Language and Style in Antonius Diogenes: Atticism and the Second Sophistic

Re- Wiring the Ancient Novel Volume 1: Greek Novels

Re-Wiring the Ancient Novel Volume 2: Roman Novels and Other Important Texts

ANCIENT NARRATIVE Supplementum 24.2 Editorial Board Gareth Schmeling, University of Florida, Gainesville Stephen Harrison, Corpus Christi College, Oxford Heinz Hofmann, Universität Tübingen Massimo Fusillo, Università degli Studi dell’Aquila Ruurd Nauta, University of Groningen Stelios Panayotakis, University of Crete Costas Panayotakis (review editor), University of Glasgow Advisory Board Jean Alvares, Montclair State University Alain Billault, Université Paris Sorbonne – Paris IV Ewen Bowie, Corpus Christi College, Oxford Jan Bremmer, University of Groningen Koen De Temmerman, University of Ghent Stavros Frangoulidis, Aristotelian University of Thessaloniki Ronald Hock, University of Southern California, Los Angeles Irene de Jong, University of Amsterdam Silvia Montiglio, Johns Hopkins University John Morgan, University of Wales, Swansea Michael Paschalis, University of Crete Judith Perkins, Saint Joseph College, West Hartford Tim Whitmarsh, University of Cambridge Alfons Wouters, University of Leuven Maaike Zimmerman, University of Groningen Website www.ancientnarrative.com Subscriptions and ordering Barkhuis Kooiweg 38 9761 GL Eelde the Netherlands info@barkhuis.nl www.barkhuis.nl

Re-Wiring the Ancient Novel Volume 2: Roman Novels and Other Important Texts edited by Edmund Cueva Gareth Schmeling Paula James Karen Ní Mheallaigh Stelios Panayotakis Nadia Scippacercola BARKHUIS & GRONINGEN UNIVERSITY LIBRARY G R O N I N G E N 2018

Book and cover design: Barkhuis Image on cover: Antonio Canova (1757 – 1822), Psyche Revived by Cupid’s Kiss, Marble - H. 1.55 m; L. 1.68 m; D. 1.01 m, MR 1777, Paris, Musée du Louvre © 2010 Musée du Louvre / Raphaël Chipault. ISBN 9789492444561 Copyright © 2018 the authors All rights reserved. No part of this publication or the information contained herein may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronical, mechanical, by photocopying, recording or otherwise, without prior written permission from the author. Although all care is taken to ensure the integrity and quality of this publication and the information herein, no responsibility is assumed by the publishers nor the author for any damage to property or persons as a result of operation or use of this publication and/or the information contained herein.

Contents PETRONIUS T IZIANA R AGNO The Light in Troy (Petr. 89): Imitation of Archaic (and Modern) Tragedy and Discovery of Virgil’s New Epic 3 M ARILYN B. S KINNER Social Reproduction among Petronius’ Freedmen 43 APULEIUS N ADIA S CIPPACERCOLA Fabulae, Humanity, and Fortune: Towards a Reading of Apuleius’ Metamorphoses 59 G EOFFREY C. B ENSON Cupid and Psyche and the Illumination of the Unseen 85 L EONARDO C OSTANTINI The Entertaining Function of Magic and Mystical Silence in Apuleius’ Metamorphoses 117 P AOLA F RANCESCA M ORETTI ‘Seeing the Truth’: Some Remarks on Color(s) and Meaning in Apuleiusʼ Golden Ass 135 R EGINE M AY Magic and Continuity in Apuleius: Isis from Witchcraft to Mystery Cults

C O NT E NT S T IMOTHY M. O’ SULLIVAN Human and Animal Touch in Apuleius’ Golden Ass 179 S ILVIA M ATTIACCI Robbers, Matrons, and the Roman Identity of Haemus’ Tale in Apul. Met. 7,5‒8 191 ANTONIUS DIOGENES H ELENA S CHMEDT Language and Style in Antonius Diogenes: Atticism and the Second Sophistic 213 PROTAGORAS ROMANCE N IALL W. S LATER Speech Acts and Genre Games in the Protagoras Romance 231 PHLEGON V ALENTINA P OPESCU Phlegon’s Marvels in Context 249 HISTORIA APOLLONII REGIS TYRI B ENJAMIN W HEATON The Historia Apollonii Regis Tyri and the Transformation of Civic Power in the Late Empire 263 MISCELLANEOUS S USAN T OWER H OLLIS Late Egyptian Literary Tales

C O NT E NT S J UDITH P ERKINS Non-Retaliation in the Acts of Philip 297 D ONALD L ATEINER Olfactoring Ancient Fictions: Fair and Foul Fragrances in Ancient Novels 319 Contributors 355 Abstracts 361 Indices Index locorum General Index

Language and Style in Antonius Diogenes: Atticism and the Second Sophistic H ELENA S CHMEDT Goethe-Universit t Frankfurt am Main This paper explores the language and style of Antonius Diogenes’ novel The Incredible Things Beyond Thule (Apista) by relating the novel, which was written probably at the end of the first or the beginning of the second century AD, to two literary movements of its time, Atticism and the Second Sophistic. Both in antiquity and modern scholarship the term Atticism is used to describe two rather different trends of Greek Augustan and Imperial Literature: first, an endeavor to follow Classical authors in lexical usage and grammar, mainly in opposition to contemporary koiné; second, a tendency to imitate the rhetorical style of Classical authors and orators, especially in opposition to Asianism. Whereas the label ‘Attic’ is often part of a self-definition, ‘Asiatic’ is only used in a polemic way to characterize others. As lexical Atticism has recently been addressed by Russo,1 I focus on the second kind of Atticism, the rhetorical and stylistical one. My angle is to relate Antonius Diogenes’ stylistic choices to statements on style by Dionysius of Halicarnassus, one of the most prominent exponents of rhetorical Atticism.2 However, there was no authoritative opinion on how to write Attic, nor one uncontroversial canon by Attic authors that an Atticist should imitate. Schmitz convincingly argues that this very debate and dissension fits well into the agonistic culture of paideia of the Second Sophistic,3 the second movement in relation to which I will examine the Apista. It is well known that ‘Second Sophistic’ is a fickle term, used The research presented in this paper will also be published in a chapter on Antonius Diogenes’ language and style, forthcoming in my doctoral thesis, Antonius Diogenes: Die unglaublichen Dinge jenseits von Thule. Edition, Übersetzung, Kommentar (Berlin and New York, De Gruyter, 2018). 1 Russo 2016. 2 De Jonge 2008, 13 and 11. 3 Schmitz 1997, 125–127. Re-Wiring the Ancient Novel, II, 213–228

HE L E NA S C H M ED T in modern scholarship to describe nearly anything related to Greek literature of the Imperial Era, from rhetorical fashion, to political resistance to the Roman Empire, to postmodern lifestyle. I will use ‘Sophistic,’ firstly, to designate certain stylistic features that are associated with the Older Sophists, especially Gorgias, and that resurface in Imperial prose. Furthermore, I will also use ‘Sophistic’ to refer to elements and motifs popular in Imperial prose, both in oratory and in other prose genres such as the novel. Therefore the focus will shift from a stylistic or even linguistic approach to a broader literary one. The text of the Apista itself is lost. Only a few short papyrus fragments,4 some quotes in the Neoplatonist Porphyry’s Life of Pythagoras, the summary written by the Byzantine patriarch Photius, and a few short passages in other authors remain. Due to the fragmentary nature of the text it is difficult for us to grasp what reading the novel was like to use a consciously vague term for the reading experience as a whole that includes aesthetic, intellectual, and emotional aspects. This paper adds to the question of ‘what was reading the Apista like,’ by discussing not only language and style but also some literary motifs, which are especially important for the aesthetic character of the novel. The results might be useful when considering further issues such as audience and intertextuality. Since the incomplete transmission only allows us to take a glimpse at the novel, the analysis is based on the premise that the transmitted fragments and Photius’ summary are somehow representative of the novel. 1. Atticism Regarding lexical Atticism, Russo has shown that Antonius Diogenes mainly uses Atticist vocabulary, that is, vocabulary attested in Attic authors taken as models by the Atticists or vocabulary recommended in the Atticist lexica or both. However, some words do not fall into this category, especially a few of those in passages on Pythagoras. The percentage of such non-Attic vocabulary is similar to the one in Chariton and higher than in the other novelists. 4 For the last ten years, four fragments have been known: PSI 1177, P.Oxy. LII 3012, L 4760 and 4761. For the sake of brevity, I omit the numbers of volumes and refer only to PSI 1177 etc. In 2017, a new fragment is added: P.Oxy. 5354, to be published in P.Oxy. III (2018) by Peter J. Parsons.

LA N GU AG E A ND S T Y LE IN AN T ON I US D I OG E NE S 1.1 Tropes As to rhetorical and stylistical Atticism, we find restrained use of tropes in the five papyrus fragments that are attributed with some certainty to Antonius Diogenes. There are three examples of predicates that could be classified as personifications: PSI 1177,6: P.Oxy. 4761,9 10: P.Oxy. 4761,14 15: on’ – ‘what came to my mind then’ – ‘as the danger approached’ – ‘as the flight spurred them In all three cases of potential personification the alienating force of the phrasing seems rather weak; it is doubtful whether an ancient reader would have felt the trope behind the phrase at all. In P.Oxy. 4761, a person is called ‘weak and a wandering child,’ with as a rather plain metaphor for a vulnerable or helpless person.5 Finally, while the exact meaning of in P.Oxy. 3012 is disputed, the phrasing can be explained as metonymy whether we take it to mean ‘to take heart’ or ‘to feel.’6 The very discussion about the meaning, due to the fact that the uncture is not attested elsewhere, might indicate that the wording here is a bit more unusual than in the other instances. P.Oxy. 4760 and P.Oxy. 5354 do not present any instances of tropic speech. The avoidance of tropes is the second feature that Dionysius of Halicarnassus praises in Lysias and his plain style; the first is the use of plain and common vocabulary.7 Dionysius elsewhere recommends the middle style as the best out of 5 4 5 – ‘for a single person is a weak thing and a wandering child.’ Martin L. West apud Bernsdorff 2006: ( es) Parsons 2006. Cf. the translations by Parsons 2006 (‘for you are a weak thing and a wandering boy’) and Bernsdorff 2006 (‘Denn wer einzeln umherirrt, zumal ein Kind, ist ein schwaches Ding’). 6 2 7: , , , ... – ‘But I, how should I tell you, Deinias, about the important matter..., what attitude can I find/with what feelings ’ (translation Stephens/Winkler 1995/my adaptation). 7 D.H. Lys. 2,2 3,2 ... ... ... . ... - ... , , ... . . ‘This matter of pure language...This, then, is one quality I find in our orator which deserves to be studiously imitated...He displays a second quality no less important

HE L E NA S C H M ED T the three. His wording nevertheless makes it clear that the plain style is still acceptable, even praiseworthy, whereas the metaphorical description of Gorgias’ grand style as ‘vulgar,’ , recalls the harsh rebuke of Asiatic style where bad style is likewise compared to a woman of dubious morals.8 1.2 Repetition of Vocabulary Antonius Diogenes’ choice of words, under the perspective of plain versus extravagant vocabulary, can best be studied in PSI 1177. Antonius Diogenes repeats a number of words, mostly verbs, in the thirty lines: , ‘writing tablet’ (6 7 and 15) , ‘to give’ (9 and 19) , ‘to incise’ (10 11 and 16) , ‘to re oice’ (12 and 26) , ‘immediately’ (13 and 22 23) , ‘to take’ (15 and 20) , ‘very’ (18 and 19) , ‘to want’ (17 and 30) , ‘go away ’ (22 and 27) A comparison of all of the fragments to each other, including the new papyrus P.Oxy. 5354, results in further matches, as in the use of the same words: , ‘immediately’ (PSI 1177,21; P.Oxy. 3012,12; P.Oxy. 5354,12) , ‘to say’ (PSI 1177,10; P.Oxy. 3012,4 5; P.Oxy. 5354,14) , ‘to arrive’ (P.Oxy. 4761,24; P.Oxy. 5354,4, 42 and 45) than this...It is the expression of ideas in standard, ordinary everyday language: Lysias is rarely to be found employing metaphorical expressions...His predecessors have no such claim to praise...they abandoned ordinary language and resorted to artificial expression. They used a plethora of metaphors, exaggerations and other forms of figurative language, and further confused the ordinary members of their audiences by using recondite and exotic words...Gorgias of Leontinoi is a case in point. He wrote many of his speeches in quite vulgar, inflated style’ (translation Usher, Loeb). 8 D.H. Orat. Vett. 1,6 7: , , ,... . ‘The ancient and indigenous Attic Muse, deprived of her possessions, had lost her civic rank, while her antagonist, an upstart that had arrived only yesterday or the day before from some Asiatic death-hole...claimed the right to rule over Greek cities, expelling her rival from public life’ (translation Usher, Loeb).

LA N GU AG E A ND S T Y LE IN AN T ON I US D I OG E NE S related composita and simplicia: , ‘to give’ (PSI 1177,9 and 19) (P.Oxy. 5354,5) , ‘to take’ (PSI 1177,17 and 30; P.Oxy. 4761,18) (P.Oxy. 5354,8) , ‘to stay’ (P.Oxy. 4761,2) (P.Oxy. 5354,13 and 19) – (P.Oxy. 5354,40) , ‘to seize’ (P.Oxy. 4761,20) (P.Oxy. 5354,1) , ‘to recognize’ (PSI 1177,26) (PSI 1177,24) – (P.Oxy. 5354,2) - or whole phrases: , ‘this it showed’ (P.Oxy. 3012,1 2) – , ‘it showed this’ (PSI 1177,22) , ‘my own misfortunes’ (P.Oxy. 3012,9 10) – , ‘her misfortunes’ (PSI 1177,24 25).9 Of the words repeated, only and are a bit more specific, though still widely attested and hardly remarkable. The other words are the standard expressions for the things they indicate, especially so for the basic human actions to give, to take, to want, or to re oice. Antonius Diogenes certainly could have found more fanciful synonyms, compounds, or even neologisms for these actions and matters had he wanted to avoid repetitions and to impress the reader with his broad lexicon, ust as Lysias’ predecessors do according to Dionysius.10 But obviously, Antonius Diogenes preferred to repeat the plain standard term. This plain vocabulary follows Lysias rather than Gorgias and would have been called Attic, as opposed to Asiatic, by Dionysius.11 Dionysius’ rebuke of Gorgias is all the more noteworthy as Gorgias is one of the main representatives of the 9 Stephens and Winkler 1995, 154. 10 As to the stylistic ideal of lexical variatio cf. Rhet. Her. 4,42/54: Verbis commutabimus, cum re semel dicta iterum aut saepius aliis uerbis, quae idem ualeant, eadem res proferetur. ‘Our changes will be verbal when, having expressed the idea once, we repeat it once again or oftener in other, equivalent terms’ (translation Caplan, Loeb). 11 Lysias’ style is also praised by the second prominent representative of rhetorical Atticism apart from Dionysius, Caecilius of Caleacte T 45 Woerther (Fr. 150 Ofenloch) Longin. . ‘Caecilius ventured, in his writings in praise of Lysias, to make the assertion that Lysias was altogether superior to Plato’ (translation of Longinus : Roberts, Cambridge University Press).