This chapter examines the different lenses through which Corippus represented the Moorish world. It looks first at the many terms the poet used to refer to all of the ‘Moorish’ groups within North Africa – ally or enemy alike. It then considers the specific ethnonyms within the Iohannis and addresses their value for our understanding of North Africa in this period. It notes that Corippus’ accounts of ‘Laguatan’ identity (an ethnonym preserved in many forms in the Iohannis, but unique to the poem) may well indicate forms of affiliation that were much more fluid than has previously been acknowledged, and incorporated a range of different groups, regardless of their origins.

The chapter closes with a discussion of the ‘catalogue of tribes’ in Iohannis Book II, which has been central to much modern scholarship. It argues that this catalogue was intended to evoke the final triumphal ceremony which marked the conclusion of John’s campaigns in 548. This has an important narrative function, but also reveals the cognitive assumptions which underpinned imperial views of the Moorish world from Carthage. This was not an ordered ‘map’ of tessellating tribal groups, but was instead an image of a diverse – but ultimately subjugated – world.

Chapter 3 considers the underlying narrative structures of Corippus’ epic and how the poet positions the campaigns of John Troglita in their wider context. The Iohannis surveys the events of circa 530–46 in a series of analeptic ‘flashbacks’. As a succinct verse history of North Africa between the late 520s and 546, these surveys differ wildly from contemporary imperial propaganda. This chapter argues that these accounts must be considered as meaningful responses to the recent past within Byzantine Africa and as functional parts of the Iohannis. It is argued that Corippus’ presentation of these counter-narratives created a space for the interrogation of a complex past which would otherwise have been unavailable to him.

The second part of the chapter looks at the prolepses in the Iohannis, where Corippus’ narrative moves from the narrated time of John’s campaigns to their anticipated resolution and the composition of the epic itself. This teleology is not only explored through many direct references to the coming Roman triumph, but also to the counterfactual ‘futures’ anticipated by the Moors. Corippus’ resolution of these accounts through authorial interjections help to underscore the inevitability of imperial victory while emphasizing the sense of crisis within the historical narrative.

Chapter 2 addresses the history of Byzantine Africa 533–46. It argues that the principal challenges to imperial rule in Africa came from within the administration, rather than external pressure from hostile ‘Moorish’ groups as has conventionally been assumed. These internal tensions were manifested most clearly in a series of mutinies and revolts within the army, leading ultimately to a coup, probably in early 546, when the Dux Numidiarum Guntharith seized authority in Carthage. That many of the leading figures in the administration seem to have come to terms with this tyrant testifies to the weaknesses within the imperial system, and the challenges which faced John at the time of his landing around six months later. This chapter briefly explores the nature of relations between frontier commanders and their ‘barbarian’ neighbours, many of whom aspired to office within the imperial system. It suggests that the ‘Moorish’ crisis John faced in 546 (which had smouldered for three or four years by that stage), was the direct consequence of internecine struggles within the imperial system, as allies increasingly acted in their own interest

The final chapter explores first the religious underpinnings of the text and notes that the Iohannis rested on Christian assumptions even as it used the imagery and rhetoric of classical epic to recount an essentially secular narrative. The epic includes recognizable portraits of two African churchmen who were spokesmen in the ‘Three Chapters’ controversy. Far from ignoring contemporary religious problems, Corippus may have intended his poem to accentuate the support of the entire African populace for the imperial military programme. The chapter then turns to representations of ‘Moorish’ religious practices within the poem. While it is tempting to suppose that Corippus presents a timeless image of African religion, the Iohannis was very much a product of the mid-sixth century. The poet drew upon literary models, but the details of his account may betray contemporary practices. The Iohannis was composed at a time when the imperial authorities in Africa were consolidating the recent military victories with a programme of evangelism into the frontier regions, pre-desert and oasis communities. The chapter concludes with a discussion of this programme and of how this changes our understanding of Corippus’ text.

Chapter 1 introduces the Iohannis and sets the book in its intellectual context. It discusses the particular difficulties associated with the epic and the different approaches scholars have adopted to it. It argues that the poem cannot be read as an extended panegyric and suggests that the poet was motivated to address the perceived shortcomings of imperial rule, rather than simply to celebrate recent military victories. The chapter provides a survey of the chapters to follow and closes with a detailed summary of the narrative of the Iohannis itself.

Chapter 5 examines Corippus’ accounts of military activity, his battle narratives and his use of violent imagery. The first part of this chapter discusses the likely sequence of John’s campaigns in 546, 547 and 548. Certain conclusions are drawn regarding the size of John’s army, its constitution and the strategic goals he followed, as well as Moorish fighting practices in the same period.The second part of the chapter considers the long battle accounts within the Iohannis, and the political function they may have had. Stylized combat sequences were a very common feature of Greek and Latin epic, and Corippus added new and visceral imagery to the poetic repertoire. Violent imagery of battle was a display of poetic virtuosity, but also a means to address the ambiguities of ‘Moorish’ identity and political fealty. Battle clarified loyalties – and hence identities – in a manner that was not otherwise possible. Violent imagery accentuated this process, essentially transforming the ‘good’ Moors into heroes, (and so comparable to their Roman allies), and the ‘bad’ into abject and dismembered body parts. If the Iohannis was intended to reconstitute the body politic in North Africa, it frequently did so in an unusually literal manner.

The Iohannis remains something of a puzzle. Corippus’ motivations in composing the work, the degree to which he manipulated his knowledge of the recent past to meet his own literary ends and the innumerable details of the poem’s Latin all resist straightforward elucidation. But an appreciation of the delicate political position of Justinianic North Africa at the time of its composition is crucial to appreciating the historical importance of the poem and casts a great deal of light upon the text that survives to us. This in turn allows us to consider the Iohannis as a meaningful source on the early history of imperial rule in the region, and not simply as a repository of discrete points of historical or ethnographic information, or indeed as a thoughtless regurgitation of imperial ‘propaganda’. Repeated political and military convulsions had destabilized the Byzantine occupation almost from its outset, and had left a profound mark upon the economy and society of Africa.1 This pattern can only have been exacerbated by the plague of 543 and (perhaps) by the poor harvests which had struck other parts of the Mediterranean world following the cold snap of 536.