On the Imitation (MIMHΣIΣ) of Antiquity in Byzantine Literature

CONTRARY to the opinion prevailing in modern theories of art and modern poetics, which places the original work of the artist far above every imitation, no matter how good this imitation may be, Greek antiquity and the Byzantine Middle Ages cared very little for “original genius.” Even the anonymous author of the work Περὶ ὓψους (Longinus on the Sublime), of whom A. Lesky says, “er ist in seinem den Modernen unmittelbar anspre-chenden Verständnis für die Werte grosser Dichtung als genialer Einzelgänger seiner Zeit weit vorausgeeilt” (as a solitary genius he by far passed beyond his own time through his understanding of the values of great poetry which directly appeals to modern man), ¹ even he knows and appreciates “die eifrige Nachahmung der alten grossen Schriftsteller und Dichter” (the zealous imitation of the great ancient writers and poets) as a”zweiten Weg zu den Höhen” (a second way to the summit [of creative writing]). ² He believes in the possibility of inspiration through this imitation, and that such inspiration may result in literary works—in analogy to the inspiration of the Delphic Pythia and the oracular decrees resulting from it. Like the priestess of Apollo, those affected by the divine spirit would also partake of the divine creative power, even though they had not shown any signs of originality before. ³