The Acritic songs ( "frontiersmen songs") are the epic poems that emerged in the Byzantine Empire probably around the ninth century. The songs celebrated the exploits of the Akritai, the frontier guards defending the eastern borders of the Byzantine Empire. The historical background was the almost continuous Arab–Byzantine wars between the seventh and twelfth centuries. Against this background several romances were produced, the most famous of which is that of Digenes Akritas, considered by some to signal the beginnings of modern Greek literature. Subject Written in Medieval Greek, the Acritic songs deal with the heroic deeds () of ("frontiersmen"), warriors that lived near the Arab frontiers and fought against the enemy. The constant state of war in the region and the repeated confrontations with the Arabs inspired poets to write down tales of chivalry as a response to a society that wished to be informed or hear details, whether factual or imaginary, of the adventures caused by enemy invasions or of the martial valor of their countrymen who drove the enemy out. The fate of the local civilians — who after each invasion often had to face the loss of family members as well as their own pain — is also a major theme. The invasion and riposte, the hatred for the invader, the desire for revenge, the fate of female prisoners and the endeavours undertaken to achieve their rescue, all inspire the poet who, based on direct narrations by eyewitnesses, organises and develops this pool of information and emotions into a live language with an easily memorable verse. The poet also narrates in recitation, or in a simple, recurring, and easily taught pace, the enslavement, duels, massacres, escapes, release of captives, and often the bonds of affection between kidnappers and women that led to marriage and reconciliation. Origins Most academics trace the origins of Byzantine Akritic chivalric romance to the oral epic poetry of the ninth and tenth centuries. Greek scholar Sokrátes Kuyás () dates the earliest reference to oral epics of the tenth century to a speech given by bishop Arethas of Caesarea condemning the local αγύρται (ayirte, the Greek counterpart of troubadours) of Paphlagonia for glorifying violent acts instead of the saints and God. Kougeas aptly observed that Arethas suggests a tradition developed at that time exactly in central Anatolia, which was the cradle of Acritic literature. The preservation of such important oral songs in Asia Minor