound of her every step resonated
ominously deep within her soul.

The old woman climbed higher, toward the stream's steep
ridge. Below lay the deep gorge of the river, the Aheila current,
etching its way through the deep valley, murmuring peacefully,
appearing still and stagnant yet eternally moving under the long
flowing arms of the platane trees, among the moss, the brush and fern,
babbling mysteriously, embracing tree trunks, meandering snakelike the
length of the valley, greenish in the reflection of the foliage,
caressing and eroding rocks and roots, murmuring, limpid, teeming
with tiny crabs which race for cover in the turbid sand whenever a
young shepherd, leaving his few lambs to pasture on fresh grasses,
comes leaning into the stream, overturning rocks to ensnare them. The
‘warblings, the incessant chirping of blackbirds echoes harmoniously
in the forest surrounding all the western slope, and glides up to the
sunmfit of Anargyros until the Eaglenest above-~where it is said one
sea-eagle nested for three generations of men and at the end left
twithout leaving eagle-fledgings. In its abandoned nest could be found
run entire museum of gigantic bones of sea serpents, seals, sharks and
other ocean beasts upon which this great and powerful sea bird of
'bluish-curved beak and magnificent grey plumage banqueted.

High above the river on a ridge formed by two mountains

lnatween the fields of Konomos and Minor-Anargyros, the solitary

137

monastery of St. John the Hidden stands in ancient ruins. Truly
hidden, it lies behind a small col, concealed by the two mountains
and thick, overgrown brush. Approached from the north, from the
Aheila current as Frangoyannou now did, or from the south, from the
place called the fields of Konomos; or even if one were to walk close
to the sacred place, it was impossible to suspect its presence if one
did not know it well, as did Frangoyannou.

The surrounding wall and the few monk cells had fallen in
ruins long ago. The small chapel, deserted and no longer used, was
still standing. The nave remained covered but in the sanctuary, the
roof had caved in on the north side, strewing the altar with tile and
debris. The wooden iconostase, once sculptured and gilded, now lay
shattered and unrecognizable, the icons gone. The few frescoes had
been corroded by the humidity and the faces of the saints could no
longer be distinguished.

Only to the right of the chorus, a fresco of John the
Baptist witnessing the coming of Christ was still intact: "Behold,
the Lamb of God, which taketh away the sin of the world." The face
and hand of the Baptist, outstretched and pointing, could be dis—
tinguished well enough. The face of the Savior showed very faint on
the damp wall.

Saint John the Hidden was the name invoked since time

immemorial by those who carried a "secret torment, or a private sin.
Old Hadula was familiar with this belief or custom, and that is why

she thought about coming now to the old abandoned sanctuary to offer

138

up her prayers. She preferred the deserted chapel because in the

parish church where she attended during Lent, she only dared enter
the narthex, behind the bolted door of the woman's entrance-~just in

case it became necessary to flee before they ejected her! She was
ruot: SC) nnich afraid of being chased by Papanicholas, the severe and

ascetic curate, or by Mr. Demetros, the churchwarden, who always
grumbled,

and was harsh on the women because instead of the woman's

loge they continually sought the small enclosed stalls at the north-
xnest:<uirner of the church; she feared the menacing aspect of the

Axrflnmngel looking down from the great painting on the northern portal,

‘wielding a flaming sword.

She entered the small deserted chapel, lit a candle which
she carried in her basket with some matches, kneeled and prostrated
herself three times on the ground before the half—destroyed fresco.

Then, the nagging thought returned from which she could not free her
mind. In a low voice, though a witness to this scene could have
heard, she said:

"If I've done right, St. John, give me a sign
today...

that I might do a good deed, a charitable act, so as to calm
my poor heart and soul! . . ."

IX

Since she had filled her basket and the sun hung low on

thelmtuon, old Hadula began the return to her village after leaving
thedemuted church. Descending back again along the ravine, she

139

urned right and began climbing St. Anthony's hill, the way she had
ome. Just before reaching its crest where the chapel stands, at the
oint where one has a magnificent view of the harbor and town, she
Looked down into the small valley on her right, the ravine of Mamou,
which cuts the other great valley of Aheila at an obtuse angle and
saw the vast, well—cultivated fields of Yannis Perivola.

"Might as well head for Yannis' place, to beg him for a
string of onions or a head of lettuce... What can I lose?"

At the same time, she recalled that moment that two days
before she heard Yannis Perivola's wife was ill. She did not know
if the woman was staying at the cabin located inside the garden or
whether she was recuperating in the town. But since the gardener
himself was sure to be there (she could see the garden gate was open

in the distance), Hadula figured on selling him some herbs from her
basket, promising the "preparations" would cure his wife. Then she
thought to herself:

"Whatcan you offer the poor!... It would be best to give
them a 'sterility—herb'--(God forgive me!). Or at least 'male-herb.'
Because the poor have nothing but daughters!... He's had five or six
now, I think. Perhaps others who may have died of those nine-lived
creatures. . ."

She had, in fact, searched the mountains and glens many
years for "male-herb," especially for her daughter. But what she had
given proved unsuccessful; on the contrary, it had the effect of

"female herb." Yet it worked for herself, when her sister—in—law had

140

given her some, having had four sons and only three daughters.

As for
"sterility-herb," the priest advised her years ago that its use was

a great Shh

Before entering the gate, as she was descending the footpath
of the slope, she noticed that Yannis Perivola was not inside his
garden,

'but was at that moment in the adjoining field he had apparently
rented from his neighbor.

Sown with barley, the field was already

grassy with spikes and it lay well below the garden, knee length.
Yaruris, bent over at the far end, was, no doubt gardening, that is

\qyrooting weeds and darnel from between the stalks, thinking it was

still early, though the sun had already set. Situated over at the
other end of the garden, hidden by distance and thick hedge, Yannou

was unable to see him, or call a "good evening" to him as she neared
the gate of the enclosure.

Bent over, he was intent on his work and
did not notice her.

Old Hadula entered.

Next to the gate was the cabin, not very
prosperous or clean-looking.

It looked as if it had not been white-

nmshaifor some time, testifying to the illness of its housekeeper.

lbols,hay, and bundles lay in disorder about the front yard.

The
door was shut.

The window shutters were closed. Only the attic
whflowtmd glass toward the t0p. But to reach it, to see if anyone

wmsimfide, Frangoyannou would have to climb the two or three steps

tothesmall railless wooden landing called hiyati and stretch to full
height.
As she hesitated, wondering if she should do that or simply

g>m)flm hiyati and knock——she heard the voices of small girls. A

141

short distance away was the well and its hoisting winch, and beside
it the cistern--1ow, deep, its mouth just above the level of the
ground. On top of its masonry wall, next to the cistern's mouth,
two little girls were sitting--one about five years old, the other,
three--playing at fishing with a bamboo stick and line to which a
nail was tied.
"THERE!... you've given me the sign, St. John." Frangoyannou
VflriSpeimui involuntarily to herself seeing the two daughters... "What
reliedfifor these poor Perivolas if they were to fall into that cistern
and swim there!... I wonder... it's got water?"
She approached, leaned over and saw that the well was almost
full--about two or three fathoms.
"Imagine their father leaving them here like this, little

girls,‘ said Frangoyannou. "As if they couldn't fall in by them-

selves?..."

She cast an anxious glance at the cabin. But she had the
feeling no one was inside.

She looked at the children curiously. The older one, a pretty
bhxde dumgh a bit dirty, looked nice. The younger one, pale, poorly
dnfimed,seemed to be suffering from scurvy.

”Children," said Frangoyannou, "What are you doing here?...
Where's your mana?"

The older girl answered: "'ome."

"At home?" the old woman questioned. "Which one? Here or

in the village?"

142

f

"Mommy's no 'ere,‘ said the little girl again.

No doubt the little girl was obeying her father by dis-
couraging passers-by from annoying their mother who was, indeed,
inside the cabin. The shutters were closed to protect her perhaps
from the evening breeze coming off the river. Her husband had
probably just gone down to the neighboring field for a time and
either forgot or did not bother to close the garden gate again.

Old Hadula asked again:

"Say, is mana in the village? How is it you're here by
yourselves?"

"Pappaz 'ere,' said the small one.

"Where?"

"Down 'ere,"

pointing.

"What's he doing?"

The little one shrugged her shoulders, not knowing what to
say. Finally she said:

"Work."

"What's your name, sweetheart?"

"Me, M'souda." (Myrsouda).

"And your sister?"

"Toula." (Aretoula).

Frangoyannou wondered:

"Will they scream?... Will it be heard? Who could hear it?

Better do it fast," she thought to herself... "Wherever he is, in a

little while he'll be here, because it's getting too dark for any

143

more gardening... And I better get away fast, without being seen,
just as I amefl

She hesitated a moment, struggling with herself. Then she

said, almost out loud: "Courage!... On with it."

And seizing the two girls with both hands, she pushed them

violently.

A loud splash followed.

The two small creatures bobbed about in the water inside the

well. I

The older one pierced the evening air with a sharp scream.

"Ma...!"

Instinctively, Frangoyannou turned toward the white cabin to

which until now her back was turned.

Simultaneously preparing to flee, she quickly glanced at

the cistern, to see if the agony had ended.

Picking up her basket from the ground, she started to leave.

The two small creatures floundered in the water. The smaller

hadzflready drowned. The older was still struggling.

A few seconds later, the old woman head a door creaking open
behhmiher, and a feeble voice.

She turned. The cabin door was open. The sick woman, mother
ofthetwo girls, wan, wrapped in a wool sheet, ghost-like, stood in
the void.

"What is it!" the sick woman said, terrified.

Then with great presence of mind, Frangoyannou, still only
afmaflmps from the cistern, threw down the basket she had just

rudwdtm and started to run, leap and holler.

144

"The girls!... The girls!... fell in!... Look!... Haven't
you any sense, dear?... How can you?... Leave them alone near a
cistern full of water!...

"Good think I came!... Just now I was passing by... God
sent me!"

The next instant she was bending over, pulling off her
skirt (leaving her in pantaloons called "wollens" from the waist
down), kicking off her tattered shoes (exposing holes in her socks
at the heels), she clumsily but with great flourish jumped into the
cistern.

Letting out a hoarse cry, the sick woman hurriedly hurried
down the two or three stone steps of the porch, her feebleness so
great she could scarcely walk. Before she could get to the cistern,
Yannou had seized the smaller girl, who already appeared drowned to
her, and began pulling her out slowly, with her head upside down in
the water. Then lifting up the small body and, having laid it on the
stone footing, she bent over and seized the other daughter, the older
one. Grasping the hem of her dress and one leg, she pulled her up,
keeping the head as long as possible under water.

When the mother finally arrived, Frangoyannou pulled on the
body energetically, placing it next to the other one.

Both looked lifeless.

Frangoyannou groping about awhile with her feet under the
‘water found on the south side of the cistern the flat plank, the drain

‘hole plug, with its long pole handle. Setting one foot on a wall

145

niche, she managed after some difficulty to climb out onto the stone
apron. She was dripping wet.

"See! Hadn't thought of it!" she cried, making a fuss. "I
should've pulled up the drain plug right away before the poor things
drowned."

It was true enough that she had not thought of it. But
there is sometimes hypocrisy even in honesty.

Frangoyannou wrung out the edges of her dripping clothes as
she cast a glance at the two lifeless bodies, and speaking with
authority:

"They need to be tied upside down... Beaten with a bamboo
so they'll vomit, see!... Good thing it was fresh water... Where's
your husband, dear? That's no way to leave little girls, to play
all alone with the water of a cistern!... Good thing I came by, God
sent me... From Anargyros I'm coming, from the olive grove... Good
thing the gate was open!..."

"Where's your husband? Where? As I entered the gate, I hear
a 'splash'! I run!... What do I see! Couldn't get to them in time!...
Didn't even know you were here. Thought you were in the village...
Learned how you were sick and all... What a shock!... Now they need
turning upside down and fast... Don't believe they've drowned yet...
Where is he... your husband? Where is he?"

And forcefully pulling the body of the younger one whom she
was quite sure was dead already, she moved it to a nearby tree to

hang it upside down, just as she said.

146

"Where's a bit of cord?... There, I see a string on the
bamboo pole!"

"Good, we'll need it!"

She nodded impatiently for the sick woman to fetch the
bamboo pole which a short while ago two little daughters had been
playing with.

Dazed, shocked, wringing her hands in bewilderment, in
terror, in agony, the woman said in a feeble voice:

"But where is their father?"

"You're asking mg?" said Yannou.

"Please call him... I can't holler, I'm too frightened,
dear. Perhaps he's down in the field?"

Lowering the small body to the ground for a moment, Fran—
goyannou ran the few steps to detach the string, trying to untie or
cut it, in order to bind the ankles of the small drowned child to a
cherry tree branch and hang the body upside down.

At the same time she yelled for the woman in a wild, strange
voice:

"Yanni!... Yanni!..."

The shriek echoed through the valley. But Yannis did not
appear. Yannou tied the feet of the child and attempted to string
her up, repeating the calls.

"Yanni!... Where are you?... Come!... The children fell into

N

the cistern!...

' she said to herself.

"The later he comes the better,’
"He doesn't answer, Heaven knows why? So glued to his work!

It's dark already... Yanni! Yanni!"

147

Just then she realized she was almost betraying herself, for
the woman had not said that Yannis was working in the field, only
she herself had seen him, and if anyone had told her, it was the
little drowned child. So she added:

"But where is he?... in the field, you say? What's he doing?...
Who can run, my dear, down there?... You're a sick woman... Yanni!...
Where are you, Yanni?"

Finally a voice was heard coming across from the far end of
the fence.

"What is it?... Who's calling?"

"Run, Yanni!... The girls have drowned!" the sick woman
cried with all her strength.

A moment later, Yannis arrived on the run.

Frangoyannou meanwhile had strung up the small body and was
lifting the body of the older child, feeling her with both hands to
know for sure if she was dead. At the same time, she cast a cunning,
side—long glance at the hapless mother, pale and shivering under
her white wool sheet. Hadula, shaking her head, pitied the woman in
Spite of herself.

As the father, the gardener, approached them, Hadula turned
her back, lowered her head and remained so for a time, irresolute and
terror-stricken.

"What is it?... What's the matter?" Yannis cried, utterly
bewildered.

"There! Good thing I came by!" Frangoyannou began telling

him... "I was coming from Anagyro, with my basket. Thought to give

148

you some herbs I'd gathered today by the river, medicinals for your
wife!... because I learned she was sick... Good thing the gate was
open!... I entered... I hear splash! What a fright I had! The two
girls, as they were playing with the bamboo, fell into the cistern...
Best I can figure, they got to wrangling who's going to hold the
pole, and do the fishing... The little one tried to grab it away from
the big one.. As the big one pushed the little one, she threw her
into the water, but the little one held on, it seems, pulling the
big on in too. (Frangoyannou improvised this explanation on the
spur of the moment.) Ach! what a shock! I hear a splash! Good
thing I came by! God sent me... Eh, is that the way, my dear, to
leave small girls to play by themselves near a cistern full of
water!..."

Yannis, seeing the two lifeless bodies in the pale rays of
twilight, began pulling his hair, biting the joints of his fingers,
saying:

"Oh!... What sins!... You're right, good woman. Ach!...
What has happened and I was down in the field, pulling weeds... and I
couldn't relax, unfortunately!... Something kept nagging at me!...
But I never thought about the cistern being full. But I was nervous,
had a funny feeling... said to myself, I better quit gardening, come
back to the house... Something's out to get me, something's cooking.
But I didn't have the heart to quit, unfortunately! Ach! You're right,

whatever you say, good woman. Ach! Ach! What sins?”

149

And in his great anguish, the gardener helped with the
improvisations against drowning which the very experienced Frangoyannou

recommended.

Old Hadula out of necessity remained all that night in the
cabin, where she experienced all the rare and indescribable feelings
of the murderess suddenly the doctor of her own victims. But despite
all her stringing up and massaging, the two girls died. In the
morning Yannis ran to the town to inform the authorities while
Frangoyannou stayed behind comforting the sick, sorrowing, grieving
mother, simultaneously practicing the arts of consolation and medicine.

The justice of the peace and his deputy, the police detective,
arrived. Frangoyannou under questioning related her previous day's
excursion and how she happened to be passing by the vegetable garden.
Then she repeated almost verbatim whatever she had told the father of
the two girls. "The smaller one wanted to grab the pole from the
bigger one. Pushing her away, she threw the little one into the
water, and holding on the little one, it seems, pulled the bigger
one in too." This she explained was her own conjecture because just
as she stepped through the gate, she said, she heard a "splash!" but
was unable to prevent the disaster, just experienced "great shock."

The visiting doctor, Dr. M., arrived, examined the corpses,
and in his report, declared that the two girls drowned due to a fall

into the water.

150

No charges or suspicions were raised against Frangoyannou.
The two small bodies were removed to the St. Anthony chapel where a
priest came to say prayers over them. They were buried close by

among the gorse and bushes on the north side of the church.

The Easter holiday passed. During the week of St. Thomas,
old Hadula assisted by her youngest daughter, Krinyo, took on
waistlitlg in the open courtyard of Mr. Alexandros of Rosmai, an
old notable who had baptized almost all her children. Under the
roofed part of the yard in the oil—shed, called the ladharyo, next
to an immense wooden trough much resembling Noah's Ark, as it is
usually pictured, near the well where an enormous mulberry tree in
full blossom, criss-crossed its giant dark green branches, as if
blessing both the worthy and the unworthy; the small garden,
bordered by a picket fence, blossomed forth its multicolored,
intoxicating, flowers in a freshness sweet and delightful to the
eyes for all God's creatures; next to a small kiln with a masonry
wine—press trough, Frangoyannou had her large, deep tub beside
which was another basin for Krinyo and for two days both women
washed, bleached, rinsed, dried, collected, but still had not
completed most of their work.

On the second day, Frangoyannou became terribly annoyed by

the running, shouting, and antics of a swarm of boys and girls who had

151

slipped into the yard. Almost all the neighborhood children--ten or
fifteen the number--were running here and there, jumping, chasing

one another round and round the trough, playing hide and seek,
bending over the well-—young Narcisses watching their own reflections
in the water, though not without the danger of falling in, making
loud, inarticulate cries like Echoes, girls hiding behind the wine-
press in the dark, narrow spaces-—delighting in childish fear--all
this great childish needlessness and tediousness did not permit the
industrious old woman and her daughter to do their work in peace.

The wide court had two gates, one large, one small. Both of
them Yannou had repeatedly bolted and latched, hoping to find peace;
but soon each would be left open again, for besides the children, the
residents would often come and go, or relatives and friends would
come from outside. She protested to the elderly landlady who
repeatedly scolded the children, but without result. She complained
to two neighbors, mothers of the more rambunctious children, who
told her to "mind her own business and stop bossing others."

Toward noon, Yannou sent Krinyo home to fetch the bread
and beans being boiled by Amersa--who was always at her loom in the
house, unaccustomed to laundering or other outside employment——so they
could lunch.

Frangoyannou remained alone for the time being, continuing
to wash. At that time only two or three little girls were in the
yard, making as much noise as the group. Indeed, ever since a girl's

school had been established in the village, girls seemed to have woken

152
up a great deal. The teacher spent little time on the three "R's,"
even less on homemaking; instead she emphasized their "rights" and
discouraged "unladylike" or "demeaning" behavior, proclaiming it
was time henceforth for "emancipation."

Frangoyannou scolded them repeatedly, but they paid no
attention. One of the girls, just seven, Propandia's daughter,
Xenoula, began jeering the old woman with mimicking movements of the
hand and mouth.

Moments before, the other two girls had run out of the yard
leaving Xenoula bending over the well, attempting to stir the water
with a stick. Stretching down, she kept at it, but the stick was
too short and didn't reach it.

"Eh! my God, should you fall in, Xenoula!" said Frangoyannou
laughing strangely, "Your mother would be saved!"

"Eh, my Zod, should you fall in!" mimicked Xenoula, parodying
her voice! "Yer muzer would be zaved!"

She raised herself up a little higher and bent over again,
deeper than before.

The square mouth of the well was protected by some broad,
uneven planks with edges of various widths. The small wobbly board
with rusted nails upon which Xenoula was leaning, was lower than the
other three-~decayed, slippery, rotted-~eaten away by the rope of the
water bucket. As the child leaned full weight on that board,
balancing herself by her left arm, it suddenly slipped, gave way,
detached itself at one end, and Xenoula fell head first into the

yawning mouth of the well.

153

A muffled scream was heard, a splash, and then great lashing
about in the water.

The surface of the water was one and one-half fathoms below
the mouth of the well; the water depth at least another fathom.

Instinctively, Frangoyannou started to cry out and run to
her aid. But her scream she herself choked back in her throat and
before it escaped her body froze. A strange thought came to her.
Behold, she had scarcely, jokingly wished for the child to fall into
the well and see it happened! God (dare she think it?) answered her
prayer, and it was no longer necessary to use her hands, merely
wishing was enough and her wish would be granted.

Moments later, she decided to go to the mouth of the well,
bend over and peer down inside. She saw the agony of the little
girl, beating about in the water and realized that it was impossible
to save her even if she wanted to. But surely if the child drowns...
they will accuse her! To yell for help now was late. Late perhaps
to save the child, but probably not too late to prove her innocence.
But still she hesitated. It should have been done immediately.
Either way was bad! How the crime beset her! If only Krinyo were
here! She could surely have gone barefoot down into the water, for
the well, like most, had steps in the masonry of the interior wall.
Though terribly dangerous and slippery, Krinyo probably could have
saved the little girl. But now it was hopeless and death inevitable!

For the moment, Frangoyannou had forgotten her first idea--
that God, by granting her prayer, would have wanted the child to drown.

But then it came back to her-~and she involuntarily laughed bitterly.

154

In a flash, she decided what she must do.

"I'd best go home," she said to herself. "I'll pretend
that since Krinyo was late returning--perhaps the food wasn't ready-—
I got very hungry, and preferred to eat all together at home, to save
Krinyo the trouble of carrying it back."

Hurriedly, she placed the tub with whatever half-washed
clothes it still contained behind the wine-press in the large wooden
storeroom which she locked, put the key into her pocket, slipped out

of the yard through the small gate, latched it from outside, and was

gone.

XI

After they retrieved the body of Xenoula from the well,
drowned and dead, old Hadula lost her tranquility——cold fear began
to torment her... Though not at fault this time, she realized she
could no longer escape.

Indeed, the authorities had begun to grow suspicious. The
coincidence that the old woman was found a minor actor in the drowning
of the two Perivola girls at the ravine of Mamou where the whole
affair, though there was no element of guilt or suspicion, had some-
thing of the incredible and strange, and now this same old woman was
again in the Rosmai yard about the time Propandis' daughter, little
)Qenoula,drowned in the well was enough of a connection to arouse the

snrspicions of the justice of the peace who called it to the attention

155

of his Deputy "in charge of police investigations." Then the deputy,
whose oral arguments as a public prosecutor during the criminal
hearings were limited to: "according to the testimony of witnesses,
it seems that the defendant had or had not committed the crime," and
whose abilities or rhetoric he little improved with time, simply
responded that "since the justice of the peace says so, it must be

' Afterward, the two decided to more

so, and so it seems to me.‘
intensively interrogate Hadula, widow of Yannis Frangos, and if
necessary arrest her.

In the course of the initial inquest which took place
routinely at the scene--the justice of the peace and the policeman
had not yet formulated any firm suspicions, or at least had not com-
municated them to each other (in which case the deductions of one
usually intensifies the convictions of the other ten times over),-—
Frangoyannou, self—composed, testified to the facts already known,
without psychological interpretation: that she was doing the wash
there, and "as noon passed she got hungry, and her daughter Krinyo
had left for the house to bring lunch, but got delayed so she became
very hungry indeed—-as well as very dizzy from the crowd of boys and
girls who were raising cain with their games and misbehavior in the
yard, and round and round the olive press, and round and round the
trough and near the well; her admonishments went mocked by the unruly
children which provoked her all out of patience——all of which her
daughter Krinyo confirmed—-and by that time, very giddy and no longer

able to stand on her feet from hunger, she decided to go home and eat

156

all together, both to save Krinyo the trouble of carrying the food
back and to rest a bit and collect herself. So she left the yard, and
latched the gate. After lunch, about an hour later, returning to the
yard together with Krinyo, unaware of anything, they took up their
work again. The noise of the children had stopped by that time. When,
however, later, they needed to draw water from the well, it was then
the bucket which Krinyo was using struck something solid in the water.
Surprised and terrified, she shouted for her mother and together they
discovered the body of the little girl floating, rather submerged,
already in the water."

Krinyo was altogether sincere in confirming all of the above.
The justice of the peace listened to her testimony sympathetically.
But he frowned at the mother. And that frown-—that "scowl" by the
justice of the peace-~did not please Frangoyannou who was very percep-
tive, and great anxiety overwhelmed her.

At the Trahilaina house, her daughter's where she was a little
before sunset, Hadula kept continuous, anxious watch at the window.
She directed her gaze toward her own small house which though situated
on the same side was still visible since it projected out toward the
street two or three meters more than the few houses in—between.
Though she watched carefully, she saw nothing.

Noticing her mother's anxiety, Delharo began keeping watch
also. At sunset, trying to hide her own terror, she suddenly shouted:
"Mana! Mana!"

"What is it?"

157

"Come here to see!"

"What!"
"Two officers are standing in your yard looking at your
house..."
The old woman got up and saw what she had feared. Two
officers——just like those when Menace, more than fifteen years ago,
dragged his mother by the hair into the street and stabbed his
sister--were staked out looking intensely at the house.
Frangoyannou seeing this was now convinced that great and
imminent danger threatened her.
"I must take to the mountains, daughter!" she said suddenly.
"If time allows."
"Why, Mana?" said Delharo alarmed.
"Because... they've come to put me in prison."
"Really?... You, Mana, threw the child into the well!"
”No, God be my witness!... I didn't do that," said
Frangoyannot.
"But?..."
"Hush!"

"The sin is haunting you, Mana,"

said Delharo timidly.
"Quiet! Have you gone mad?" her mother said sternly,
detecting insinuations in her daughter's tone. 1
"What can I_say, poor thing!" Delharo said, wringing her

hands in confusion.

"Ah! don't say that! no! You mustn't say that!"

158

Terrified, she started down the stairs to flee.

"Where're you going, Mana?"

"Into the mountains, I said!... Give me some dry bread."
Delharo ran to Open the cupboard and took out a few biscuits.

I

"Give me my basket... and a small knife,‘ repeated Fran-

goyannou hurriedly... "Put a wool shawl in also... and my kerchief...
my old shoes... Give me my staff... find it!"

Patiently, silently, Delharo took care of all these preparations.

"Where will you go, Mana," she repeated sobbing. "Oh! my
heart is breaking!"

"Don't cry!... I'll hide somewhere, in some hole... Be calm,
behave! Just until God's anger passes!"

And she picked up her basket and her staff and started down
slowly, crossing herself.

Suddenly she stopped a third of the way down the stairs and
turned toward Delharo and said to her:

"You know what you can do?... I'll leave by the upper road to
avoid their dogs... You run right now to the house... pretend that you
don't see them, the police... call up to Amersa from the street: 'Amersa,
is Mana up there?'... No, don't say 'is Mana up there,' say, "Amersa:
how is Mana, is she better? did she get up?... Is she still in bed?‘

That way they'll think I'm up in the house, sick... So they won't
suspect anything and put the dogs after me! Run, quickly!"
Then she added:

"Goodbye... till we meet again!..."

159

Directly afterward, Delharo ran like a deer toward her

mother's house to carry out her mission.

Frangoyannou took the upper road toward Kotronia on the run.
To the last echo of "till we meet again" which she wished her daughter,
she involuntarily added to herself bitterly--"either I'll meet you
again here--or I'll go and meet your brother in prison-—or meet your
father in the other world... yes, of the three, that's surest!"

As she breathlessly climbed the rocky hill, "Save me, Holy
Virgin," she said to herself, "though I've sinned." Then she added
with great fervor: "I meant no evil."

Having gained a little distance near the last few scattered
houses of the village up on the rocks, just before the descent to the
seashore, she sees Kyriakos, the bailiff for the police, with his
short—tasselled fez, the "galipe," as they call it, and brown twirled
moustache, carrying his short spiralled mace around which is engraved

"Force of the Law."

He, accompanied by an old disabled veteran in
uniform, was coming from a small side road, walking toward the coast
just behind Frangoyannou and would surely soon catch up to her, or
would at least be close upon her heels.

Perhaps the appearance of Kyriakos there, together with the
veteran was only coincidence. But the guilty woman panicked when she
saw them and quickened her steps. It seemed to her they did likewise.

Then, just as she reached the coast, quite unexpectedly,

Yannou suddenly saw before her the open door of a familiar house and

160

without hesitating a moment, she hurried through the doorway. Once
inside, frightened, she threw the bolt and latch.

"Maroussa, are you upstairs?" she called in a soft, but
wheezing voice, as she climbed the stairs.

A short, rose-complexioned woman came through a bedroom
doorway, smiling but wary.

"Where in the world, Aunt Hadula?" she exclaimed.

"Don't ask, my dear... an awful thing happened," Yannou
began.

Then she asked anxiously:

"Mr. Anagnostic isn't here, is he?"

"No, he doesn't come here so early, he's at the coffee house...
Ach! Aunt Hadula, and I was just thinking about coming over to the
house to tell you the news..."

"You learned something?"

"They were talking about it just this afternoon, my master
and our coumbaros, Aimeritis, who came to smoke and chew the fat as
usual."

"What were they saying?"

”That the justice of the peace together with the police want
to arrest you... Said they'll send the village police. On account of
that little girl who drowned yesterday in the well."

"Oh, my heavens!..."

"So I thought I'd better come, tell you to hide, if possible...

lhit how is it you're here?"

161

Frangoyannou related how, after yesterday's inquest, she
understood the justice of the peace had her "in his gun sight" and
her fear of being unjustly arrested, and that at her daughter's house
where she happened to be today at sunset, she saw village police
surveilling her own house; how she decided to leave for the mountains;
how, as she was running down here to the seashore, planning to take
the hidden path of the mountain behind Kotronia, she saw Kyriakos, the
bailiff, together with an old veteran coming behind her, but that by
God's grace, she found herself near the Marousso house which she knew
well from the "miseries" of times past, and in trying to reach it saw
the door wide open and slipped inside to find refuge.

"I locked the door behind me, dear... in my confusion! It
was fated to happen, and it did."

"Maroussa dear, bless you... Won't you look secretively,
through that shutter... to see if Kyriakos is below or if he continued
on?"

Maroussa crossed to that window and looked down at the road.
Then turning she said:

"He's down there... Standing in the street with the old
veteran... They're talking with Frangoulis, one of our neighborhood
fishermen."

"Are they looking this way?"

"They're looking over toward the beach."

Frightened, the old woman raised her arms as if to pull her
hair or tear her cheeks.

Maroussa pitied her.

162

"Stay a while, Aunt Hadula... Don't be afraid... Whatever
it is, it'll pass... Sit down, I'll make you a coffee to drink."

Yannou hesitated, then sank down on a low stool by the
entrance to the kitchen where they were conversing.

The house appeared to belong to a comfortable family, and
had numerous rooms and fine furniture.

"Don't you remember my trouble, Aunt Hadula?..." Maroussa
said allusively, her face turning redder than usual... "Remember
what 'frights,' what 'torments' I had then! And bless you, how you
helped me! That's how yours will pass."

"That's why I said you understand my miseries!" Frangoyannou
repeated modestly.

' corrected Maroussa candidly.

"Those were my miseries,‘

She poured the coffee.

"My master will be here any time now... Drink your coffee.
Drink your bread also" she added, cutting another large slice.

The woman began dipping her bread and chewing without
appetite.

' she said. "It doesn't go down... I'm

"Bless you, dear,‘
too distressed!"

"My mouth is bitter."

Then she added:

"Wouldn't you like to look out the window, outside... Is

Kyriakos still down below?"

Maroussa obeyed.

163

"Still there, Aunt Hadula. They're in a big discussion
with Frangoulis."

"Now, where can I go?... What if your father comes?... The
sun has set,... it's getting dark... it'll soon be night."

Maroussa thought a minute, then said:

"I'm very obliged to you, Aunt Hadula. I'll never forget
that!"

"Do you remember?" the old woman said, smiling unintentionally.

"Could I forget?... Whatever I can do for you, I will."

"Bless you."

"I think you should hide here for the night, now, before my
master comes."

"Where?"

"Down, in the little cellar, on the sofa... remember?"

"Ah!" said Frangoyannou, as if recalling something.
"And at midnight, when the cock crows..."
"Eh?"

"Just before dawn, whatever time you think best..."

"Good!"

"If you wish, get up, and with God's blessing, wherever He
leads you."

"So be it!" said the old woman, sighing.

"Tomorrow night again, if you don't find a more hidden,
safer, refuge——come back. Throw a little stone at this window or

at the small balcony which faces the sea. I'll come down to open for

you, and hide you in the cellar again."

164

"Good!... But, look again. Did Kyriakos leave?"

Maroussa went to the other side of the partition, to the
window on the road, but delayed coming back; perhaps because it was
dark already and difficult to see outside. Returning she said:

"They haven't left... all three are there."

"Now, one thing puzzles me," Frangoyannou said questioningly.
"I don't know if Kyriakos saw me enter the house or not... If he
didn't see me and isn't going to ambush, I'd better go and take this
weight off you now."

She was sincere, nervous, and longed for the mountain air,
sensed there she would find peace, and she hoped to find security
as well.

" said Maroussa,

"Whatever happens, you shouldn't leave tonight,
growing eager to awaken her memories. "Stay in the little cellar
tonight, Aunt Hadula, and help me remember those miseries of my past.
Will they come back as dreams do in sleep?"

" the old woman answered

"That's how one recalls them, dear,
meaningfully. "Ach! Every sin has its sweetness also."

"True!... but how bitter in the end," added Maroussa sadly.

The house was double. Besides the original building it had
a small addition facing north, with a kitchen and a small cellar
underneath where household furnishings were stored. To it, through
a trap-door and a small stairway, Maroussa led her guest before the

arrival of Mr. Anagnostis, the master of the house. She brought her

bread, a slice of cold boiled beef left over from dinner, cheese,

165

water, a glass of wine, and settled her on the sofa. She spread on
it a worn woolen rug, a blanket with holes, a small sheet, gave her
a hard flax-filled pillow and wished her a goodnight and a "peaceful
sleep."

But peaceful or no, sleep for Frangoyannou was not easy or
restful in the midst of so much turmoil and upset. Nevertheless the
environment made her for the moment almost forget the present with
its dreadful situation, and recall the past. That which Yannou had
humbly called "her miseries," but which Maroussa had honestly
recognized as her own, "miseries" and "torments" had taken place
eight or ten years ago.

Mr. Anagnostis Benidis, childless, had taken Maroussa in as
an adOpted daughter, and had raised her as strictly as his wife who
had died fifteen years earlier would have. In his time, Mr. Benidis
was the most important personage in the community. He served as
municipal elder before the Revolution; deputy in the first Assemblies
of Troezen, Pronias, Argos, etc.; mayor before the Constitution. After
the Constitution, he was sent as an emissary to numerous places. He
acquired Maroussa in her infancy, a little Jewess (according to others,
a little Turkess), and baptized her.

Then, when he retired some years ago and returned to his
community, he married her off to one of his nephews and gave her as
dowry the small addition to his house-~in the basement of which now
was Frangoyannou—-sizeable arable land, and a little cash, promising
that she would inherit the main house and the other appurtenances

found after his death.

166

The son—in—law, after fathering a child, was continually
away. He travelled as a boatswain on the ships. He was a famous
sailor, but thriftless and irresponsible. It was now three years
since he had been back. In the meantime, the aged Mr. Anagnostis
had become a widower and the adopted daughter, during the absence of
her husband, continuously served her foster father in the house, as
she was used to from a child. Her husband wrote letters from time
to time, promising to return, but he never arrived. Maroussa's
daughter was already four years old, and thus the father had never
seen his child, nor the child her father.

During this period, together with increased commerce and
communication, morals began to relax even in the small, distant
villages. Visitors coming from all parts of Greece, "cosmopolitans"--
either civil servants of the government or merchants--brought new and
liberal ideas on all matters. Prudery and propriety they called
idiotic; chastity and sobriety, silly. Vice and sex they considered
"natural." Hapless Maroussa, not native to the area, and who from
the beginning was neither strict nor puritanical, had a small dose of
wantoness as well.

Residing on the island at this time was a clerk of the
court--single, dressing in the fustanella. A secretary of the
Harbor Authority--wearing knickers, an officer at command N., old
bachelor; a corporal-~well—dressed with slim waist and handlebar
moustache; a customs officer making triple his salary through two
or three agents of foreign business concerns and other resident

aliens. These men were continually in the company of two or three

167

elegant young businessmen with many ready phrases "a la Grec" on
their tongues, and many a "compliment." Many women of the town,
even intelligent women, often came in contact with these men through
their inevitable and endless shopping--chores from which women are
never free.

From the myriad snares thrown in her path, from the siege
which these aforementioned enterprisers waged round her walls,
Maroussa was unable to escape; and soon, in the absence of her
husband, she found herself pregnant. Two months passed before she
realized her condition. But prior to her own discovery, all the
neighborhood knew, as usual-—even perhaps before it happened. Only
Mr. Anagnostis remained ignorant of the fact. "His house was burning

but he couldn't see the smoke,"

a neighbor, sly Kokkitsa, put it.
Vicious rumor circulated without the slightest evidence, as

usual, that Mr. Anagnostis had applied the old method of David, and

that through young breath and warm blood he was searching for "rejuvena-

tion."

But the said Kokkitsa and two or three other neighborhood women,
gosssiping among themselves derisively, contended that "many took part
in making the child": that the head must be the clerk's who wore the
foustanella and the enormous, long-tasseled fez; the waist by all means
was the amorous corporal's; one foot by the old goat in knickers;

one hand (a very long one!) by the customs officer; and the other

hand (with a greasy palm) by the haberdasher with the ready Grecisms.

First, it was the aforementioned Kokkitsa whom Maroussa

surreptitiously sent for (note that though seemingly naive, Maroussa

168

sensed that Kokkitsa had suspected her for some time which necessitated
pretension of esteem and confidence; hOping that flattery might persuade
her and gifts might hold her tongue). Maroussa fell on her neck

pleading for compassion: "Sister, I'm in God's hands and yours." Did
she know some medicinal formula which would abort the baby? God
afterwards would be merciful! Otherwise, how could she go on living?--
she would surely throw herself into the sea, which was close by, just
below the house. Kokkitsa calmed her with reassuring words, and began
applying on her various unguents and plasters, which brought absolutely
no results.

Second, the poor widow'Stamato was called in and Kondylo, her
sister, who both spoke in Albanian dialect and were from an island off
the Saronic Gulf. These women massaged the body of the unfortunate
woman. Maroussa recompensed all three with whatever she could purloin
from Mr. Anagnostis' household budget and they prolonged the applica-
tions and drew out the massages, though always without result.

At dusk, the three women would gather to gossip in the court-
yard of Madame Thomai some houses away, and be joined by old Heyono
and Aunt Kyranno, all immigrants from Macedonia after 1821. Every
evening the first three came with reports for Madame Thomai and the
two others, and all together they would laugh hysterically.

Indeed, the broken Greek of Stamato describing the situation

'emz...

of the pregnant girl ("Short she is; and her legs, short she has
she won't never throw it, betcha!...") elicited their laughter. And

to the report of Stamato, old Kyranno added her commentary in

Macedonian dialect.

169

"Them are dirty bitches, pros'tutes!... Now doin' th't in
the village! Why ain't but soon be the talk of the flea market."

Last, Frangoyannou was chosen to take part who was wiser
and more experienced than all of them. Maroussa had begun to grow
desperate with the three charlatans and turned to Yannou as a last
hope. Indeed, old Hadula's remedies, unguents, hot and cold drinks
which she gave to the patient, the massage, which she administered
with greater skill than the others, brought about the abortion within
a few days. Mr. Anagnostis never learned of it.

This was the old service, and this the gratitude which today
both had alluded to. These were the "miseries" of Frangoyannou and
the "torments" of Maroussa.

As Frangoyannou lay there on the sofe in the darkness--for
her host had only furnished a small candle and a few matchsticks
instead of an oil lamp--her mind filled with these memories. As she
imagined it all again she found it impossible to sleep. Examining
her conscience, she realized one thing, that whatever she had done
then or now had been with good intention. As she lay curled up on
her right side under the woolen cover, head bent on her chest, she
tried to grow weary and sleep. Then, after so many years, she recalled
a short prayer which an old priest had once long ago enjoined upon her;
the "Lord Jesus Christ, Son of God, have mercy on me."

The frequent repetition of the prayer took effect and Hadula
grew drowsy and after a while fell asleep. Shortly thereafter, in
her sleep or in her wakefulness (she was not sure) she thought she

heard in the depths of her soul, the voice of an infant, crying like

170

the plaint of a threnody. It resembled the voice of her little
grandchild which a few months ago by her own hands... ended.

The old woman woke up terror-stricken, shuddering all over.
She got up feeling great heartbreak, but at the same time more
physically rested. That short sleep had washed away from her the
nervousness and anxiety. She groped, found the matches, and lit the
candle, took her staff, her basket, put her shoes inside it, and in

un-shod, stocking feet, she started to leave.

XII

Maroussa had given her the key to the small cellar, told
her to leave by the door toward the street, lock it from outside and
take the key with her in case it became necessary to return the
following night if she desired. As for herself, if need arose she
could get into the cellar through the interior stairway and door of
the partitioned wall, the same way she had conducted her guest.

Indeed, Frangoyannou there in the small, narrow cellar felt
suffocated and the damp air oppressed her. It was time now to breathe
mountain air before her pursuers closed her, perhaps for life, in the
humid, sunless cellars of human justice.

She stepped out with the plaint of the innocent baby, of
the wronged little daughter still murmuring deep within her soul.
Standing in the void of the doorway, she looked carefully up and down
the street. It was deserted, she saw neither soul nor shadow. She

gave wings to her feet.

171

It was not the first time she heard, inside her soul, where
there was dark cavernous echo, that funereal lament of the child.
Believing to flee the danger and the calamity; the calamity and
wound she carried with her. Imagining flight from cellar and prison;
prison and hell were inside her.

It was two in the morning, a moonless, starlit night. The
beginning of May, second week after a late Easter. Perfumes swirled
about the countryside; breeze scented the air. A few wakeful birds
warbled in tree tops. Frangoyannou took the path she knew so well,
narrow and winding, behind the gardens and below the rocks. Barely
visible in the starlight, the path was covered in places by vines of
boxthorn and bushes hanging down from garden fences. Like a young
mountain shepherdess the agile old woman stepped lightly upon the
grasses, chamomile and thorns as she climbed the slope.

To her right the long row of garden enclosures trailed off;
on her left still lay the small, rocky hill, Kotronia, with its three
picturesque peaks one after another surrounded by windmills, and small
white cottages and little houses, creeping around them. She now
attained the place where vineyards began, fields with orchards, and
further along the incline were olive groves, or fields of tall grasses
swaying in the night air. Here the way grew sharp and steep. Fran-
goyannou, slightly out of breath, ran and ran, her face lashed by the
offshore wind, a crosswind, the beloved morning-child of Boreas.

She hurried as fast as possible to reach the places she knew

best before daybreak. There were, along the north coast of the island,

172

many robber dens, inaccessible places, caves and rocks, where wild
herbs, caper and saltwort flourished; places where existing paths were
ravaged daily by flocks of sheep and goat. There she would find
refuge--in the very same places of childhood memory. Along the north
shores, near the rough blue open sea, in the old Castro built on
gigantic sea-dashed rocks--for there Hadula was born and there she
spent young girlhood until the age of ten.

And it was there, after things had quieted down and the new
village had been built on the harbor of the island's south side, where
her mother—-the sorceress, the fugitive who was often chased by robber
bands and pirates—-frequently took her back to see. She had shown her
all the thieves' hideaways, the inaccessible rocks and caverns, and
for each had recounted a true or imaginary story. It was in those
places, when they "married her off," blessed her with "last rites"
(her mother's customary phrase) that she was also given dowry--the
house in abandoned Castro and the field in Bostani, on the inaccessible
cliff. Later, when she became mistress of her own house, and had
learned much and acquired experience in the ways of womanhood, she
often returned there and accustomed herself to searching the mountains
and scrub country for simples, clover and serpent herb.

Well, there she now hOped to arrive safely, if it was God's
will, but, oh, the terrible circumstances! And what would be her fate

afterward? God only knew.

173

On the way, at the point where the road suddenly inclines,
as she was passing outside an enclosed orchard, fenced partly by
thick brush and tall bush, partly by a wall, inside of which were many
kinds of fruit tress, Frangoyannou by chance stumbled, making a little
noise and letting an audible sigh escape, she tumbled lightly into a
thicket.

Instantly loud barking went up very near her, but on the
other side of the fence. Gathering herself up, with faster steps, she
quickly continued down the road.

"Who could it he?..." she said to herself.

Then someone in a rough, sleepy but determined voice shouted...

"Eh! Get out of the garden! Get out... Get out!"

She recognized the voice of Tambouras, the vineyard guard.
Then she understood and realized what happened. The garden, outside
which she had fallen, belonged to the then Mayor. Inside, near other
trees, were some cherry trees with fruit already ripe, glistening
blackish in the starlight, among the black—green leaves. Tambouras,
with little else to guard-—for fruits were yet unripe and the
gathering had not begun——slept on the mayor's property in a small
shed with his dog, protecting the cherries against thefts by the
magistrate's subjects.

While the dog continued barking, she fled, at the same time
"cupping" her ear, for she imagined footsteps behind her. But she was
Inistaken. Perhaps it was just the echoing thump of her own footsteps.
(Dnly half asleep, the guard as if sleepwalking, had only shouted

Illechanically, as was his habit. Straightaway he went back to sleep.

174

Hadula disappeared at the top of the hill behind the trees.
There she stood a moment, cupping her ear. Nothing could be heard
except the warbling of a bird, buzzings of a nocturnal insect and the
whistling of the wind. Then she remembered the cherries, which she
had seen faintly glistening from a low branch hanging a little over
the mayor's garden fence, near where she had tripped.

"Ach! and I didn't pick one cherry to cool my parched
mouth. I forgot to drink a little water before I left... May I
arrive at the spring, at least!"

Only then did Yannou remember that she had had no water
since before leaving the cellar, where she had passed few but very
long worrisome hours. Hadula mused bitterly that everything, even
the smallest thing, came to her backwards and upside down in this
world. Had she planned on stealing a few cherries from the mayor's
orchard, she would have stepped carefully, approached cautiously and
probably not have woken the guard nor roused the dog. But inattentive
and careless as to where she was going, she stumbled, making noise
enough to awake both dog and man. It always happened to her this
way!

Meanwhile, her thirst became aggravated by the uphill climb.

She cut some olive leaves and she put them in her mouth.

She walked on for another hour. It was already dawn.
Reaching the crest of the hill, she descended again to the stream, to

the foot of the mountain with its many clefts and fissures, called

175

Thieves' Dens. Who knows what robbers of old, lying in wait, kept
vigilant guard there, whence its name. She came to the small spring,
at the base of the mountain. It was already light. She drank some
water, refreshed herself and left immediately. Yannou wishes to
remain unseen if possible and in that place many people, shepherds,
villagers and others often frequented. Descending further, she came
to the deepest part of the stream which leads out to the sea, a place
called Lehouni.

She arrived there just before sunrise. There were two or
three watermills, rather old and useless, though one still worked,
but that rarely. Everything Spoke of desertion, there was no trace
of anyone. Frangoyannou, exceedingly cautious, did not wish to
approach. Shunning that place, she passed behind a copse and came
upon a deep pool of limpid water, known but to few. It was a secret,
inaccessible place. Grotto—like, it was surrounded by greenery, tree
trunks and ivy. A nymph's grotto, where perhaps in ancient times
Dryad or Naiad found refuge.

To descend into this small depression in the earth for the
pool, one would have to have the luck of being chased and the feet of
Frangoyannou, bare feet, torn and bleeding from spines and thorns.
Inside she settled herself to rest. Having had no food Since that
coffee in the kitchen, Yannou took bread and cheese out of her basket
and a small piece of meat Maroussa had given her, saving only the
biscuits taken from the house of her daughter, Delharo. She ate, drank

cool water and revived a little.

176

At that moment, the sun came up. The disc emerged out of
the waves opposite, out of the distant ocean and from her shelter
Hadula could see a long strand. Birds of the echoing rocky mountain
crags, circling high above her, shrieked long caws, while in the
valley's groves and small woods birds sang joyous melodies.

One warm ray, coming from afar, from the flaming sea,
penetrated the thick foliage and ivy covering of the tormented
woman's refuge, causing the morning dew, the drenching of rich
emerald peplum, to glisten like lots of pearls, and all shiver of
dampness andall the cold of livid fear fled, bringing, for the time
being, hope and encouragement.

Yannou drew a multi-folded woolen blanket from her basket,
unfolded it, wrapped herself up in it and leaned her head against the

root of an old platane tree. She fell asleep.

It came to her sleep that she was still young, that her
father and mother marry her off, as indeed they had, and had given
her the "last rites" at that time, bestowing the dowry-—the paternal
garden, where she cultivated and watered the beans and cabbages as a
child; and with a kiss, her father rewarded her for her labors, giving
"four cabbage heads." Hadula joyfully took the four plants, but when
she looked at them, she saw, oh horrors! that they were four small
lifeless heads...

She shook, shuddered, said "Lord, Jesus Christ!..." Again

she fell asleep. She dreamed that her mother caught her in the act,

177

searching to find the money sack, down in the cellar, among the
barrels, and the jars and the stacks of firewood; upon seeing her,
she smiled bitterly, her usual smile, and as if to save Hadula the
trouble, she retrieves the money sack herself, takes and gives her
from the many coins, three German coins, three crowns of those with
the picture of the Virgin, and "Patrona Bavariaz" engraved upon them.
Frangoyannou, with a joy mixed with shame, takes the three coins from
her mother's hands, examines them, and sees that the faces of the
three coins are small faces, small, livid, with obliterated little
eyes... Oh! Horrors! small faces of little girls!

She awoke terrified, wretched, frantic. It was already mid—
day. The sun blazed high above her head over the top of the cool
platane tree. But in spite of its warmth and the cheerfulness of the
May day, the impression of the dream remained in her mind for a long
time. It seemed especially strange how, during the day, she saw that
dream for She never remembered having dreamt during the day.

She soaked two biscuits in the pool, set them on a flat stone
by the edge of the pit and left them for a long while until they
softened. After a time, she scooped up a handful of crumbs and ate
them.

When the sun hid behind the rocky mountain top and filled
the valley with shadow as evening approached, Frangoyannou grew
anxious and poked her head out of the hiding place. She peered high
and low through the dense valley of olive trees, but not a soul was

visible. Then she considered taking basket and staff, leaving her

178

small shell to climb up the tree-lined copse, continue slowly along
the ravine, and begin again her old art of searching for herbs. Who
would be served she had no idea since there was no other refuge in
the world for her except prison, only prison.

She nourished the vague hope, nevertheless, that she would
find lodging in some sheepfold or shepherd's cabin, and offer the wife
of her host some herbs in exchange for hospitality. But mostly, the
labor itself would help relieve the heavy weariness which oppressed
her soul.

At that moment, she heard the far off tinkling of bells, and
looking up saw a flock descending in the distance. She realized that
if she did not leave the gully immediately, her hiding place would
by all means be discovered. Because, if the sheep and goats were to
scatter for water at the broad stream, which flowed to the reservoir
and mill below, some would certainly come down to the small ravine
neighboring the pool. Then the animals would frighten suddenly,
would run and caper about, and the shepherd, whoever he be, would
discover her, be astonished, and in his surprise would perhaps become
suspicious.

It would be better to go out and face him with feints and
ready lies on the lips. Besides, a villager here in the fields
would most probably not have had news from the town for several
days, nor any knowledge of the chase from which Frangoyannou was

suffering.

179

XIII

Indeed, shortly after Yannou left her hiding place and moved
along the stream, bending here and there for herbs, the flock of
sheep with goats moved in close by and the shepherd appeared. Yannou
recognized him immediately. It was Yannis Lyringos.

Noticing the old woman, he began calling from afar:

"And where in the world, Aunt Garoufalia?" (Lyringos
recognized the face, but apparently did not remember the name.)

"Good thing I found you!... God sent you!"

What's he want? said Frangoyannou to herself. Something's
on his mind. Surely the man hasn't heard of my troubles.

"You know something, Aunt Garoufalia?" he repeated, coming
closer.

"What can I know, my friend?" Frangoyannou said hypocriti-
cally, avoiding any correction of her name. "I've been out of the
village since yesterday. Came to collect herbs by the streams."

"Listen, Aunt Garoufalia," he repeated ingenuously, "Last
night we had a birth in our shack."

"Gave birth?"

"We had a swaddling!... Our third girl in five years..

all girls, unfortunately!"

I"

"Congratulations. said the old woman. "May the forty days

pass well for the family.

 

 

 

 

 

 

 

180

"But the child came sick into the world, nothing but crying
and doesn't take the breast. And the mother's not well either, poor
woman... all fevers and weak, unfortunately!"

"Really?"

"Come by the shack if you would, and fix us a remedy, Aunt
Garoufalia... My mother—in-law, you see, doesn't know what's to be
done."

"But it's almost dark,..." said Frangoyannou hypocritically.

But to herself she said, "Heavens, here's my chance! Oh, my
God!"

"Let it get dark... If you like, sleep in the cabin."

Frangoyannou stood a moment as if hesitating. But she was
ready to agree.

At that moment, as the last ray of the sun gilded the summit
of the eastern hill, irradiating the thick foliage of the olive trees,
two men could be seen running down a trail between two olive groves.

Frangoyannou saw them first and shuddered. The sun
glistening on the leaves, reflected off the tarnished buttons of
their uniforms. They were village police.

So Frangoyannou immediately turned her back on Yannis
Lyringos and ran toward the base of the rocky mountain, due west.

The shepherd called after her, stupefied:

"Where are you going, Aunt Garoufalia?"

"Quiet! my child, for the love of God!" whispered the
terrified woman. "The police are coming!... Don't tell them you

saw me!"

181

"Police?"
"Don't give me away, my child, or I'm lost! Be calm!... If
I escape now, I'll come tonight to your cabin..."

Pulling off her tattered Shoes which She had just put on
again at the water hole, and flinging them into the basket on her left
elbow, staff in her right hand, she began to climb, stepping lightly,
barefoot, up the steep cliff which only the goats among the sheep of
Lyringos could have climbed.

Seconds later, several meters up, she hid behind the first
protruding rock and disappeared from sight.

Directly afterwards the two policemen, who to get to the
shepherd had been forced to descend through thick brush and cross
the ravine, giving Frangoyannou her chance to escape--came up to
Lyringos. The shepherd meanwhile strove among his sheep crying "Tivi!
Tivi!... oi!oi!" He was attempting to gather his flock and drive it
toward the hill, the southern ridge, where his sheepfold lay.

The two men greeted Lyringos. Then they asked him if he
had seen "that bad woman, what's her name, Frangoyannou."

Lyringos said no.

One of the policemen swore at the shepherd.
l'You're lying! I saw her!..."

Lyringos insisted he must have seen a shadow, the "illusion"
or the "apparition" (such he was telling them) of the old woman

climbing cat-like to the top of the cliff. The other who had not

seen her confirmed nothing.

182

The first with his tsarouchs tried climbing up on the rock.
But tumbled after three steps, he fell Slightly injuring his knee.

Frangoyannou had climbed Kouroupi-—northern, rocky, inac-
cessible, the sea dashing and beating about its feet, its view
stretching toward the coast of Macedonia, Chalcidice, and magnificent
Athos.

The hunted woman came to the spot called Kohele, a place
seldom trod by the human foot. Only for a stray "perching" shegoat,
might a herdsman dare scale this precipitous cliff. Frangoyannou
discovered a small cave, the principal cavern of Kohele, with a view
of the open sea and was able to stay comfortably in its shell. She
was reasonably sure her pursuers would not come there. If by chance
one of them was "palikar" enough to decide and manage to mount the
rock, she had a retreat ready. She knew another path inside the rocky
mountain's twin peaks which cuts the massif in two and is only known
by goatherders of that region, for it leads directly to their folds
and cabins.

She settled herself in the rock's shell and below her feet
came the roar and music of the waves and above her head she heard the
shrill cries of eagles and cawing hawks. As the night took on propor-
tion, stars illuminated the firmament, and the perfumed air, like
balm, was able to soothe the suffering woman's "miseries." Though
only three man heights above the waves, the cavernous shell was made
of rock so sheer no mortal could mount or descend there. It was only
suitable for throwing oneself into the sea, if one decided thus to

drown.

183

The old woman took the few biscuits remaining in her basket,
some olives and cheese and ate. Fortunately, her flask was full of
water because in the afternoon she had filled it before leaving the
water hole.

Closing her eyes, she began to lullaby herself, humming a
dirge-like song, but sleep eluded her. Fears and hallucinations came
and besieged her again. She heard the infant whimperings often, deep
in her being. In vain she tried to assuage those mysterious sobs with
a song, sad and dreamy:

Oh! Mother mine, I must depart,

For the Shadowy Kingdom of Fate to embark,
From the distant portal, my destiny espy,
And to the Fates my question cry...

It occurred to her that perhaps the "regulars" were even
searching at night. What if they should climb up to the sheepfolds
and remain there for the night?... Would not the shepherds have fresh
goat cheese—~myzithra—-milk and cheesedrums, even chickens ready to
slaughter and roast on improvised wood spits? What if one of the
shepherds by chance were to talk of and point out the interior trail
to them, would not her retreat then be cut off? And it was infinitely
more difficult to climb down than climb up, unless she grew wings to
flee...

She was terribly curious to learn what the "regulars" told
Lyringos and what he said to them. She knew his cabin lay on a ridge
behind the mountain about twenty minutes away. By now, surely he

would know why they were chasing and trying to arrest her. How could

she appear at the cabin? Chances were he did not sleep at the cabin,

184

but in the pen with his flock somewhere not very distant. In that
case the two women were alone, the mother in childbed and her mother.
She might surprise them. Should she risk it or not?

The old woman grew drowsy but without falling completely
asleep, she had a dream. She imagined She was elsewhere, in another
place. Near St. John the Hidden, healer of secret torments, that
Saint who listens to the confessions of hidden sins; there she
suddenly found herself. She saw the garden of Perivola, with its
sick woman closed inside the cabin. She saw the gate of the fenced
garden, the well, the cistern, the winch. She heard a distinct
clamor coming from the cistern, deep, very deep and singular. The
waters of the cistern began to swirl like the gushings of a tempest,
uttering almost human cries. Emanating from the gurgling water she
distinctly heard the words: "Murderess!... Murderess!..."

Startled, trembling, she awoke and formulated to herself
in her feverish delirium, a bizarre question: "Could the blood shed,
be the crying blood of the drowned one?"

Coming immediately to herself, she tried again to utter the

" At the same instant

soothing words of the prayer: "Lord Jesus...
she recollected the forgotten words of a hymn which she had heard
many times as a child, chanted by an old priest: "Jesus, Sweetest
Christ,... Jesus forbearing!"

Sleep came soon again, deep and lengthy. Now she dreamt, as

it were that she was living her whole life over. And, curiously, she

saw the continuation of the dream of the previous day. Now she is

Elma:

 

 

 

 

185

married and had received her dowry, but that she gives birth to all
three daughters simultaneously, Delharo, Amersa and Krinyo, small,
almost identical, as if they were triplets. That all three, holding
hands, stand before her seeking caresses, kisses, and gifts. Suddenly,
their faces alter, no longer resemble her own three daughters, but

the three drowned girls who suddenly, like a string of beads, hang

about her neck.

"Me, I'm Matoula," said the one.-- "And I Lil' Milsouda,"
liSped the other.-— "An' I'm Xenoula," said the third. "Kiss us!--
Take us!-— Your own little girls!-- You gave us birth, you gave us

life!-- You gave us birth... in the other world," added Xenoula
sarcastically. "Dance with uS!—- Give us sweets! Lullaby us! Sing
to us!-- Take pride in us!"

Oh! how real it all seemed to her! Those three small
daughters were her own offspring! A living, human necklace!...

Dead, waterlogged, froth covered!... How was old Hadula to carry
those freakish beads about her neck forever!

She woke up confused, quivering; got up, took her staff, her
basket and decided to leave from there. Evil Spirits lived in the
hollow rock, in the roarings of the desolate seashore. The place was
haunted. "I'm getting out of here!"

Then other more sober thoughts came to her. If by chance the
two policemen had discovered the secret path, it would be better to
run toward the danger, and if she saw them coming, perhaps find escape

behind the rocks. Surrounded by the dead end of Kohele would be worse.

186

She ran the uphill trail by the light of the stars,between
the rocks and half-an-hour later, out of breath, arrived at Lyringos'
cabin. She stood a moment catching her breath, then knocked on the
door.

She was sure of one thing, that the two "regulars" would be
anywhere but in this cabin where there was a woman in childbed,
accompanied by her mother. If they had stayed the night in the
mountains, they would be in one of the sheepfolds.

The old woman, Lyringos' mother-in-law, who had not slept
(as Frangoyannou had not slept some days ago keeping her own daughter
in childbed company) got up and asked:

"Who is it?"

"Yannis sent me," Hadula replied through the locked door
without revealing her name, "to doctor the mother in childbed."

"Such an hour?"

"Couldn't make it earlier."

"Where'd you find him?"

"Down at Lehouni, by the stream."

The old woman drew the bolt and Opened the door.

"They know nothing," Frangoyannou thought to herself, with
them "I'm still O.K."

Once inside, She took charge like the mistress of the house.
In the light of the oil lamp flickering before an old icon—-a tryptich
bearing the figure of Christ in the center, diverse saints on the other
two panels--she went straight to the hearth near the low mattress on

the floor with the mother in childbed, stocked the fire which she saw

187

was almost out. Taking wood and kindling from the corner, she threw
some into the fireplace, blew and rekindled the flames. She filled
the small bgiki which was on the hearth with water; searched in her
basket for two or three small herb twigs; drOpped them into the water
and set the pot on the fire.

Then, nodding toward the woman in childbed, She said to the
old woman in a low voice:

"Don't wake her up... Later, when she wakes up, give her
this to drink.”

The woman nodded her reply. Frangoyannou continued to stoke
the fire. Perplexed, the old woman wanted to ask her again about
being so early, but did not dare. Her daughter had suffered after
childbirth and the mother feared, lest she awaken suddenly and be dis-
comfitted.

The daughter, a poor little thing two days old, having also
come into this world of sin and suffering, was asleep in its crib,
but its breathing was labored and audible in the silence. From time
to time, when it began breathing easier and seemed on the point of
waking or crying, the grandmother rocked the cradle, repeating "sss,

"sleep" or be "still," the repetition of

353, 553," first syllable of
which, I say, appeared to exercise a strange and mysterious suggestion.
Time passed. The cock had crowed twice already. The

Pleiades had long since crossed the middle of the sky. From the
crest of the Opposite peak around which lay the cabins of other shepherd

families, distant cock crowings came to which the roosters in the

Lyringos COOpS immediately answered.

188

The woman in childbed woke up. She took the medicinal drink
from her mother which Frangoyannou had prepared.

"You'll be all right, my dear,' said Frangoyannou softly.
"How is it you're here?" said the mother in childbed.
She looked surprised and puzzled, trying to recognize the
face.

"God sent me,’ said Yannou persuasively.

" the old woman declared at last.

"I'm glad you're here,
Indeed, though at first finding it peculiar, She recognized

and acknowledged that the presence of Yannou was comforting in their

solitude.

XIV

At the first glimmerings of sunrise, the infant awoke and
began crying. Frangoyannou took charge again. She counselled the
mother to put the child to breast, to encourage the flow of milk.
Just then a noise was heard outside followed by a voice:

"Old woman!... Old woman!... are you sleeping?"

It was Lyringos calling his mother—in—law.

Recognizing the voice, the old woman got up and hurried to
the door.

"Come give me a hand," shouted Lyringos. "My helper's gone
and I'm all alone."

Yannis, it seems, didn't think to ask about how the woman in

childbed, his wife, and the child were. He felt only pressing need and

189

called his mother-in—law to help him with the morning shepherding
chores, that is perhaps opening the pens, milking, etc.

"Can't do it alone, unfortunately!... Need four hands!"
he added apologetically.

The old woman left hurriedly. Frangoyannou remained alone
with the mother in childbed and the infant.

The young woman had dozed off again withoug really realizing
her mother had gone. When she woke up a few minutes later she said:

"Where'd mother go, by the way?"

Frangoyannou did not answer, thinking it better for the
mother in childbed to sleep, having learned that replying to persons
in fevers or delirium as with sleepwalkers is harmful. The mother
in childbed fell asleep again immediately.

The daughter began crying again in a continuous soft whine.
Forgetting the remorse she had so painfully felt under the black wings
of her dreams, Frangoyannou, gripped again by harsh reality, began
thinking to herself...

"Ach! poor Lyringos, he's right... 'All girls, unfortunately,
nothing but girls!' What a relief it would be for him now and his
hapless wife, if the All Powerful were to take it now!... too small
to leave great sorrow behind!"

At that moment she remembered Lyringos had other Older
girls, and wondered where they could be. Then she recalled having
passed a smaller cabin on the way in, just outside the door, one
built low to the ground next to this cabin and attached to it. It

was the small but of the old woman, mother—in-law of Lyringos, and

190

she had heard heavy breathing and snoring coming from inside. That
must be where Lyringos' other daughters slept together with their
young unmarried aunt.

As in the frenzy and bewilderment of a dream, she extended
her hand toward the crib where the infant was crying... Her fingers
took on the shape of talons ready to seize and strangle... She felt
at that moment a wild desire to choke it... Then it occurred to her
that the child had not been baptized and if she choked it it would be
a double sin... The thought restrained her for a moment, but she
decided to overcome that obstacle... Her hand moved to within one
finger of the little creature's neck.

At that moment a voice was heard, steps, creaking outside
on the hiyati. The door which the old woman, mother-in-law of
Lyringos, had left unbolted had only pulled shut, suddenly opened
wide--pushed in from the outside.

"Is this," asked a man at the entrance, "the house of
Lyringos the Shepherd?"

It was a policeman with his shirt half-buttoned, ruffled upon
his chest, with cap askew, with moustache twirled and with a cape
slung over his left shoulder.

Inside the cabin, the oil lamp flickered before the icons.
The fire was covered over again by ash. The lantern hanging from
the mantle was out. It was dark. Outside, it had dawned and two
seconds later the sun would have risen.

The man could see nothing inside but vague shadows. The

mother in childbed on her mattress as a black mass on the floor, the

191

infant fidgeting and stirring in its wash-trough crib... and Fran—
goyannou seated as a phantom with her arm extended toward the crib.

Frangoyannou froze with her arm outstretched, horror-stricken,
terrified, shocked. Coming instantly to herself, she realized the
terrible danger.

Just behind her was a small window facing north, rotted,
warped and poorly closed. As if propelled by an explosion, she
turned,mechanically opened the window and jumped out. She fell upon
straw and hay which muffled the impact of her fall and was not heard.
The window itself was only a half meter off the ground.

Only she had forgotten to take along her staff and basket
which had been beside her on the floor. Small wonder in all the
confusion. As she started off, she wondered if there was some way
to go back and retrieve them without being seen by her pursuers.

But she kept running, running... entered a forest whose
numerous paths were familiar to her. She never turned to look back...
The two "regulars" would probably lose time figuring out what had
happened before renewing their hunt.

Indeed, the two men in the public service did not realize at
first what had happened. The justice of the peace had sent them back
"full speed" in common agreement with the police sergeant who, when-
ever he expressed himself, this inspired minister of the law, always
said "yes" to whatever the sergeant said who never said "no." They
sent them to enter the John Lyringos' farmhouse with a summons for
him to appear before the authorities, and, if necessary, bring him in

by force. From whatever the two policemen had related in the village

192

the previous evening, the so-called luminaries deduced that Mr.
Lyringos was implicated in the matter of the escape Of the Hadula
woman, widow of John Frangos, Christian, and household domestic,
whom the two soldiers said they saw climb up the cliff of the rocky
mountain.

Immediately before sunrise, therefore, having Slept for two
or three hours fully dressed in the basement of the town hall with
cockroaches, centipedes and lizards (the Kazarma served to terrify
juveniles--all in the name of public service), the two policemen got
up to a blast of the sergeant's whistle, took their capes and set out
on the road for the mountain.

Their mission was to bring in Lyringos-—(and any and all
shepherds for interrogation, the justice of the peace took care to
add, whose story was peculiar)--but above all to scent out Frangoyannou
and succeed in finding her. For this they had full powers to search
sheepfolds and pens and interrogate all herdsmen on the mountains.
Thus, for every eventuality they took their capes with them.

When the first Officer pushed in the door of the cabin, he
saw darkness and shadow inside, heard the creaking of the north
window opening, as rays of light began peentrating the room but were
suddenly obstructed by a black mass--curved, uncommunicative, shape—
1ess—-and heard the faint thump of its fall. Then in the double
stream of light now crisscrossing through the door and the open window,
he could distinctly see the woman in childbed lying on her cot.

"What's going on here?" shouted the man, surprised.

193

The mother in childbed woke up and said in a weak voice:

"Mana, is that you?... You came?"

When Frangoyannou arrived breathless and panting high up on
the elevated plateau of Kambia, she stopped, turned toward the downward
Slope from which she had come and looked for the Shadow or hare-like
tread of the police. Nothing appeared, but She did not feel safe.

As if lost in thought she stood reflecting. She was making
a mathematical calculation, figuring the longest to the shortest time
it would take the two "regulars" (she hadn't seen the second but
guessed there were two) to understand what happened, perhaps ask some
questions (the mother in childbed would be unnecessarily frightened,
but know nothing to tell them; so they would probably run to the
sheepfold where Lyringos and his mother-in-law were; but so much the
more it would delay them), then they would throw down their capes and
pick up the scent to hunt her.

But by chance had they actually seen, or guessed, or even
known the path she had taken? Had she stuck to only one trail the
whole time? In the beginning she turned right as if wishing to descend,
then she turned left, and ran up the hill-—despite the disadvantage of
being pursued uphill. But if she found the climb exhausting, young as
they were, would they not also eXperience the same difficulty? Quite

by chance, Hadula knew that one of two young men suffered from asthma...

194

It was not very long ago that he had approached her son-in-law to
ask the old woman to make a remedy for the illness.

But in spite of the favor, Yannou knew better than to expect
compassion from the policeman. The man was doing his duty. Any-
thing she might have done would not help if She fell into their
hands, or if they wanted to call her "cursed woman!!" She had
observed before, during the adventures and troubles which she endured
with her son, Menace, that these kind of people grow vindictive when
their prey resists or acts insolent, especially if it becomes necessary
to chase them until their tongues hang out... Oh! of course, becoming
hardened like wild beasts is justified. By fleeing, obliging them to
run, Frangoyannou did not expect their pity.

There where she was standing lost in thought, she hears foot-
steps behind her, coming from the opposite direction. Turning, she
sees a man, a shepherd. She recognized him. It was Kambanakhmakis.
He was shuffling along obliquely, followed by his dog which started
growling at seeing the woman. But his master scolded him.

Noticing Frangoyannou, he stopped. He had come from his
cabin and was on the way to his sheepfold. Tall, dark, gaunt; broad-
chested; hair and beard the color of singed straw; a curved staff
equal to his height in hand, he stopped in front of Frangoyannou. The
man seemed to be in great distress and anguish.

"Ah! Whence this good fortune!" he said in an indistinguish-
able, gruff voice, clenching his teeth as he spoke. "Soon I saw, just

soon I knew, kyra Yiannou... Lord Gherambis sends you!"

195

"What's that you say, my good man?" said Hadula in her
hypocritical manner.

"Good that we've crossed! I said, she there be a worthy
woman of the village, who knows the herbs and Shoos the evils far.
Soon I saw, one glance I knew!... Heard what's happened, kyra
Yiannou'm!"

"Meaning what, my dear?"

"Great bedevilment befell me, your sympathies, Aunt Yiannou!
Terrible misfortune! My woman, Gherambis forbid, went out the night
to pee, out from the hut, kyra Yiannou'm, come back undone and Slack...
Strong she left, weak she returned... tongue all out—-Sick, slack,
struck... Great bedevilment, Gherambis protect you... Tongue all out
below her chin, no voice, bad fever, chills and spasms!... Half dead
she's on her bed."

"Really?... Oh, sins!... and when did this happen?"

"Day before yesterday at night, midnight, Aunt Yiannou!
Gherambis preserve you, your sympathies... Strong she left the hut,
struck, mad she returned... Trouble yourself to the cabin, at least,
now that we've crossed, kyra Yiannou'm! Only to look, see how bad it
is... Come, good you will do her... The devils one by one will flee
your medicines."

"How did it come about?" said Frangoyannou.

"Who knows the devils ways, kyra Yiannou'm. Gherambis knows."

Hadula thought for a moment. Then she said:

"Good, I'll come by, in a little while."

196

"A long and blessed life to you, Aunt Yiannou!’ said

Khambanakhmakis, "Lord Gherambis sent you."

When Khambanakhmakis left, Frangoyannou mused that at least
she would have a refuge for the coming night, and that during the day
it would be best to hide in some copse or cave where it would be
impossible for the police to find her.

She took the road leading down into the gully of Agalliano.
She stopped by a spring to drink some water. There She met an old
monk, Father Josaphat, gardener of the Monastery of the Annunciation,
which in majestic profile could be seen above on the mountain over-
looking the valley.

Frangoyannou sat down beside the cool spring to regain her
strength. Head resting in her hands, she seemed deep in thought but
was "all ears," imagining the sounds of approaching policemen with
every passing moment.

Approaching to fill a water jug, Father Josaphat saw Fran-
goyannou and bid her a good morning.

"What brings you here, my good woman? Something troubles
you I see..."

"Ach! Father!..." said Frangoyannou. "I have torments and
misfortunes."

"Misfortunes are part of this world, good woman... Whatever
men do they cannot avoid them..."

"Ach! Father Josaphat, lamented Frangoyannou effusively.

"If only I were a bird with wings!"

197

"'O that [had wings as those of a dove,‘ said Father
Josaphat, remembering the chants.

"I wish to leave this world, Father... I can't suffer any
longer."

" said

"'I have fled afar off and lodged in the wilderness,‘
the old monk again.

"A great storm has found me, Father, and I'm greatly dis—
tressed."

"May God deliver you, my daughter, 'from distress of Spirit

and tempest,'"

added the monk continuing the chant.
"One can't escape malicious talk, slander or envy."
"'Destroy, O Lord, and divide their tongues: for I have

seen iniquity and gainsaying in the city,'"

concluded Father Josaphat.

Then, after filling his water jug, he said:

"If you pass by our gardens, good woman, call on me so as I
may Offer you a lettuce and some beans."

And he left.

That evening, Frangoyannou went to the cabin of Khambanakhmakis
at Far-Ridge. The shepherd's wife, over thirty, mother of five, was
lying on a straw mattress. Her condition was pitiful. Nervous shock
had twisted her face, her tongue hung out the mouth and she was making
inarticulate sounds.

"What happened?" asked Frangoyannou, gesturing. But the
suffering woman only grunted inarticulately.

Frangoyannou sat down by the fireplace and began boiling some

herbs for the patient. Without her basket anymore, she had filled her

198

bosom with a variety of tiny grasses which she had collected during
the day by the streams from the valleys below.

The two little girls of the sick woman sat down by Fran-
goyannou's knees like little kittens waiting to be petted. Yannou
stroked their chins and necks, so hard that they felt pain, and one
of them shouted:

"Mana!"

But their mother made no response and the poor things were
too young either to understand or fend for themselves. The little
boy, who appeared to be the same age as one of the little girls,
perhaps her twin, cried for his mother to "get up and make a pancake
in the frying pan."

"*5

Now, my son, I'll make you a pancake,"

said Frangoyannou
mechanically.

"We don't have flour, Aunt," said the Older of the two girls.

"Well, when father comes, he'll bring some,"

said Frangoyannou,
to the child, "and I'll make 'griddles.' Be quiet now."

But the boy continued.

"I want griddles, fried! With syrup!"

' said Frangoyannou. "Soon

"Where shall I find syrup, my son,‘
the grapes will ripen in the vineyard; we'll gather them in, cut the
fruit from the vine, and make much, much syrup for the good boy to
eat. What's your name?"

"His name is Yorghos, Auntie,"

replied the older girl.
"You?"

"Daphne."

199

"And you?" Yannou asked the youngest daughter.
"Anthi."
"God bless you!"

"But when can we cut the grapes, Auntie?" shouted the boy.
"Can't we go now to the vineyard and cut them?"

"Not now, my son, tomorrow."

"Tomorrow early?" Yorghos asked.

"Yes, my little son." Tonight the grapes will ripen, sweeten,
darken and early tomorrow morning we'll take vintagers, hurry to the
vineyard, gather them in, cut bunch by bunch, tread on them, crush
them, make molasses, syrup and a thousand other good things... and
then I'll make you a pancake large as the pan itself!"

"I want it to be very, very big" said the little boy.

"A big one, big as I am," said Frangoyannou.

In the meantime, the smaller of the two girls, Daphne,
whose gaze wandered stupor—like between the oil lamp and Frangoyannou,
grew drowsy, as if hypnotized by the old woman's eyes and she leaned
her head toward the hearth and fell asleep. Yannou stroked her under
the chin continuously, her hand sometimes slipping to the throat as
if perhaps to squeeze harder the little girl's neck. But at that
moment running was heard outside, the door opened and Khambanakhmakis
entered.

"You're here, kyra Yannou!" he said very agitated. "Get up!

Run! Hide!"

"What's wrong?" said the old woman, trying to appear calm.

200

"Are police looking for you? What've you done, poor
Christian? The police are looking high and low. Get up, run! Hide
somewhere at least! I pity you, poor thing! What've you done?"

"Me? Lots of things... but why would the police want me,
as you say?"

"Run, they're coming here now. How'd they know you were
here, they're coming to catch you now. Any second! Listen, down by
Dark Grotto, by bad creek, somewhere there, take yourself! At Path
of the Vine near Bird Spring there, and even if they're on your heels,
they can't catch you! From there you can go down to the old Priest,
to the Hermitage, confess your Sins, poor thing. Run!..."

The poor soul ran, but no longer felt very able. The loss
of many nights sleep, the hardships and the frights had taken their
toll. The places Khambanakhmakis named were very far away and
impossible to travel to on a moonless night.

As she was running, all ears to every sound, terrified,
imagining footsteps everywhere-on the path, among the trees and
bushes-~she heard real steps coming up the main trail about two
hundred feet away. Hiding behind the bushes, she saw what appeared
to be policemen. They were heading for Khamanakhmakis' cabin whence
she had come. If so, her situation for the present was a little
better because she no longer feared meeting them again that night.

Yannou continued on toward the place She had visited in the
morning. She came upon the small chapel, Source of Life, the Monks
Cemetery, and the Threshing—floor of the Monastery. She passed the

Flogging Shed opposite the iron gates of the Community House which

201

was completely boarded up. Otherwise women never entered the sacred
walls. She Stepped down into the gardens where she had met the friar,
the gardener, in the morning who had recited passages from the Psalter,
little of which she understood though vaguely suspected they applied
more or less to her situation. Indeed, his words continued to buzz
in her ears: "'0 that I had wings as those of a dove;... Lo! I have
fled afar off, and lodged in the winderness. I waited for him that
should deliver me from distress of spirit and tempest...'"

As she climed the opposite ridge, beyond the Gardens, above
the stream, she heard the small bell of the monastery toll, sweetly,
humbly, monotonously, awakening the echoes of the mountains, and
stirring the gentle wind. It was therefore midnight, hour of the
Midnight Office, hour of Matins! How happy they were, these men, who,
early in their youth by divine inspiration had the prescience to do
what was best——not to bring, that is, others, into the world ill
fated!... after that, everything being secondary. This philosophy
they took as an inheritance, without troubling their minds "in search
of truth" which can never be found.

She made her way higher up the ridge without purpose or
clear idea where she was going. And out from the road a Short
distance away, she saw a sheepfold which she recognized as belonging
to Yannis Lyringos. The dog sensed her presence from the distance
and began barking.

Without realizing it she had come to her lodging of the
previous night! Now she began thinking again. Until this moment

instinct had been her guide. But now ideas suggested themselves

202

clearly. "Where could I be safer for the present than here? The
police would never expect me to return to the same place they found
me yesterday and gave chase. Yannis is sleeping in his fold. The
Old woman and the woman in childbed must be in the cabin. Last
night, in my confusion and haste, I forgot my basket there. Why not
go and knock on the door, offer a remedy or service again, retrieve
my little basket and when it gets light, go down to Bad Creek where
Khambanakhmakis suggested and hide?..."

Surely the old woman, Lyringos' mother—in—law, must have
heard something bad about her from the village police or a third
party, but what do I care?

She wouldn't have the meanness or the courage to betray her.
In any case, as a pretext to enter she would pretend She had come to
ask for her forgotten basket.

The cold mountain wind had chilled her considerably and she
needed shelter somewhere for awhile. She hesitated no longer.

Crossing the plateau which joins the two peaks-—on the south side
of which lay the pens; on the north, the Lyringos abode--Hadula arrived
at the cabin.

She knocked on the door. The old woman was sleeping but got
up without delay and came to Open the door, this time without asking
who was there, either because she was half asleep or because she was
sure it was none other than her son-in—law. Frangoyannou hurried
inside.

v

"My basket, forgot it in my haste yesterday,‘ she said. "Did

you see it? Is it somewhere? Where is it?"

 

 

 

 

 

203

The peasant woman Stood and gazed at her. Only now she
appeared to have woke up and recognized her.

"How is it you're here?" She said.

"Don't ask," Yannou replied. "I stayed the night in
another cabin, but couldn't sleep. Remembering my basket, I came.
How is the mother in childbed?

"What can she do? She is the same... But tell me," said
the old woman after some moments hesitation, "those police, why were
they looking for you?"

' answered Frangoyannou quickly. "A little girl

"Jealousy!'
drowned in a well..."

"Eh?"

"And one of my enemies, don't know who, said it was my
fault... Why, God save our souls, can anyone believe such a thing?
As if the little girl couldn't have drowned by herself? Did I have
to use my hand?"

"My word!" sighed the old woman.

Frangoyannou installed herself, as she had the night before,
by the corner of the fireplace where she found her basket. She
stoked the fire, poured water into the bgiki and prepared to boil
some herbs which she drew from her bosom.

The woman in childbed was sleeping, and the breathing of the
baby could be heard inside the wash—trough being used as a crib, under
a high canopy Of barrel-rings covered with cheesecloth. From time to

time it cried. "Sss, sss, sss,’ murmured the old woman, the grandmother,

204

who had closed one eye but with the other kept a sharp watch on
Frangoyannou in the feeble light of the oil lamp and the intermittent
glimmerings from the fireplace. Finally, although she had decided
not to sleep, about an hour later sleep, the traitor, came--for that
very reason, because She was watching the suSpicious woman so
intensely. By the third crowing of the cock she was asleep.

The infant continued crying. The old woman was no longer
keeping vigil to recite the monotone "sss, SSS!"

"All girls, unfortunately!" Yannis Lyringos' complaint
buzzed in Frangoyannou's ears.

The mother in childbed was still sleeping. Old Hadula moved
a little, stretching down on her knees to the trough. Drawing back
the white cloth from the head of the cradle, she extended her hand
to caress the little one, while it continued crying. She covered the
small mouth with her hand so it would not scream, looking first toward
where its mother lay, then toward the mattress on which the old woman
was curled up.

The voice of the infant died away. Only one more motion
was still necessary. With her other hand Frangoyannou forcefully
squeezed its neck... Then she collected up the light cloth to throw
it over the canopy again. Her hand knocked against the wood, making
a slight noise. The old woman who was not deeply asleep, awoke. She
shuddered with fright. She saw Frangoyannou pull out her hand, draw
herself up on her knees again and return to her place.

"What are you doing?" cried the old woman, alarmed.

205

The mother in childbed shot up, jumped.
"What is it, Mana?"
Frangoyannou stood up, took her basket.

"Nothing. Just wanted to stop the crying,’ she answered.

The old grandmother bent over the crib.

" said Frangoyannou... "Give

"I'm leaving now, it's light,
the mother the medicine I boiled!"

With that she left. She ran away as fast as possible, taking
the upper road along the forest so as to avoid passing the opposite
ridge where the sheepfold lay.

It was a sweet May dawn. Blue and rose glimmerings in the
sky tinged the brush and vegetation a honey-gold. In the forest,
nightingales could be heard and countless small birds were passionately,
endlessly singing their indescribable songs.

Frangoyannou was already some distance when she heard
raucous screaming behind her. It was the old woman, the grandmother,
frantic, pulling her hair. She had run out of the house and was
screaming.

"Stop her!... Stop her! Murderer!"

Frangoyannou continued running. She hoped to conceal her-
self as fast as possible in the woods where if they were to chase
after her, her tracks would soon be lost.

But by chance, some moments later, she found herself face to

face with Yannis Lyringos who was walking toward his house. Having

got up at the usual hour, he was on his way to the cabin no doubt to

206

call out his mother-in—law for a helping hand, just as he had done
the other morning. But when he saw his mother-in—law screaming and
gesticulating in the distance, too far for him to hear what she was
saying, guided only by the direction of her gestures, saw Frangoyannou
heading for the edge of the forest——then he ran that way, shouting in
a loud voice at Frangoyannou:

"What is it?... What's going on?"

Then Hadula stopped and shouted back toward Yannis Lyringos.
"I'm leaving!... Going to..."

Yannis Lyringos, still running, had run some distance more
and came closer to Frangoyannou. Then, she, decisively, took two or
three steps closer to him.

Frangoyannou called all her instincts to her aid and her
presence of mind. She improvised.

"Yannis! Your wife's in labor! She's real bad."

"In labor!..." the man cried stupefied. "What are you
saying, Christian?"

"There's another baby in her belly!" she asserted audaciously.

"Another baby in her belly!"

"Yes. Just like I said. Now run to the village, call the
midwife!... Tell the doctor to come also!"

Lyringos stood still. In the distance, on the small knoll,
before the house, his mother-in-law was still shouting wild screams

which the wind carried away, and Yannis was unable to hear what she

was saying. Frangoyannou spoke with assurance and it appeared she

knew what she was talking about.

207

"How could that ever happen?" cried Yannis. "Have you lost
your head, Christian?"

"It happens," insisted Frangoyannou. "Whenever twins don't
come down together from the belly. One of them, the weaker of the
two, takes longer, hours, sometimes days to fall."

"That's true! I've heard that," said Yannis.

"It seems to me," concluded Frangoyannou very seriously,
"this time one was conceived after the other."

"Was that it?" Lyringos lamented.

"Run as fast as you can! Go and bring the doctor!..."

"Where are you going?" asked Lyringos.

"I'm going to Saint—Haralambo... to beg papa Makario to
come and say a prayer for the woman!"

"Good! Run!"

And Frangoyannou ran.

Down in Bad Creek, down at its depth, near the dark Grotto,
the stones danced a daemonic dance at night. Rising, like animate
spirits, they chased Frangoyannou, slinging stones at her, as if from
invisible, vengeful hands.

Three days had passed since her last flight from the
Lyringos cabin. The guilty woman had hidden there, hoping to escape

the claws of her pursuers, at least for a time. She survived on the

208

few biscuits remaining in her basket, on wild greens, anise and
sweet cicely—-however much she could collect--and on the brackish
water of Dark Grotto. The place was almost inaccessible.
Impassable rock on the north and a cliff sheer and treacherous on
the east, shaped Bad Creek. Below, at its depth, gushed Brine Spring.
Two caverns, with narrow mouths, yawned on both sides. Here she
slept at night, descending into Dark Grotto during the day. To go

up or down, neither road nor path existed. She walked along the
stony bed at the base of the cliff. Then the Stone bed trembled

as if angered. The stones which loosened underfoot were the base

and foundation of an immense accumulation of stones extending up the
incline of the cliff. As the first stones slipped away, others came
to take their place, and others after them. Thus the cliff's stone
tide came down upon her, battering her shins and legs, arms and
chest. Cascading down, they would sometimes strike her face with
such force and viciousness that it seemed indeed as if an invisible
hand armed with a sling was shooting at her head.

When she finally arrived at Dark Grotto the first day after
so much pelting, she sat down and gazed out to sea. The wave
battered Grotto with its double entrance could be approached by land
or by sea. From the sea, the mouth, low and narrow, just wide enough
for a small fishing boat. Invisible from the land, Frangoyannou
listened to the muffled, persistent breaking of waves against the
cavern's mouth. Swelling, the waves leapt, hit its upper lip, fell,

leapt upward again, hurling the sea-howling fury of the north, or

209

sometimes the dolorous complaint of swollen oceans. Down in its
depth, impenetrable, lurked the mysterious and the dark. Once, it

is said, a boat sailed in in search of hermit crab and crayfish. One
of the sailors had scaled the treacherous rock for herbs, when the
boat sailed upon a live seal blocking the entire mouth of the
entrance. The dark animal shook, struggled, the small boat battled,
rocked, but was unable to move backward or forward. Beating the seal
with an axe, the sailor on deck bloodied it and the sea ran red. The
seal writhed in agony. The young fisherman, managing to slip a noose
around its neck, called back his partner and together, at the risk of
capsizing, they pulled the seal aboard.

Old Hadula gazed and gazed upon the sea. If only a boat
would now appear, sail by!... Frangoyannou would beg the young sailors,
her compatriots, to take her with them on board... Where would she
go?... Oh, surely to the opposite shore, to the places over there on
the great mainland!... And what could She do there? Oh, God would
provide, she would begin life anew!

She looked out, looked out to the open sea at the many sails,
white like seagull wings. Brigs, schooners, small caiques she saw
sailing by, plowing the waves like paired oxen. Some navigating
north, others south, still others sailing eastward and westward,
cries—crossing wakes, the deep visible streams others had left behind.
Then the many currents traced themselves upon the ocean's surface,
embroidering and mottling the sea. She gazed out until her eyes

"turned to glass."

210

Frangoyannou drew out from her basket an Old yellowed shawl,
the woolen one used to wrap around herself when Sleep eluded her.

She stood up, shook the woolen sheet out to the air and began waving
it vigorously. She made signals, desperate signals to those sailors

to come and take her. The sailors, did they see, didn't they see her
banner? Not one responded to her yearning, to her numerous attempts.
The white masts sailed on with the wind into the waves and she remained
fixed to the rock of Dark Grotto--banished, abandoned, blind to the
golden sunrise of the morrow...

The white and yellowed cloth escaped her hands in the wind
and threw itself about her head and shoulders.

"This will be my shroud!" Frangoyannou murmured with a
bitter smile.

Finally, sitting there upon the rock, she noticed a boat
approaching along the coast—-a short-masted felucca with two oars
listlessly beating the waves as it glided out Of the east toward her
desolate sanctuary. Frangoyannou suddenly began to hope. Retreating
behind the rock's peak She watched to see if she could recognize those
on board. As the felucca drew near, she noticed that one of its three,
the one pulling on the drag at the stern, was wearing a soldier's
uniform. A retiree no doubt from the army who loved fishing, had
come out for the hunt with two seasoned fishermen. Frangoyannou,

seeing he was a "regular,' smiled and crouched deeper behind the rock.

That night she fell asleep in her hideaway, in the damp,

saline atmOSphere of the Grotto. Roaring bombarded her ears. Waves

211

below her feet raged in prolonged howlings. Deep within her bosom
she heard the plaintive whimperings of innocent infants. The
muffled whistling of the distant wind reached her ears. Round and
round about her skipped the dance macabre of the daughters, the
horrible chain enlarged. "We are your children!—-You gave us
birth!-—Kiss us!-- Treat us!--Buy us trinkets, beautiful trinkets!—-
Caress us!-- Love us!"

Lyringos' Old mother-in-law, frenzied, wringing her hands,
threatened her menacingly while her son-in-law reproached her mourn-
fully... Below her feet at the Grotto's depth, the waves thundered...
Boiling up, boiling up, the Grotto transformed itself into a cistern
and the waters of the cistern bellowed in an inarticulate voice!
"Murderess!-- Murderess!"

The tormented woman woke up horrified, bathed in brine and
sweat. If such were to be her dreams, she prayed, moreover decided
never to sleep again. If she were to see nightmares, death was
preferable! Who knows!... On this thought she dozed off again.

This time Khambanakhmakis appeared to her, that wild man of the
mountain, standing before her with his curved shepherd's staff,
vulgar looking and uncouth, speaking to her in a scratchy voice: "To
Bad Creek! To the Path, to Bird Spring! To Hermitage Of the Monk!"

Then he disappeared from sight still repeating, "To the
Hermitage! To Hermitage of the Monk!"

Frangoyannou awoke at dawn with a glimmer of serenity in her

soul as the azure sky crimsoning at the horizon mingled with the

212

blue-black expanse of sea; and breeze, cool mist, rippling wavelets
and bird warblings soothed her being.

She had not stopped thinking about the Hermitage since
Khambanakhmakis mentioned it to her three days previous. She had
heard much pious talk from women about the old Monk, papa Akakios,
who only a short time ago had come to the island. He lived at St.
Savior, a solitary retreat near an old abandoned chapel, lying on a
small sea-battered rock which formed a reef or islet jutting out toward
the escarpment to the northwest. At low tide the islet became a small
peninsula. Old papa Akakios was, they said, a strict ascetic having
the rare talent of discerning thoughts almost foreseeingly. Women
asserted that he was master of hidden knowledge and could tell whatever
was inside you. Often times the penitent confessed much more than he
intended.

For Frangoyannou confession would be a blessing if she
sincerely decided upon it. The holy father would spare her the
painful anguish of the hesitation, saying, "You have done thus and
so!" If only to relieve her desperation, but he could also help save
her-~for this world at least, if possible! Besides, was there not
among the Saints one who had hidden and saved the murderer of his own
brother, refusing to give him up to the authorities? How much easier
it would be then for papa Akakios to save her, and hide her, since
she had not personally injured the reverent monk? Boats passed St.
Savior daily, close by the shore or out at sea, and if he wished,

couldn't he arrange her escape?

213

Hadula grew weary of the monotony in Dark Grotto and had
begun to weaken seriously from lack of food. She decided, as soon
as it grew light, to take up her small basket, leave her refuge and
set out for St. Savior. There she would confess all her "torments."

Hour of repentance had come...

They arrived, they arrived, the police! Either through
betrayal or by following her tracks, they discovered her... They had
successfully descended into Bad Creek without being stopped by the
cliffs or bombarded by stones shaking loose and rolling down upon
them!

It was at the very crack of dawn as Frangoyannou was pre-
paring to leave by the shortest route for St. Savior, the Hermitage.
The sun had not yet risen sufficiently to light the treeless seashore
of Kouroupi or glance its golden rays off the sheer escarpment of
Stivoto. Frangoyannou saw them, was seized with terror, took her
basket,and breathless, panting, she mounted the hill, making her way
up the impenetrable rock to Klima, toward the vine country to the
west. Kicking off her old tattered shoes, she climbed barefoot up
above to the top of the cliff. The two "law men" threw off their
Esarouchs as well and chased after her, up the inaccessible rock,
into the region of despair, wherever she wandered.

For one instant only, the woman turned around to glance
back. It was then she noticed that there were two pursuers, but only

one was wearing a soldier's uniform. The other was dressed in village

214

attire with a waist-band, the selaki, with pistols and sword.
Probably one of the field guards.

This puzzled and alarmed her. The absence of the other
policeman aroused her suspicions. Was an ambush awaiting her on the
other side of the cliff beyond inhospitable rock and steep escarpment,
so her cruel pursuers could close her between two fires?

On the other hand, she took consolation from this and a little
hope. For if one of the two "law men" was a fellow villager, a
peasant man in the service of the town hall, it might mean he would
only half-heartedly chase her; even affect the enthusiasm of the other
policeman. Perhaps he even secretly felt sympathy for the fugitive,
chasing her barefoot and bleeding over the rocks, poor woman-unsure

of her guilt.

XVII

Sometime into the hour of pursuit, Frangoyannou came to the
place Khambanakhmakis had called "Path of the Vine." It was a rock
suddenly running inward, forming a narrow ledge below which yawned an
abyss, the sea. This ledge was but half-a—hand in width, only three
or four steps across. But to walk across, it was necessary to hold
on to the rock above, face the sea, and advance on one's heels
edging sidewise, right to left. One's life hung on a hair.

Making the Sign of the cross, Frangoyannou did not hesitate.

She had no choice. No other pass through the rock existed. Gripping

215

her basket in her teeth, she jumped decisively and safely across the
terrible pass.

I Later the two men reached it, out of breath. The policeman
saw the ledge and stopped.

"Have you got the guts?" said his companion with disguised

mockery.

"Isn't there another way?"

"There isn't."

"You must have crossed often," said the soldier.

"Me, No!" denied the rural guard.

"Weren't you a shepherd?"

"I herded sheep on the plains."

The policeman still hesitated.

"And a 'put-down' by a woman!" he said.

"We arrived too late to see her the moment she crossed," said
the peasant guard ironically. "If you had seen her, it would have

given you courage."
"Really?"

' said

"You don't know how many times women set the example!‘
the field guard. "In some things, they show great courage."

"Well, I'll cross it too!" said the policeman.

"Go ahead!"

The policeman took off his jacket, handed it to his companion,

leaving only his shirt. He crossed himself.

"If I make it, throw it over," he said.

216

He tried stepping on the ledge, holding on to the rock.
After one step he jumped back.

"I got dizzy," he said.

In the meantime, having ascended the hill on the run, Fran-
goyannou arrived higher up on the palisade. Exhausted, breathless,
her chest heaved. From time to time she Stopped for a second,
cupping her ear, trying to determine if her two pursuers had crossed
the ledge. She heard nothing. Their tardiness indicated that the
two "law men" hesitated a lot to cross the path.

Finally, she arrived at Bird Spring, as Khambanakhmakis had
called it. It was a spring located on high rock of a small slippery
plateau of earth overgrown with moss and other water plants, which
appeared to be floating on water. Frangoyannou walked cautiously so
as not to slip and fall. Only birds could really come to drink at
the Spring. Hadula bent down and drank.

"Ach! As I drink at your little spring, my sweet birds,"
she said, "give me also your gift of flight!..."

She laughed to herself wondering where She found the levity
in such a moment. But the birds, seeing her, took to the skies,
startled and frightened...

She sat, beside the spring, to catch her breath. She was
almost certain now that the two "law men" had not succeeded crossing
Path of the Vine.

Yet the wretched woman did not feel safe Sitting there.

Whence, after a few minutes, she stood up, took her basket and ran

217

down the incline. Now she went fully resolved to make her way to St.
Savior, to the Hermitage. It was time, if she escaped, to confess
her sins to the old man, the ascetic.

A few minutes later she came down the palisade and arrived
on the pebbly shore, on the sand. Before her stretched the sea-
battered rock upon which appeared the old chapel of St. Savior. The
neck of sand, joining the small rock with the mainland, was but a mere
finger above the waves. The tide had just begun coming in. Fran—
goyannou stood a moment, hesitating. "Won't it... become Shallow
again in a while?" she said. "Why hurry now and get all wet?”

But just then she heard a loud commotion up on the cliff.

Two men, one soldier and one civilian, with rifles on their Shoulders,
were descending the hill on the run. The civilian was not the field
guard she had left behind with the policeman, it was someone else in
foreign dress. Was this the ambush she had suspected in which they
wished to corner her? Now it had come to pass.

Frangoyannou ran, crossed herself, and stepped on the sand
causeway. The sand was slippery. The waves rose, billowed. The woman
did not turn back. It was her last shred of hope. Indeed, of hope,
of actual hope, she had none.

The waves rolled in, rolled in. Frangoyannou walked on.

The sand gave way. Her feet lost footing.
The rock of St. Savior was about twelve meters from the

beach. The neck of sand, the causeway, was a full fifty steps across.

218

The waters rose to her knees, then to her waist. The
sand continued to slip. It became morass, quagmire. The waters
rose to her chest.

The two men, giving chase, let fire a volley to dishearten
her. Then their voices could be heard, cries of triumph and certain
victory.

Frangoyannou was still ten steps away from St. Savior.

The earth disappeared under her feet. She fell to her knees.
Salt water filled her mouth.

The waves swelled wildly as if enraged. They covered her
nostrils and her ears. At that instant, Frangoyannou's glance fell
upon the Bostani, the deserted northwestern palisade where for dowry
she had received a field, when, as a young girl, she had been given,
matched and married away by her parents.

”Oh! My dowry!" she said.

These were her last words. Old Hadula found death in the
passage to St. Savior, on the neck of sand joining the rock of the
hermitage to the land, half-way in the road between the justice of

God and the justice of man.

APPENDIX C

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fi xat’ finemTovoxortofilav, size :rgoalcifin 37.;
fiktxicv axsfibvfigecpmfiv, xai n‘qv EIZE Bamiosu

Etta, 5m? xaro‘t rd tslsuml'a. 35m. (I); m-v-
raEtofixo; dnsm’vgfin 51; If»! tézov tov, tfiv f:-
xdvfigevae p.’ é'va (iveaptév ‘L’OU, mi tfi; é'bm.
xsv é); :rgoixa tbfplxgbv afm‘) xollntbv om-
tdm, 63.; t6 iodyecov tofi ézoiov sfigia‘asto

«69:1 '6 (Dgawoytavvofi, ixavc‘z dygonxc‘z 1mi-

pata, xai filiya [.lEtQfltd, finooxefiei; v81 tfi; d-
cpfion (i); xlnpovomav xa‘t tfiv xvpiw; oixiav, xa‘t

5n (IMO 1108181! 869887] :tuQ’uthf) pen}. advatov.

'0 yapfigdg (Rpm? dnéx‘moev Ev téxvov, €-
leutev 610v tbv ZGlQéV. ’Eta‘éifisve loorgépo;
[,lé rd: xagdBLa. 'Htov (pmuopévo; vavtmég,
60.16: andralo; 2’ dEévomato; T0390: telev-
tal'a, sizsv égyfiael. tgfa Em vd Elfin SI; tbv
térrov.’Ev rig) pamEI‘: 6 ‘mgatb; x139 'Avayvé-
am; 8173; mgefioa, za‘tfi Ipvzoxégn, 2cm}. thv
finovoiav tof- ovifiyov fiznoétev. atagxdx; 87.;
tfiv oixiav tbv ‘38th :tatéga mg, 6.1m; xa‘t
nalfitéflev firo ovvafimyévn. '0 mfguyo; E790:-
rpev dm‘) xalpofi £1; xatpbv émaroldg, 630016-

psvo; 5n fir) Elfin, dud: fiév fipzeto. T6 Bu-

ycitgtov rfi; Magofioa; 71:0 fifin 18000?ng étd'w,
mi 017:8 6 :rarhg eIzev 1651' nOté t?) téxvov,
ofite at’m‘) éYVdJQlCE tfiv 63va to?) :ratgég.
Kar‘ éxetvov tbv xmgév, pa‘gt‘: w}: tfiv évd.
nme to?) égmogiov xa‘L tfi; ovyxowcoviag,

_eIzav dgxiom v6: Eavoiyovv x6130); xai 1:3; {101]

at; tbv ymgév, dxéusvrgov ténov. Eévm €9-
Zépsvm 6sz rd: 601a p'égn tfi; 'Ellcifiog, tdt
caléov :tohnauéva 1», fire 15.1mm; tfig'm-
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fiéga; fiswgia; neg}. 810w ui'w :rgaypcitmv. 01')-
tm. rflv (11660 mi tfiv avorolfiv (Iwépa‘gov Bla-
xeiav,rhv éyxgdraav xai tfiv ammgoofiqu sini-
8slav. Thv Btacpfiogdv xai rfiv layveiav (fwd-
pa'gov «(pvmxo‘z ngdypma». 'H 513mm; Ma-
Qoéaa, fin; Bév size yevvnflfi 81; NW téxtov,
o‘tgyfiflsv fiév 23:0 1011‘: afiorqu ofite osmo-
rrgemig, £118. 5%. .1szng 660w élacpgémtog.
Tbv xmgbv éxel’vov sfigiaxovro 81; rhv vfi-
cov Eva; ygapyatsfi; toi'i signvofimeiov, (1'70!-
p.09, qmvpmvellc’r. "Eva; ygappata‘); toi': AL-
pevagzsiou, Banc'ig, dgtwpanxb; to?) oiicovo-
yum”: N. uldfiov, yepovronaufimgw é’va; é-
vmyordgm; xowpaunig, pé luyvfiv pécmv zu‘l.
dyxwtgoafifi‘pfiotaxw Eva; telwvorpfilafi fixwv
tgmkdcnov eioéfimta 611:6 tbv wafiév 1:011, xai

560 *3 wet; :rgdxtoge; Eévmv. Emogtxébv 0:"

mm fi fillet péromom. "01m. 015ml. sIzov :rav-
to'cwilv avvrgocpiav 51%: 6130 71 test; (13.1011; vea-
901‘1; éynogevoyévovg, xompevopévovg, y.’ «€1-
lnvmofigeg: 30m; 8?; tfiv ykd’rooav xai p11:
3011c}; ¢flQOOQfiOELQ’. Mé mi); telsvtaiou;
tofitov; fivayxdtovto vd E'mevtat ovpui sir;
émnphv noflai y'uvatxsg. xa‘L oabcpgove; 511m;
1013' tézrov, xdgw $631! (icpefixrcw xa‘t cits-
leubtwv élpwvadtwv, (in?) mi 6301a dfiéva.

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wEL 51; rdv 696nm mg, 636 rd; r6aa; 6A5-
:r615L;, rd; 61min; rfi; sizov atrium :rsgi rod;

roixov; r11; 61m. oi signpévm. émxagnuariar;

66v fifim'fifin vd ykvrcbon 11 Magofioa’ mi psr’
6liyov xmgdv dfim, 5v dzrovm'q r06 outfiyov,
efigéfiq é’nyLog. Kai r6 61611051! 6r5 firo 1’1611
6150 pnvd'w. ’Akld stoiv. r6 dvaxahhpn afirn.
6111 f1 yeLrovui, d); 5126;, r6 5’L'Esv95v You);
m1 ngprofi 'vd ovyfifi r6 395.7153. M6vov 6
x69 -’Avaw(barr1; efigioxsro év’ dyvoiqL. «'0

' 760110;», 61111); 511:5 r6r5 1‘1 novngfi Koxxiroa,

pid 75Lr6vwoa crdSze‘ rofipnavo, ‘4“,
xqu26 xdpdgu.

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d'vsv r71; élaxiar'q; :rLL‘im'érnrog, w; 5176;, 6a
6 inQ ’Avayvdmrn; éLpfigyn‘Qe rr‘1v ‘ndkaLdv
uéfiofiov r06 AaBEB, mi 6n 6Ld-‘v5agd; :rvofi;
xai fiegLLofi di'pdru; é‘gfirsL vd «Eavavew'mn LL.
’AM’ 7'] 5’LQL11LéV'r1 Koxxiroa mi 660 fi rest; d'l-
zdL YEltéVlfloal, dime; rd Ekayov owdwi, x’

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avro;

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fififlev «dzr’ r6 ndLé‘L é’xovv noMoi p.596m6 .-

6rL r6 xeqxilL :rgéneL vd 5iv5 r06 yaapparL- .

am? r06 cpovordvenri 11?: rd rega’orLov Lpém
and tip! 1Laxgordr11v cpofivra, L'11Lém1. 13d 51w:

. BéBaLa r013 vaardpxnnof- 0513mm, r6 Eva r6
_roi': yéQo-xoldapévov,‘

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r013 Bouxfi, r6 é'va xéQL(1LuxQ{I xégL!) r613 r5-
}Lcovowtilaxa, xdi r6 606.0 XéQt L adorngb xégL!)
roi’: LpLAanrCfi, 1L5 r11; ‘unmxofigeg.

'I'Igcbrn 1‘1 gnfie'ioa Koxxiraa‘sixs :rgomdmfifi
pvarngunéd); 63:6 rL‘1v Magufiom? (mmamréov
6:L d’drn. 600v. xai dv €(paiv5ro dnovfigevrn,
sizsv éworiou 6m 11 Konxiroa rL‘1v finwzrsfiero
.2196 301106.680! ézrgoozrouifln XL’ afm'] 56-
{hwr’pg dv ayxaauxfiv éymnromivnv 6Ld vd r1‘1v
mlaxefion, Haitnvoa 6:L {id rr1v. fizeu‘ie, xai
5nd fiwgmv
ILéyco, vd lafin yw'L'va r06 LLLLcrnQiov. 'H Ma-
9060a, «(165mm vd rL‘1v xdu'g, dn’ r6 956 xai
0rd yéQLa r11;»,é’:rsoe ardv rgtixt17.6v r11; xai
ri1v ixéreve vd xdpn 5150; «’iv sigsfign rinore
wevroyLarQLxd; 6L6. vd ‘ éEacpavafi, 5’L Suva-
r6v, 6.73936; r71; (ignoring, xL‘ 6 (956; :r?.5’ov

 

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fidLa, ardv yLdld vd :rvwfi,1xafid); firov 1L6.-
XLora xai and, 61:6 xdrw 63' rd Gain, 1‘] 80’.-
ldaaa. ‘H Koxxiraa rfiv. xafinafixdoe p35 167m
:ragnyogiag, xai d'ngae vd écpagpétn én’ aL’I-
rfi; 6mq>6govg dloupd; xai synlaarga, rd 6-

,zrota 0116610); éreleacp6gouv.

Asvréga :rgooexlfifin 1'1 :Srdudrm, :rrwxfi

73190, x’ 1‘1 Kovfidlm f1 6651(1211 1:11;, 511311116.-

ylmoom mi 660. xaray61L5vaL dub piav rd'w

'vfiomv rofi Eagmwxofi.'A6raL éfifioxovv évrgL-I

13d; éxi r013 0631mm; rfi; drvxofi; yvvmx6;.
Kai rd; r951; 115 6rL €eran dzrd . rd; 0’on-
vouia; rm? x139 ’AvaYvuSorn, rd; dvrr’11L5L65.
K’ éxsTVdL épd’xgvvov rd; dloupd; xai :ruQé-
rvaov rd; évrQLBdg, dlvmreld'); mivrore.

Thv éonégav, dregx61mlm at rest; 5?; rr‘1v
ddlfiv r71; vad-Gmpafig, 6Mya axirLu :rdga-

‘uéoa, 63rou figxovro x’ i1 79nd XL6vw, x’ 1’1

fieLd Kvgdvvm, 61m. parava’anfie; 6x Maxedo
via; rofi 1821, rd (’51.an psrdgr'v raw. Ai
r951; :roa'uraL ’5'6L60v xafl’ écmégdv «1eran
dvatpogdv 51; rr1v xvgd- -Gco1Lm‘1v mi. 51; rd;
6150 ma; maid;- xai 61m 11an Exaaxoye-
loi'mav.

MdILLara rd 6wLua Elkwmd rfi; Erapdrwg
xafid); :rsgLéyQaLpe r1‘1v xara'oraow rfi; 6726011
(« dL’m‘1 61.11 xovrd eive' xai rd n66La r11; xovrr‘1
r6 Elm! . .fid 1L1‘1v r6 Qizvn. ra'xarsgl. . 1»)
énérewov. roiv; yékwrd; raw. Kai 57.; rd; 6::-
Béoel; rfi; Erawirmg, 1‘1 yguia Kugdwm é-
:rQ6035r5 rd ox6ha'. “1;, 1.15 r11v Maxedovmfiv

r11; 6La'JLExrov.

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65;! .. 3A1L1}.d'wr1;, pagq..-. Hou 0rd 11an-
yLd, rd 0 XLipa;.vd r01; (prLciE' xappLd avr’ v6,
65 r' Bydl’vn, 01‘1 ILLéov, arm‘I youprzgoLLmi-
019013....

1‘51erde Cur 61a; éxMBn vd 761511 uégo;
1'1 (DQtzyxnyLawm'L. 6); oncpmrégd {Slaw rd'w
dirlwv. cH Maoofiaa sizsv dgxinsL v’ 121:5ka-
Zerm 6nd rd; red; :rQLL'Lra; «LpeuroydmLégt.
mi xarévayev 5L; raurnv 6); 5i; relevraiav
5MLL6L1.TLI) 6'er 1‘1 1'9de X66061a psrd qxio-
1Laxd r11;, 11}; rd 1LavrC06VLa r11; xai 115 rd CL:-
ord i‘1 7.9130. 60d €6L65 vd :Lin _5’L; rL‘1v mi-

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axovaav, rfi Boqfieiq xai rd’w 5vr9Lfid'w rd;
6301a; 5§5réleL LL’ 5m65§L6r11ra amid 6::59r5-
967 6.16 rd; cilia; xaru396m057 évr6;'6iiymv
69.596» 76 échpé9z1 n‘1v L’z'xrgwmv.
vayvcbarn; 0665mm 51La65 rixore.

A6ri1 firov 13 :ra}.aLd 52601315665, 7ai aL’m‘q
f1 sfiwwuoafivn rr‘1v 6:roiav sixov fixaLVLzfifi
onusgov aL 6130. Avrd noav rfi; (DpayxoyLav-
701'}; «rd naind rd :rdfha r11;:, 7.L‘ (1?er L1-
aav rfig,Ma9060'r1; «rd (360an m;».

'H dvdgLvnoL; xarsixe r6v voi’w r71; (bgay-

‘xoyLawofi; 6inv r6v 639cm, EVQ) 5mm 5:ri r06-

oocpd, 5i; r6-ox6rog‘ 6L6rL ifixvov- 65v r71; size
cp595L 1'1 Lleo'gsvoi'Iaa, 1L6vov Eva xn9rixL xL’
6M1": onigra. rfi; ‘eixsv 6(p1'165L. "Oinv aL’Jrr‘w
rr‘1v :raiaLdv iorogiav dveloyi'gero, mi 6 6370;
Eroré 657 rfi; 1’1915ro. ’E95vvdma rfiv ovvei611-
aiv r11;, ‘5‘v :r9dyLL'a 569L6X5V' 6,rL 5115 26911
xai r6r5 xai r039a r6 sixe 7.de 6Ld xal6v.
’Exoulovmdfierodxoxdrm 5i; r6 pdilwov 075.
:mopa, 5::i rm": 65§Lofi 165512906 stLLévn, x’ 53w-
:rre rr‘17 xetpalfiv 5’L; r6 orégvov, 2’ éxgoondfieL
vd fiaiLofifi, vd va97w6fi, vd rfi; Elfin ififia9y0;
T6r5, 95rd196vov;. 5161196671 xai ri1v ofivroyov

39005111117, rhv 6::0iav rfi; sixev émfidln dig

lore 76 15711 01va6 57a; yé9mv :rvevLLarLz6;
r6 c K69L5 'Inaofi X9Lar5', Yié rod @506, 51511-
06v 95».

'H (mm énavdimpL; rfi; 567i]; 57119111105,

mi 1'] Xa606ia 5va9xd36L1 én’ 6Mva imrd xai

aims :0L1Lv1fir1. H1317 nd9avrd 5i; r6v {'mvov mg,
11 5i; rd Efinva rng, (65v 5L35v95 xald), r71;
écpavn 6'rL'1Léaovq 5i; r6 [3660; rfi;‘LpLLxfi; r11;,
1"1xov5 prvfiv Bgécpov; xiafiLLa, LLLW9L01L6V
69nvé6n' rofiro 'LBLLoiaCL; 1.15 rr‘1v (pmvfiv rfi;
1LLLL9L2; 577mm; rr1;, rfi; n96 6iLvmv 911va,
6Ld 15L969a6r1’1;...raieLmBeLon; _ '

H 79am 5" ,6zrvnoev 5vr90LLo;, dveerder1
6111. ’Avscmxrm‘m LLLLL'. fiofidvero péyav orca9ay-
96v, dud aungévw; xai xailLrégav romLLarL-
xi1‘v dvsmv. '0 (r6vro110; éksi'vo; 6mm; sizsv
fifialeineL :ra9’ aL’Irfi . r6
dwimyxov. ’ELpniLiwnasv, 5695 rd arri9'ra. fi-
vmpe r6 x119iov, 5.17195 r6 9d[36{ 1719. 16 :La-
MfiL r11;, 513(115 1456a 5’L; aL’Ir6 xai rd; 5.de..
6d; n1;, xai‘dvvzr66orr1, 1LL‘-: 11:1; minor-2;, 576.-
71105 7d @6711.

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119L906 zdrmyeiou, rfl; 51.15 vd 535mg 6Ld r1‘1;

CO 7:69 ’A-6

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i6LaLr59a; 6159a; rofirov 2:96; ri1v 666v, vd
765606011 €5mfisv, zai vd 156911 56 7.15L6i1mti
rr1;, 6Ld vd r6 perastgLofifi :rdlw r-i1v (mm
vfizra, 67 56511.5 vd fixavémn. 'anv 6L’ aL’I-
rfiv, 6v 5?.riafiav5v dvciyxrrv vd xaréwn 5?; r6
xarmydm, 6d xar'rigxero 6Ld rfi; 6601'}, 6L’ 11;
51157 66L1yr'105L 57.51 r1‘1v Eévnv rr1;, rfi; 50mr5-_
9L7.F1; media; 7.ai rfi; 669a; r66 Luaoroizov.

T513 6m, 1'] <D9axoyLavvoi3 L’1ofidv5ro :riéov.
1157a}.11v arpio1Lovr’17 7ai r6 01'3va 7.arwyde-

9%: r6: {'~'96v 659a rov 16750557076955 Kau-
96; fire v’ dvazrvefion
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xisiawow, ’L'om; 6Ld Biov, 5i; rd 679d 7.ai c’m’r-
iLa 6.1675La rfi; dvfigwnivn; fiéLLL6og. -

ng1165,xaL, Learn) 5!; rd 1351611 rfi; 11111171;
rng, 59L769L§5v dxc’LLLa. 51 8911763611; rpmvn r06
Bgérpov; r06 LLLxgo‘Li xogaciou r06 d6mofiava-
rioavro; ’Eordfi‘n 5i; r6 xriaua r71; 069a;
5x6rra§5 LLerd 390cpvici§5wg 5E6), 65-3LLi, 'dQL-
or59d, dvm, wire) rod 6961Lov° 65v'~5i65 11:11th
06:5 ozLdv. 'EBaAe :rr59d 51; red; 3650; 01;.

A57 1'1rof1 :r'9d1r'r1' rpogd xafi’ fiv iixovs 950a
5i; ri1v 1111:1117 mg,‘ 6.101: 6371915 axoremi, c.111-
iaLa')6L1; 1’1163, r6 :réviiLLLov 57.511'0 flat-1w. r06
Bgérpovg. K’ 5v61LLC5v 6rL 5(p5v1'5 r67 7.iv6vvov
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5cp5v1'5 r6 fix6y5Lov xai ri1v 5i9xr11V. xai fi 5i9-
er‘1 xaifi K6lacn; firo LLéna r11;

"99a firm: 61; 660 perd rd madvvxra, 76';

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90.7 513601Lci6a aerd 6111mm Hub/a. 'H 5301?]
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:rva :rovILaLLLa 5LL5}.:rov r6 6969Lov 5::de 5L;
rd xia6La. ’H (PgavxoyLawov 5.11195 rbv 690-
LLLoxov, r6v iLav yvmar6v 5L; aL’IrL'17,or576v 7.ai
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am; rLIw mixwv. 'H simivqro; 79am ézdreL
5:ri x69rmv 7.ai xaaaLpfiin, x’ 5:ri xicu9dw d-
zavfldw, de’1915rn 65 95 Bfipa 26911;, veagd’;
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LLLmLov.

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mi rwv 359Lfioliaiv 396; rd 65§Ld 1.11;, 576)

d9Lor59d r11; :ra95reivero 6769.11 6 11.6496; $9a- ~_

103611; 16970;, rd Kor9u'WLa, 145 rd; r95; y9a-
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769m rw7.Ta')90 01.507 6060057 51; 0590; 6-
1:01) d'QxL'gav dLLzrélLa, 6.7901 LLé 6::0)90Lp69a
657690, 6007 11:07 67.6101 0107176; 6 (171100-
90;, mi 610L675; 1‘1 017901 1L5 1311:0106; 0:01-
xvg. 05L01L5706; 6.16 :1‘17 767: 9L71‘17 LL69LL7,
1751657 63:01: 6 51711rp090; xafiioraro :1::0r0-
1103:590; and (170). "H (D9LL1'707L07706, LLé i:-
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:5ng1 11 110590, 5L; rd 115'911 rd 61:06: 06:05--
770391135. "(31119107, mrd :06; (3095106; 0170:.
1.06; :11; 711007, :rolloi xistpréroxoL, 9590 d-
:rcirnrd, 01:11}.5LLLL 7ai fiQdXOL 61:00 6:96:90175
:6 dy91056mvo7 mi 11 xdzna9Lg, xui rd 79(-
:LL1.La 701 1'1 (1907911090, 7.01 6::06 :06; 67:69-
zovra; 611701); 696006; mréorgsrpov 7061165-
9L7L6; rd 70::016L0L :57 59109017 201 r637 aiyLDV.
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7096- .
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639m; 'H Xafiofla «iveloyiofin ueu‘z mxgia;
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oreoa ml dvdnofia tfi; fioxowo at; afitc‘w tbv
xéauov. ’Ec‘xv size ngogslerficm vt‘z xléwn bliya
xsgdma dab n‘w xeguaui rofi Anudgxov, flé
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1151; xagavyri. ’A¢oi3 Empfiaaev at; tfiv zogvcpfiv
tofi Mqvou, xatfikfle mflw £1; 1:?) gefipa, at;
n‘w finu’muav tofi {30va01": pi: rd; :tolvaxt-
bet; «lewd; t6 (Snotov éxalsl’tofi Biyle;
Ti 0152 noton. :ralmoi xiécptm; éqpfilayav r’i-
ygvnvm xagaoélta £74232. mi évrefifiev eixe Adfin
t6 Evogm. "Ecpfiaoev at; tfiv plxgriv Bofiaw,
2?; tin gitav 1'05 Bouvofi. ?'E(psy~{ev 51511. "E-
ms vsgév, éfigooiofin, x’ ex’n‘h‘); Erpvyev. ET; I?)
ps’gn; fisivo €m‘xvatov nouoi ci'vfigamm, Bo-
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xamrpégmsv 6.26m], eiofilfiev 91; t6 xcim)
osfipa t6 {30813, If) fiaivov nob; tfiv fidlao-
oav, tb mlofipsvov Asxofivt.

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filiov. 'Ynfigxov €st 8130 71 wet; vegdmlou,
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tci'w xalaul'w xgévmv fl Na’ia’fiog. efigofim];
Tam; xatmpéytov éxet.

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:rgems v61 Em tfiv t'émv fiubxtgmv mi rob;
néba; tfi; (bqayxoytawofi; rob; Mnofifitov;
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8a; mi rd; rixdvfiag. ’Eust éxdfiwe -v’ (’wa-
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(pév 610i? size .1in 81; t6 paysms'iov. ’Eqnilaie
pévov tc‘t 3)QO tci 6303a EIZE ldfieu. dab t6
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wvxfiV-

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'0 Sicmo; rov étpa’vn v’ dvafiéetau. 611:6 rd x6-
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nergdyfiov; mi 71103601); :6 éno'iov fiyeigero
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1:6: :tovlcima tfi; noddfiog, tfi; 161w]; r01“:
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:tsbfivofy, cpégovoa :rgéangov 5:}..‘tib'a mi
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fim'oBaoiq nagapdfifivrag Bldmst “(11on fi
(Brpels‘i, fiév émivmoe throw. ‘H 1?th 81331);
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pfifin 5n :rle v’ civafifi 81; t6 ‘ACLMBL, 5.1011
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lov wagorégov xal-vBiou, tc‘) énotov fito xagté-
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tfig :rsvflegdg tofi Avgiyzov, 7.’ éxsi' péoa tfig
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t6: Ma xogciom r01“: Avgiyaov.

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BIBLIOGRAPHY

WORKS CITED

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Bien: Bien, Peter. Kazantzakis and the Linguistic Revolution in
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Browning: Browning, Robert. Medieval and Modern Greek. London:
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Friar: Friar, Kimon. Modern Greek Poetry. Translation, Intro-
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Merlier: Merlier, Octave. Skiathos Ile Grecque: Nouvelles par A.
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Mirambel: Mirambel, Andre. La Langue Grecque Moderne: Description
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"Participe et Gérondif en Grece Médiéval et Modernefl
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Ta Anavra T06 AAEEdvépou HanaéLaudan. énL-
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281

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Triandaphyllidis: TpLavracpukkfiong, M. MLupfi Neoekknvwfi
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\nahoymnfis: BkdxoYLdvvng, P. "Hag ypdmeraL fi Loroota."
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