Work dossier · summary and historical context
This homily by John Chrysostom offers a rhetorical encomium on the dance of Herodias’ daughter, blending biblical allusion with vivid moral condemnation of theatrical spectacle. The work focuses on Herod's guilty conscience rather than the dance itself, expanding on Gospel traditions from Matthew 14 and Mark 6. It survives in multiple Greek manuscripts and was later excerpted in Byzantine florilegia on dance and theater, influencing moralizing commentaries on performance in the Eastern Church. The khazarzar edition provides no critical apparatus or textual variants, leaving stemmatic relationships unclear.
This homily is significant for its vivid condemnation of theatrical spectacle and its use of the Herodias dance topos in early Christian polemic. It symbolizes female licentiousness and courtly decadence, contrasting with John the Baptist's ascetic purity. The work influenced later Byzantine moralizing commentaries on dance and theater, and its double title 'Forerunner and Baptist' reflects standard Byzantine liturgy, suggesting it was read on the feast of the Beheading (August 29).
The homily is generally placed in Chrysostom’s Antiochene period (c. 386–397), though its dating is uncertain due to lack of firm external evidence. It was composed in Greek for a Christian community in Antioch, a major center of early Christianity. The work belongs to the genre of homily or rhetorical encomium, blending biblical exegesis with moral exhortation. It survives in multiple Greek manuscripts, but the khazarzar edition does not specify its manuscript base, making stemmatic relationships unclear. The homily was later excerpted in Byzantine florilegia on dance and theater, indicating its influence on Eastern Christian moralizing about performance. Its transmission reflects the broader tradition of Chrysostom’s works, which were widely copied and circulated in the Byzantine world.
Apparatus · what the pipeline recorded
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