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A discussion of the influence of the ancient Greek poetic tradition (specifically Sappho and Empedocles) on Gregory of Nazianzus.
BMGS 40, Issue 2 (2016)
Gregory of Nazianzus and Theodore Prodromos are two of the most influential poets of Byzantium. And yet, no study has examined the various intertextual correspondences between their poetic works. This article is the first to demonstrate the extensive appropriation of Gregory's work by Prodromos. It is divided into three parts:1 the first discusses poems composed by Prodromos in praise of Gregory; the second part attempts to show which of Gregory's poems Prodromos read and his technique of ‘plundering’ words from Gregory's corpus; the third part concentrates on Prodromos’ creative imitation of Nazianzus’ poetry in terms of wording, genre and sentiments, which eventually enabled him to craft part of his authorial self-portrait.
Graeco-Latina Brunensia
The affection for words was an intrinsic part of Saint Gregory of Nazianzus' personality. As a theologian, orator, and poet he was well aware of the nuances and the power words yield. The aim of this article is to examine Gregory's approach to classical education as presented in his poetry, [and] expressed through his praise of words, or eloquence, in general. The motivation for focusing the research on his poetry is the fact that, for Gregory, poetry was his the means of influencing young Christians. Gregory intended to offer them more appealing reading than the austere Christian commandments. For him, logoi and mythoi embracing, inter alia, ancient erudition (i.e. not the knowledge of philosophy and literature alone but also, for example, mythology) were the solid cornerstones to build upon, and which could also be used by young Christians able of critical thinking to choose only the good and beneficial from it. Thus, Gregory's poetry reflects various philosophical motifs, including his striking inspiration by Cynicism, but also his reservations concerning empty formal rhetoric. Erika Brodňanská Paideia [Education] through the lens of the words in the poetry of Gregory of Nazianzus Graeco-Latina Brunensia 21 / 2016 / 1 ČLÁNKY / ARTICLES human and spiritual journey. Even though he loved solitude and wished for reclusive living to fully immerse himself in contemplation, he felt a constant duty to participate in the social and political life of his times and also be involved in the uneasy fight against the heresies of the period. It seems that his life was a constant oscillation between the vita activa and the desire for vita contemplativa. He was a Christian, yet did not condemn the culture he lived in. He was a theologian with contemplative soul, as well as an orator and a poet. 2 History has preserved for us 44 of his speeches ("orations"), around 250 letters, and more than 17,000 lines of poetry. 3 In his work, including his poetry, he gave attention not only to the purpose and factual substance of the subject, but also to the literary form. He offered impressive language to those who read and heard his work, appealing to both Christians and pagans. His love for the word was an intrinsic part of his personality. In the epitaph for himself, Gregory enumerates ten significant aspects of his life. The fourth of these is: Τέταρτον ἀμφήκη μῦθον ἔδωκε Λόγος. 4 Gregory feels that his gift of speech came from Logos, and he crafts his words to imitate it. "In respect of this poetry line, A. Hofer points out that while Č. Milovanović translates this phrase 'blessed with a twoedged speech' and writes that Gregory 'was so proud of his literary versatility' of being both a supreme orator and a prolific poet, W. R. Paton 5 takes 'two edged speech' to mean sacred and profane." 6 Obviously, a sensitive perception of words or the word is nothing exceptional and certainly not the domain of St. Gregory of Nazianzus alone. The word had already been of extraordinary interest to ancient philosophers. The origin of Greek philosophy was connected to discovering a new approach towards the world, a new type of speech, and a new manner of understanding. Beginning with Homer and Hesiod, we can identify certain elements of rational understanding of the whole world through conceptualising of human experience (such as Homer's description of Achilles' shield in Iliad, 7 or the alternation of generations or epochs in Hesiod's work Ἔργα καὶ ἡμέραι, vv. 106-201). Ancient Greeks developed a great awareness of the unity of language and thinking, i.e. thinking (an idea) was a silent discussion (a word) to them, while discussion (a word) was thinking (an idea) aloud. 8 With the rise of Christianity "many early Christian writers 2 Brodňanská (2012: p. 11).
This is a critical edition, with introduction and commentary, of four poems written by Gregory of Nazianzus (I.2.17; II.1.10, 19, 32). Gregory was an enthusiastic reader of Callimachus and special attention is paid to his use of poetic allusion.
Callimachus and Callimacheanism in the Poetry of Gregory of Nazianzus, 2019
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’s 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 (leptotēs), 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.
Ethical teachings of Classical Antiquity philosophers in the poetry of Saint Gregory of Nazianzus, 2019
The paper focuses on the ethical teachings of Classical Antiquity philosophers in the poetry of Saint Gregory of Nazianzus, especially on the parallels between the author's work and the Cynics and the Stoics. The syncretic nature of Gregory's work, reflected in the assimilation of the teachings of ancient philosophical schools and the then expanding Christianity creates conditions for the explanation and highlighting of basic human virtues. Gregory of Nazianzus' legacy also draws on the teachings of such philosophers as Plato and Aristotle, but he always approaches them from the perspective of a strictly Christian worldview. He understands philosophy as a moral underlying basis from which one can draw inspiration for a virtuous and happy life. Gregory thinks that philosophy cannot harm Christians in the pursuit of a virtuous life. Nevertheless, Christian teachings and God are the highest authority. They stand above all philosophical schools or ideas advanced by specific philosophers. Gregory's moral poetry thus directs his readers, if they are to deserve eternal life, to follow the commandments, which is possible only if one lives a practical and virtuous life. The Golden Age of Patristic Literature, as the 4 th and 5 th century CE are often referred to, provides an abundance of material of great theological and literary significance. It is a period in which the declining culture of pagan antiquity meets the successfully expanding Christianity. The two cultural paradigms are also confronted in the works of St. Gregory of Nazianzus-a theologian and one of the most important church fathers of the Eastern Christian tradition, who also excelled as rhetorician and poet. He taught and explained basic questions of faith, provided reading of the Scripture, expressed his opinions on education, preached and praised, contemplated on being, offered insight into his innermost thoughts, pondered moral dilemmas, and, in doing so, he did not hesitate to draw on the ancient pagan philosophers, selecting worthy ideas and offering them to young Christians. Ultimately, each ancient philosophical system comprises ethical teachings or criticism of morality, calls for a certain way of behaving and entails life choices. Moral education was highly regarded by the ancient Greeks. This is evidenced by the statements of the seven sages 3 gathered in Delphi in order to sacrifice the fruit of their wisdom to Apollo in his temple. The sages' votive offerings were the inscriptions of words recognized today by the whole world (e.g. Know yourself, Not too much of anything). 4 The inventory of these and other maxims and adages was engraved in stone near the temple. The habit of displaying similar inscriptions in public places, so that passers-by could always see them, spread throughout the Greek world (Hadot, 2004, p. 21). The tradition of educating the youth (παιδεία; paideia) in Greece had been flourishing since the time of Homer and maintained by those who had the so-called ἀρετή (arete), an ability inherited by virtue of noble lineage, since it pertained to members of the aristocracy. The word ἀρετή denotes something that is appreciated, conspicuous and inspiring awe. In Homer's times it was prowess in battle and physical perfection. Nevertheless, the Greeks had gradually shifted from admiring military
Book 8 of the Palatine Anthology (AP) is devoted to the epigrams of the bishop Gregory of Nazianzus (c. 330-90 CE). Several features of his collections are peculiar: Gregory devotes numerous epigrams to single themes and mixes freely traditional epigrammatic topoi with allusions to Christian scripture. While other interpreters have invoked Gregory's rhetorical training or his desire to honor his family members to explain his work, I maintain that the epigrammatic tradition provides the proper lens through which to view Gregory's own contributions to the genre.
Graeco-Latina Brunensia
This article proposes a formal and linguistic commentary on an epigram by Gregory of Nazianzus (AP 8.21). It then makes some general observations. The poem belongs to a series of epigrams dedicated to Gregory's father, who is also the persona loquens. The poet starts with a well-known scriptural quotation from the Book of Micah (5) about how small Bethlehem is and extends the same concept to Nazianzus, the village whose spiritual care Gregory's father has entrusted to him. In each case, the town's small size corresponds to its inversely proportional spiritual importance. The formal solutions adopted in the epigram, specifically the use of the adjective τυτθός, reveal the poet's admiration for and imitation of Callimachus, but also his originality in renewing pagan poetic language with the purposeful insertion of Christian vocabulary. An area for further research concerns the presence of elements of the most widespread epic diction of Gregory's time (such as the increased use of datives in-εσσι), as found in the Sibylline Oracles and Manetho's Apotelesmatics.
Studia Patristica. Vol. 115. Papers presented at the Eighteenth International Conference on Patristic Studies held in Oxford 2019 Edited by Markus Vinzent , 2021
The poems of Gregory of Nazianzus are meant to bring together the desire for beauty emerging from contemplation (θεωρία) and the progress towards the good. They express the pedagogical intention to lead young people to more useful teachings, echoing the attitude towards Greek poetry in Plato’s Republic, Plutarch’s De audiendis poetis, and Basil’s Ad adolescentes. The article investigates how the verses considered as a pleasant medicine (φάρμακον) depict the human condition in its present fragility, as well as in its journey to deification. It analyses metaphors attached to human vulnerability (e.g. swan, ant, ship, shadows, dream, dust, the movement in circle) in contrast with the motif of light reflecting the participation in the divine. Moreover, I approach the notion of ‘image of God’ imprinted in the human being, and I analyse how the divine image makes possible the ascent (return) from ‘misery’ and ‘mortal condition’ to resplendence, spiritualisation and incorruption.
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