On Friday, January 3, 2020, I present a paper at the annual meeting of the Society of Classical Studies (program here). The paper is entitled, “Gregory of Nazianzus and Apollinaris of Laodicea: Callimachean Polemic in the 4th c. CE.” Relevant links:
For my presentation today at Catholic University of America’s conference on “Christian Culture and Cultures in the Patristic Age,” I’ve created with the Greek and English text of the poem I’ll be discussing (Gregory of Nazianzus’ poem 1.1.11, On the Incarnation). I’m particularly exited to show off the capabilities of hypothes.is, an excellent annotation tool.
You may find the demo site here: https://gregory.equul.us.
This past Wednesday (April 10, 2019), I successfully defended my dissertation entitled, “Callimachus and Callimacheanism in the Poetry of Gregory of Nazianzus.” Here’s the abstract:
In this study, I analyze the poetics of Gregory of Nazianzus (ca. 330–390 AD), who was one of the first Christian poets writing in Greek to leave an extensive corpus of poetry (about 17,000 lines). Gregory work is striking not only for its breadth but also for its wide variety of themes and metrical schemes. As my focal point, I have chosen Gregory’s reception and adaptation of the poetry and poetics of Callimachus of Cyrene (ca. 290–230 BC). Callimachus was the first poet in the western tradition to enunciate an aesthetic and came to typify for subsequent authors an approach to poetry that privileged finely-wrought, compressed, and erudite compositions. I argue that for Gregory, Callimachus’ works are more than simply one more source to exploit for nice turns of phrase; rather, Callimachus pervasively shapes Gregory’s entire approach to poetic composition. This is seen not only in Gregory’s allusions to Callimachean works, which are numerous and occur quite frequently in programmatic contexts, but also in features of Gregory’s work like poikilia (variety) and a strong authorial persona that have their best precedent in Callimachus’ variegated oeuvre.
In chapter one, I survey Callimachus’ reception in the second and third centuries AD. By examining the three most extensive works of hexametric didactic extant from this period (Dionysius’ Periegesis, Oppian’s Halieutica, and ps.-Oppian’s Cynegetica), I argue that Callimachus is a uniquely useful influence for probing how later poets create their poetic personae and enunciate their own aesthetic. Chapters 2–5 treat Gregory’s poetry. I have organized them around four traits that scholars have consistently associated with Callimachean poetry: originality, fineness (λεπτότης), erudition, and self-awareness. In chapter two, I show how Gregory adapts the untrodden path motif found in the prologue to Callimachus’ Aetia. I contend that Gregory’s formal experimentation should be regarded as a deliberate embrace of Callimachean polyeideia. Chapter three has as its subject Gregory’s poetic style. I show that for Gregory, Callimachus typifies the concise and technically capable poet, as Gregory consistently advocates for concise speech through allusions to Callimachus’ works. In the fourth chapter, I attend to Gregory’s erudition. His self-proclaimed mastery of both pagan and Christian literature is a foundational aspect of his poetic persona. Though the patent didactic intent in some of Gregory’s verse is at odds with Callimachus’ practice, I argue that when Gregory deploys erudition for polemical and cultural ends he fits neatly within the tradition of Alexandrian didactic. In chapter five, I consider Gregory’s poetic self-awareness. I argue that, following Callimachean precedent, Gregory created sequences of multiple poems thematically linked by ring-compositions and self-allusions. I conclude that Gregory edited his poems much more extensively than has previously been recognized. My work illuminates on the one hand how pervasively Callimachus shapes Gregory’s approach to poetic composition. Yet I have also identified a number of significant ways in which Gregory consciously departs from his Callimachean model.
The defense was by far the least stressful major milestone of the process; it was for me a stimulating hour and a half discussion about Gregory’s poetry and ways I can strengthen my work going forward. Celebrating with friends and family has been extremely gratifying, to say the least. Here’s a picture of me with my wife and children:
I find it rather strange that I haven’t blogged more about Gregory, as I have now written some 75,000 words on his verse. But when I look back over the past two years, it’s not surprising. Since April, 2017 (when the proposal was approved), I or my wife has:
- moved twice
- bought a house
- given birth to our second child
- written a 250 pp. dissertation
- presented two conference papers
- organized a conference session
- traveled to Germany and to Brazil
In short, it’s been quite a busy time! I’m exceedingly grateful for the support of my wife and sister, for the nurturing yet stimulating intellectual community of CUA, and most of all to the one, e quo et per quem et ad quem omnia.
Below you find my poetic translation of an excerpt from the Hymn Virg. of Gregory of Nazianzus (carm. 1.2.1a 107–116), where he narrates the creation of Eve:
Πλευρὴν ἐκ λαγόνων μούνην ἕλε, τήν ῥα γυναῖκα
Δειμάμενος, καὶ φίλτρον ἐνὶ στέρνοισι κεράσσας,
Ἀμφοτέροις ἐφέηκεν ἐπ’ ἀλλήλοισι φέρεσθαι·
Οὐ πᾶσ’ οὐδ’ ἐπὶ πάντας, ὅρον δ’ ἐπέθηκε πόθοισιν, 
Ὅν ῥα γάμον καλέουσ’, ὕλης ἀμέτροιο χαλινὸν,
Ὡς μὴ μαιμώωσα, καὶ ἄσχετα μαργαίνουσα,
Προφρονέως ἀγεληδὸν ἐπ’ ἀλλήλοισιν ἰόντων,1
Ῥήξειεν μερόπων ἱερὸν γένος ἐκ φιλότητος
Ἀζυγέος, πολέμους δὲ καὶ ἔχθεα πᾶσιν ὀρίνῃ 
Οἶστρος ἀσημάντοισι φορεύμενος ἀφραδίῃσιν.
He took the rib from Adam’s side and made
the wife. He mixed desire in their breasts
and bid them bear themselves to one another,
but not at all without discrimination.
He placed a limit on their loves, what we
call marriage, bridle for unmeasured matter,
lest it go mad, convulsing endlessly,
like animals that read’ly mate in herds,
and wreck the holy race of men through love
unbounded, lest desire unrestrained
should raise up wars and senseless quarrels for all.
- It is not clear how to construe this line; it may be corrupt. ↩
Basil’s Homily 10 is devoted to combatting anger, and theme Gregory took up later even more extensively in his carm. 1.2.25 Adv. iram. As Oberhaus has noted,1 the parallels between Gregory’s poem and Basil’s homily are particularly strong in the respective ekphrases of an angry person (Gr. Naz. Adv. iram 85-110 and Basil Hom. 10.2). I offer here the Greek text and my English translations of both passages.
From Basil’s 10th Homily
Ὀφθαλμοὶ μὲν γὰρ ἐκείνοις οἱ οἰκεῖοί τε καὶ συνήθεις ἠγνόηνται· παράφορον δὲ τὸ ὄμμα, καὶ πῦρ ἤδη βλέπει. Καὶ παραθήγει τὸν ὀδόντα κατὰ τῶν συῶν τοὺς ὁμόσε χωροῦντας. Πρόσωπον πελιδνὸν καὶ ὕφαιμον· ὄγκος τοῦ σώματος ἐξοιδαίνων· φλέβες διαῤῥηγνύμεναι, ὑπὸ τῆς ἔνδοθεν ζάλης κλονουμένου (357) τοῦ πνεύματος. Φωνὴ τραχεῖα, καὶ ὑπερτεινομένη, καὶ ὁ λόγος ἄναρθρος καὶ εἰκῆ προεκπίπτων, οὐ κατὰ μέρος, οὐδὲ εὐτάκτως, οὐδὲ εὐσήμως προϊών.2
For their normal and customary visage becomes unrecognizable. The eye goes askance with a fiery blaze and they sharpen their teeth like boars that advance on one another. The face becomes livid and bloodshot; the whole girth of the body swells; veins nearly break from the internal squall, while the breathing rushes wildly. The voice becomes exceedingly high and tense, while speech becomes inarticulate and falls forth to no end, proceeding without proportion, measure, or seemliness. (Basil of Caesarea, Hom. 10.2 PG 31.356–57)
From Gregory Adv. iram
εἴ σοί τις ὦπται τῶν ἁλόντων τῷ πάθει, 
οἶδας σαφῶς ὅ φημι, καὶ γράψει λόγος.
ἔσοπτρον ἐχρῆν ἑστάναι χολουμένοις,
ὡς ἂν βλέποντες, ἀλλὰ τὴν αὐτῶν ὕβριν
μικρὸν χαλῷεν, τοῦ πάθους ἐξ ὄψεως,
κατηγόρῳ σιγῶντι κάμπτοντες φρένα. 
ἢ καὶ τόδ’ ἔστηκ’ αὐτὸς ὑβριστὴς ὁ σὸς,
ἐν ᾧ κατόψει σαυτὸν, εἰ σχολὴν ἄγοις.
πάθος γὰρ οἷς ἓν, κοινὰ καὶ συμπτώματα.
ὕφαιμον ὄμμα, καὶ θέσεις διάστροφοι,
τρίχες συώδεις, καὶ γένυς διάβροχος, 
ὡχρὰ παρειὰ, νεκρότητος ἔμφασις·
ἄλλων ἐρυθρὰ, καὶ μολιβδώδης τινῶν·
ὅπως ἂν, οἶμαι, καί τινα χρώσας τύχοι
ὁ βακχιώδης καὶ κάκιστος ζωγράφος·
αὐχὴν διοιδῶν, ἀγκυλούμεναι φλέβες, 
πνοὴ λόγον κόπτουσα καὶ πυκνουμένη,
λυσσῶδες ἄσθμα, καὶ φρύαγμ’ ἀσχημονοῦν,
μυκτὴρ πλατύς τε καὶ πνέων ὅλην ὕβριν.
κρότοι τε χειρῶν, καὶ ποδῶν ἐξάλματα,
κύψεις, στροφαὶ, γέλωτες, ἱδρῶτες, κόποι· 
τίνος κοποῦντος; οὐδενὸς, πλὴν δαίμονος.
νεύσεις ἄνω τε καὶ κάτω, λόγου δίχα,
γνάθοι φυσώμεναί τε καὶ ψοφούμεναι,
ὡς δή τις αὐλοῖς3· παιομένη τε δακτύλοις
ἡ χεὶρ ἀπειλή4 καὶ ψόφων προοίμιον. [110)
If you should see one caught in passion’s grip 
you know quite clearly what it is I say
and what my poem shall at once describe.
One ought to place a mirror before the angry,
that they may see and after just a bit
of rage, the passion glimpsed, restrain their soul
before their figure’s silent accusation. 
Or if you find yourself at ease, your foe
may serve the same end as the polished glass,
for one disease has symptoms shared by all:
The eyes are shot with blood and out of place,
the hair is bristling, jaws are wet with spit; 
The cheeks are pale— the very look of death.
some parts red, and some a leaden blue
as though the face had got its hues from painters
who knew no skill but only how to drink.
The neck swells; veins distend and curve away. 
The breath then cuts and strangles off the speech;
the breathing’s manic; thence, unseemly snorts.
The nose grows broad, replete with insolence.
The hands and feet begin to leap and spring;
they stoop and strain, turn, mock and sweat. 
and who’s to blame? none but this demon foe.
Their jaws move up and down without a word;
their cheeks inflate, emitting senseless sounds
as flutists’ do. The hands, balled into fists,5
become a threat and precursor of more.  (Gr. Naz. adv. iram 85–110)6
Crimi, C. 2018. “Nazianzenica XXII. Variazioni sull’ira in Gregorio (carm. I.2.25; or. 18).” In Cipolla, P.B.ed., Metodo e passione. Atti dell’incontro di studi in onore di Giuseppina Basta Donzelli, 131–44. Amsterdam: Adolf M. Hakkert.
Geffcken, J. 1909. Kynika und Verwandtes. Heidelberg: C. Winters Universitätsbuchhandlung.
Oberhaus, M. 1991. Gregor von Nazianz. Gegen den Zorn : (carmen 1, 2, 25) : Einleitung und Kommentar. Paderborn: Schöningh.
Wagner, S.M.M. 1950. Basil the Great. Ascetical Works. Fathers of the Church 9. Catholic University of America Press. doi:10.2307/j.ctt32b2kz.
Oberhaus 1991 ad loc.↩
To my knowledge, the best text remains the Maurist edition, reprinted in PG 31 coll. 353-372, which I have cited here. The homily has been rendered into English in Wagner 1950.↩
P Caillau ἅλως (contra metrum) : codd. ἄλλος : ἀσκός Oberhaus.
I have adopted the conjecture of Crimi 2018 136.↩
codd. ἀπειλεῖ : ἀπειλή susp. Oberhaus↩
The sense of παιομένη δακτύλοις is obscure. I have followed the paraphrase Geffcken 1909 30, who interprets the phrase as a circumlocution for “balled fists.” Oberhaus 1991 ad loc. rejects this in favor of menacing hand gestures. See also discussion in Crimi 2018.↩
In translating Gregory’s verse, I have chosen to employ English iambic pentameter to render both iambic trimeter and dactylic hexameter, as iambic pentameter is the primary meter of both English epic (Milton) and drama (Shakespeare). I differentiate between the two by permitting more archaic forms in English when rendering hexameter, since the diction of hexametric poetry, particularly in Gregory’s day, was much more removed from contemporary speech than that of iambic trimeter.↩
Below you’ll find nice Homeric simile in Gregory’s long iambic poem against anger (carm. 1.2.25). I treat this in the dissertation, and post my poetic rendering here. The text comes from PG 37, though I’ve consulted the readings of Oberhaus 1991.
δεῖ δ’, ὡς ἔοικε, μή τι μαλθακὸν λέγειν, 
κακοῦ τοσούτου τῷ λόγῳ προκειμένου·
ἀλλ’ ὡς πυρὸς βρέμοντος ἀγρίαν φλόγα,
πηδῶντος, αἰθύσσοντος ἐντινάγμασι
πολλοῖς, ἄνω ῥέοντος ἐμψύχῳ φορᾷ,
λάβρως ἀεὶ τὰ πρόσθεν οἰκειουμένου, 
ὕδωρ, κόνιν πέμποντας εὐνάσαι βίᾳ·
ἤ θῆρα λόχμης ἐκφανέντα συσκίου,
φρίσσοντα, πῦρ βλέποντα, ἐξαφρούμενον,
μάχης ἐρῶντα, καὶ φόνων καὶ πτωμάτων,
λόγχαις, κυνηγοῖς, σφενδόναις καταιχμάσαι 
For one must, as is meet, avoid all languor, 
when such an ill is set before one’s reason,
and quench, like those that dirt and water cast
against a fire that belches wild flame,
and leaps and jumps with numerous shakes,
and climbs aloft with motion from within
greedily making all that was its own; 
or slay, as hunters take the wild beast
with spears and slings, when it appears from deep
within the shadowed grove, with eyes ablaze
and hair erect, foam oozing from its mouth,
lusting for battle, corpses and their death. 
Oberhaus, M. 1991. Gregor von Nazianz. Gegen den Zorn : (carmen 1, 2, 25) : Einleitung und Kommentar. Paderborn: Schöningh.
This Christmas, I read through Gregory of Nazianzus’ 38th Oration, On the Theophany. It is wondrously beautiful. Gregory’s theology and language meld into one lovely, harmonious whole. I hope reading through this oration becomes a Christmas tradition! I’ve worked up a little poem to share here. It is a verse rendition of the beginning of the oration. I’m not a particularly good poet, but hopefully enough of Gregory comes through to make it enjoyable. Fr. Aidan posted an English translation of the entire oration here, which you may also view at New Advent.
All ye, come meet the Christ and sing to God,
Thou Plenitude of Earth. Yet I must name
the both: let hea’ens and earth be glad
and make much cheer, Uranic Splendor came,
assumed our terran shame, and in flesh lay.
O man, rejoice in fear, in joy rejoice!
In fear for sin, in joy for hope of him:
The Christ-child borne of Virgin womb and shame!
O Eve’n Daughters, those of Adam’s race,
do now take up your virgin pur’ty, O
that ye be little Mary’s, full of Christ within.
Who shan’t praise him, the Chosen One who comes
of the beginning? Who shall not raise his voice
to him in whom our being finds finality?
Here is the Greek. For my fellow hellenists, much of the language in this oration is pretty simple. It gets difficult and theologically complicated at points, but a good bit is not all that difficult. My way of saying, this is recommended reading! The Greek text of the oration may be found here.
Χριστὸς γεννᾶται, δοξάσατε· Χριστὸς ἐξ οὐρανῶν, ἀπαντήσατε· Χριστὸς ἐπὶ γῆς, ὑψώθητε. ᾌσατε τῷ Κυρίῳ, πᾶσα ἡ γῆ· καὶ, ἵν ̓ ἀμφότερα συνελὼν εἴπω, Εὐφραινέσθωσαν οἱ οὐρανοὶ, καὶ ἀγαλλιάσθω ἡ γῆ, διὰ τὸν ἐπουράνιον, εἶτα ἐπίγειον. Χριστὸς ἐν σαρκὶ, τρόμῳ καὶ χαρᾷ ἀγαλλιᾶσθε· τρόμῳ, διὰ τὴν ἁμαρτίαν· χαρᾷ, διὰ τὴν ἐλπίδα. Χριστὸς ἐκ Παρθένου· γυναῖκες παρθενεύετε, ἵνα Χριστοῦ γένησθε μητέρες. Τίς οὐ προσκυνεῖ τὸν ἀπ᾽ ἀρχῆς; τίς οὐ δοξάζει τὸν τελευταῖον;