GREEK CHRISTIAN POETRY IN CLASSICAL FORMS: THE CODEX OF VISIONS FROM THE BODMER PAPYRI AND THE MELDING OF LITERARY TRADITIONS Kevin James Kalish A DISSERTATION PRESENTED TO THE FACULTY OF PRINCETON UNIVERSITY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY RECOMMENDED FOR ACCEPTANCE BY THE DEPARTMENT OF COMPARATIVE LITERATURE Adviser: Daniel Heller-Roazen June 2009 UMI Number: 3356722 Copyright 2009 by Kalish, Kevin James All rights reserved INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted Also, if unauthorized copyright material had to be removed, a note will indicate the deletion UMI Microform 3356722 Copyright 2009 by ProQuest LLC All rights reserved This microform edition is protected against unauthorized copying under Title 17, United States Code _ ProQuest LLC 789 East Eisenhower Parkway P.O Box 1346 Ann Arbor, MI 48106-1346 © Copyright by Kevin James Kalish, 2009 All rights reserved ABSTRACT This dissertation presents a new chapter in the story of Christian culture’s engagement with classical literary culture The Codex of Visions, part of the Bodmer Papyri discovered in upper Egypt in 1952, provides the material for my study This codex contains previously unknown and anonymous Greek Christian poems dating from the mid-fourth to the mid-fifth century The nature of the codex is eclectic, and I base my analysis on four narrative poems from the codex These poems, though composed according to classical prosody and employing archaic diction, nonetheless deal with Christian themes, from visions of heaven to retellings of Bible episodes I argue that these poems show how Christian poets in Late Antiquity melded Christian and classical traditions to form a new type of poetry Chapter One gives an introduction to the codex and provides background information on Christian poetry in Late Antiquity and the classical tradition The “Vision of Dorotheus,” a poem that recounts a vision of heaven narrated by a Roman soldier, is the subject of Chapter Two In a poem on Abraham and the Sacrifice of Isaac (Chapter Three), the poet imagines what Abraham, Sarah, and Isaac would have said to each other before the sacrifice Chapter Four discusses two poems on Cain and Abel Cain’s lament evokes monologues from Greek tragedy, whereas Abel, in Hades, paraphrases Psalm 101 and looks forward to the coming of his savior The poems on Abraham, Cain, and Abel take rhetorical devices as their starting points: characterization (ethopoiia) and paraphrase are used as the basis for poetic experiments in retelling Biblical episodes iii An important conclusion from this study is that these poems imitate the poetry of Gregory of Nazianzus, the fourth-century bishop, theologian, and poet Since we know that Gregory composed most of his poetry in the 380s, this establishes a more precise date for these poems Subsequently, these poems from the Codex of Visions provide a glimpse of how Christian poetry developed after Gregory’s classicizing poetry and before the emergence of new poetic forms in the sixth century with the poetry of Romanos the Melodist iv ABBREVIATIONS Abbreviations for papyri follows the Checklist of Editions of Greek, Latin, Demotic, and Coptic Papyri, Ostraca, and Tablets found online at LSJ A Greek-English Lexicon, ed H.G Liddell, R Scott, and H.S Jones (Oxford: Clarendon Press, 1996) LXX Septuaginta, ed Alfred Rahlfs (Stuttgart: Deutsche Bibelstiftung, 2006) PG Patrologia Graeca, ed J P Migne (Paris, 1857—) PGL A Patristic Greek Lexicon, ed G.W.H Lampe (Oxford: Clarendon Press, 1961) OCD Oxford Classical Dictionary, ed Simon Hornblower and Antony Spawforth, 3rd ed (Oxford: Oxford University Press, 1996) v ACKNOWLEDGEMENTS I wish to express my gratitude to all of those who made this possible First, I would like to thank my committee—Peter Brown, Andrew Ford, Daniel HellerRoazen, and Stratis Papaioannou (Brown University)—for seeing this project to its completion The composition of my committee reflects the interdisciplinary nature of my time at Princeton Peter Brown’s advice, encouragement, and generous spirit have helped me at every stage of this work Andrew Ford has ensured that one foot remains in Classics Stratis Papaioannou agreed to serve as an outside reader, and his perspective and careful comments have helped immensely Beyond my committee, many at Princeton and beyond offered guidance and suggestions My first stab at the “Vision of Dorotheus” came about during a seminar taught by Constanze Güthenke, and little did I know then the direction that paper would take me Raffaella Cribiore encouraged me to take on this project when I was a student at the Summer Seminar in Papyrology sponsored by the American Society of Papyrologists (Columbia University 2006); she has provided the much need papyrological expertise throughout the process AnneMarie Luijendijk, since her arrival at Princeton, has answered many papyrological questions Towards the end of the process, Eileen Reeves was instrumental in answering procedural questions and helping me find teaching Valerie Kanka offered much needed assistance with administrative details vi Support of various types, as well as continual inspiration, came from the Program in Hellenic Studies at Princeton University Hellenic Studies provided financial support with a Stanley J Seeger Fellowship as well as a home away from home I have also benefited from financial support in Comparative Literature with the Joseph E Croft ‘73 Summer Fellowship, (2004, 2005) and the Mary Cross Summer Fellowship (2004) The Center for the Study of Religion, with their Graduate Research Award, provided funding and a forum for presenting an earlier version of Chapter Two The Byzantine Studies Association of North America encouraged my efforts with their Graduate Student Prize Numerous friends at Princeton also deserve my thanks Matt Milliner graciously read the entire dissertation and offered valuable feedback Many have read portions or offered feedback on various talks based on this dissertation But most of all it is the friendship that I cherish My thanks go out to, among others: Craig Caldwell, Jack Tannous, Richard Payne, Dan Schwartz, David Michelson, Petre Guran, Nebojsa Stankovic, Scott Moringiello, Leah Whittington, Dawn LaValle, Alana Shilling, Nick Marinides, Andrew Hui, and Christian Kaesser Most of all I wish to thank my family My parents, in addition to all the support and love they have offered, instilled in me the sense of dedication and perseverance to see this project to its conclusion To them and to my siblings I offer my thanks My wife Erin has learned more about early Christian poetry than she ever wanted to know Her love, support, and editorial expertise have made all of this a reality My daughter Elizabeth has helped in ways she can barely imagine Much of this was written as we awaited her birth Since then, she has offered much need vii diversions and a reminder that scholarship needs to be balanced with time playing outside To Erin and Elizabeth I dedicate this work viii TABLE OF CONTENTS ABSTRACT .III ABBREVIATIONS V ACKNOWLEDGEMENTS .VI TABLE OF CONTENTS IX CHAPTER ONE: AN INTRODUCTION TO THE CODEX OF VISIONS FROM THE BODMER PAPYRI AND THE MELDING OF LITERARY TRADITIONS 10 CHAPTER TWO: A TRIP TO HEAVEN RETOLD IN HOMERIC VERSE BY A ROMAN IMPERIAL GUARD: THE “VISION OF DOROTHEUS” (P.BODM 29) 31 CHAPTER THREE: VISUALIZING DIALOGUES: THE IMAGINED SPEECHES OF ABRAHAM, ISAAC, AND SARAH IN “TO ABRAHAM” (P BODM 30) 66 CHAPTER FOUR: GIVING A VOICE TO THE DEAD: ETHOPOIIA IN THE POEMS ON CAIN AND ABEL (P BODM 33 AND 35) 119 CONCLUSION 156 APPENDIX ONE 168 WORKS CITED 169 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ONE: AN INTRODUCTION TO THE CODEX OF VISIONS FROM THE BODMER PAPYRI AND THE MELDING OF LITERARY TRADITIONS HOMER’S ISLAND OF CALYPSO AND THE CHRISTIAN PARADISE In an anonymous poem from the Bodmer. .. poems from the codex, giving it the title Codex of Visions. 15 Many of the poems from the Codex of Visions recast Biblical episodes These poems take part in Christian exegesis, but they this in classical. .. Christian themes THE CODEX OF VISIONS AS A NEW CHAPTER IN THE HISTORY OF CLASSICIZING GREEK POETRY The history of Christian poetry composed in classical forms is a long and varied story When the emperor