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118 © S. I. MEZHERITSKAYA Шаги / Steps. Т. 6. № 2. 2020 Статьи S. I. Mezheritsk

118 © S. I. MEZHERITSKAYA Шаги / Steps. Т. 6. № 2. 2020 Статьи S. I. Mezheritskaya ORCID: 0000-0002-6613-2474 ✉ mezh@mail.ru Санкт-Петербургский государственный университет (Россия, Санкт-Петербург) Adaptation of the poetic hymn genre to the oratory of the Second Sophistic Аннотация. О времени и обстоятельствах появления жанра прозаического гимна известно очень мало. Первое упоминание о нем встречается в риторической литературе римской эпохи, которая тоже ориентирована на позднеантичные образцы. Едва ли не главным таким образцом для греческих риторов были прозаические гимны Элия Аристида — оратора, аттикиста, крупного представителя Второй софистики (II в. н. э.). Основы- ваясь главным образом на них, Менандр Лаодикейский почти столетие спустя составил стилистические предписания, касаю- щиеся этого жанра. Гимны Аристида в честь богов написаны с 142 по 177 г. и адресованы различным богам: Зевсу, Афине, По- сейдону, Гераклу, Серапису, Дионису, Асклепию и др. По всей видимости, до Аристида прозаические гимны не имели широко- го распространения: на религиозных праздниках гимны в честь богов исполнялись обычно поэтами. Адаптация этого жанра к прозе, осуществленная Аристидом, заключается в контамина- ции традиционно поэтических элементов с классическим пане- гириком. Такого рода «энкомий» часто служил не только целям прославления определенного божества, но и центра его куль- та, жителей данной местности и даже римской власти. Высокий социально-политический статус риторики в эпоху Второй софи- стики и личный авторитет Аристида могли способствовать даль- нейшему развитию этого жанра, формированию его канонов и утверждению в позднеантичной риторической системе. Ключевые слова: античная лирическая поэзия, поэтические гимны, античная риторика, древнегреческое ораторское искус- ство, Вторая Софистика, эпидейктическое красноречие, проза- ические гимны, Элий Аристид Для цитирования: Mezheritskaya S. I. Adaptation of the poetic hymn genre to the oratory of the Second Sophistic // Шаги/Steps. Т. 6. № 2. 2020. С. 118–129. DOI: 10.22394/2412-9410-2020-6-2-118-129. Статья поступила в редакцию 13 октября 2019 г. Принято к печати 8 января 2020 г. 119 © S. I. MEZHERITSKAYA Shagi / Steps. Vol. 6. No. 2. 2020 Articles S. I. Mezheritskaya ORCID: 0000-0002-6613-2474 ✉ mezh@mail.ru St. Petersburg State University (Russia, St. Petersburg) Adaptation of the poetic hymn genre to the oratory of the Second Sophistic Abstract. Little is known about the time and circumstances of the appearance of the prose hymn genre. The first mention of it appears in the rhetorical literature of the Roman era, which also focuses on examples from late antiquity. Probably the most important such example for Greek rhetoricians was the corpus of prose hymns produced by Aelius Aristides — an orator, Atticist, and major representative of the Second Sophistic (2nd century A. D.). Based mainly on these texts, Menander of Laodice almost a century later drew up stylistic prescriptions for this genre. Aristides’ prose hymns were written between 142 and 177 A. D. and addressed to various gods: Zeus, Athena, Poseidon, Heracles, Serapis, Dionysus, Asclepius and others. Apparently, prose hymns were not widespread before Aristides: at religious holidays hymns in honor of the gods were usually performed by poets. The adaptation of this genre to prose, carried out by Aristides, consists in the contamination of traditionally poetic elements with the classic panegyric. This kind of “encomium” often served not only to glorify a particular deity, but also to honor the center of its worship, the inhabitants of a given area, and even Roman power. The high social and political status of rhetoric in the era of the Second Sophistic and Aristides’ personal authority may have contributed to the further development of this genre, the formation of its canons, and its affirmation in the rhetorical system of late antiquity. Keywords: ancient lyric poetry, poetic hymns, ancient rhetoric, old Greek oratory, Second Sophistic, epideictic eloquence, prose hymns, Aelius Aristides To cite this article: Mezheritskaya, S. I. (2020). Adaptation of the poetic hymn genre to the oratory of the Second Sophistic. Shagi/Steps, 6(2), 118–129. DOI: 10.22394/2412-9410-2020-6-2-118-129. Received October 13, 2019 Accepted January 8, 2020 120 Шаги / Steps. Т. 6. № 2. 2020 T his article is devoted to the problem of studying and describing the genre of the prose hymn, determining its place in the system of genres of epideictic eloquence as well as its genesis and development in the rhetorical tradition of late antiquity. Both these questions — the nature of this formation and the genre — are closely interrelated. On the one hand, a complete characterization of the prose hymn is possible only if it is compared with the poetic one, the oldest genre of ancient Greek choral lyric, from which it originates. On the other hand, without a clear idea of how the genre of poetic hymn adapts to oratorical prose, it is difficult to understand how the corresponding canon was formed in late ancient rhetoric. The earliest examples of the prose hymn belong to the period of Second Sophistic, known simultaneously for a strict orientation to the stylistic norms of classical Greek literature and for a desire for rhetorical innovations, verbal improvisation and contamination of various stylistic means to express the author’s individuality. One of the most prominent experimenters in this field, with all his stylistic traditionalism and pedantry, was Aelius Aristides, the greatest orator and Atticist of his time (117–180 A. D.). In his work we find examples of several rhetorical genres that were either not widespread or not found in previous literature. Among them are ten prose hymns to the gods written by the orator at different times and on different occasions (“Regarding Zeus”, “Regarding Serapis”, “Dionysus”, “Athena”, “The Isthmian oration: Regarding Poseidon” etc.), which have received insufficient attention. Despite a marked increase in interest in his prose hymns (see: [Pernot 2007; Goeken 2012; 2016; Hodkinson 2015; Russell et al. 2016; Vergados 2017]), the primary focus of current scholarship is analyzing and describing their genre and their stylistic and linguistic features. The question of the adaptation of the hymn genre in oratorical prose of the Second Sophistic and its transformation in the works of Aristides himself, as well as the more general problem of the genesis of the prose hymn in ancient literature, have also not yet received sufficient coverage. The appearance of hymns dedicated to the gods as the earliest form of folk poetry is closely related to the specific character and nature of the religious cult in antiquity. Aside from offering sacrifices to the gods, the most important element of cult practice was the singing of songs which later became known as “hymns”1. 1 The etymology and origin of the Greek word “hymn” (ὕμνος) remains unclear. According to Proclus (Phot. Bibl. 320a. 9–10), this word comes from ὑπóμονος (cf. ὑπομένω — “to stay in place”, “to remain” ), which as a result of syncope gave ὕμνος. See also: καθὸ εἰς ὑπομονὴν καὶ πράξιν ἀγειν τὰς τῶν ἐπαίνων ἀκοάς καὶ ἀρετάς (Etym. Gud. 540.38 Sturz). Thus, the “hymn” is “something preserving,” that is, giving the glorious deeds and virtues a reliable and durable form. This etymology emphasizes the festive aspect of hymns, their function of capturing and documenting the laudable acts and the power of the gods. Another etymology is discussed by P. Chantraine [1968–1980: 1156 f.], who is inclined to raise the word “hymn” to ὑμήν (“shell”), that is that which envelops, binds — by analogy with λίμνη from λιμήν, ποίμνη from ποιμήν, etc. At the same time, Chantraine refers to Brugmann’s older hypothesis [Brugmann 1876: 256], which interprets ὕμνος as “joint singing”, as well as to Diehl, etc. [Diehl 1940: 89; Patzer 1952: 323], who make attempts to tie ὑμήν to ὑφαίνω (“to weave”). But Chantraine admits that the derivative ὕμνος from ὑφή ὑφαίνω (“fabric”, “to weave”) presents great phonetic difficulties. A. Wünsch [1914: 141], however, accepts this hypothesis. Nevertheless, at an early stage the word “song” is used in this meaning, and in classical time it already meant “song of praise to the gods”. Plato (Res. X.607a), for example, draws a clear line between hymns as songs in honor of the gods and encomiums as songs in honor of people. The ancient definition of the hymn also includes the religious aspect, calling it “a word to the god with bow and prayer, mixed with a praise” (Etym. Gud. 540.42 Sturz). 121 The purpose of the hymns was to praise, cajole and win over the supreme powers that were beyond human control, thus to motivate them to a reciprocal act of beneficence. As a rule, the hymns were sung in choir by all adult members of the community who participated in religious festivals. An integral part of this performance was the dance with musical accompaniment. Three performative elements were thus intertwined — music, dance and word (speech), which, in particular, are reflected in the term “to put the choir” (χορὸν ἱστάναι) [Burkert 1977: 168]. Such songs are always based on myth as the “verbal aspect of religion” [Furley, Bremer 2001: 6], serving to glorify a deity through narratives of birth and deeds and through a description of the power and greatness of the god in order to cause it to repeat its actions for the benefit of the worshiper. Thus, myths constitute the main content of hymns. Only a very small number of hymns are preserved from the uploads/Litterature/ shagi-steps.pdf