CHAPTER XXII

FIGURES OF SPEECH ( ) I. Rhetorical, not Grammatical. Strictly speaking there is n nee! t g "#rther in the !isc#ssi n " the p ints " synta$% There are &ari #s 'atters that the gra''ars #s#ally !isc#ss (eca#se there is n )% T% rhet ric% These p ints (el ng t lang#age in general* th #gh in s 'e " the' the Greek has t#rns " its +n% Each +riter has* (esi!es* his +n style " th #ght an! speech% See !isc#ssi n in chapter I,% Un!er The Sentence +e ha&e alrea!y !isc#sse! the ellipsis ( " s#(-ect* pre!icate r c p#la)* 'atters " c nc r!* app siti n* the p siti n " + r!s (e'phasis* e#ph ny* rhyth'* p etry* pr lepsis* * p stp siti&e + r!s* hyper(at n* r!er " cla#ses)* si'ple an! c 'p #n! sentences* c nnecti n (et+een + r!s (p lysyn!et n an! asyn!et n)* c nnecti n (et+een cla#ses an! sentences (paratactic an! hyp tactic) an! asyn!et n again* r#nning an! peri !ic style* parenthesis* anac l#th n* oratio variata* c nnecti n (et+een paragraphs% These 'atters call " r n "#rther c ''ent% They c #l! ha&e (een treate! at this p int* (#t they see'e! rather t (el ng t the !isc#ssi n " sentences in a ' re &ital +ay than the re'aining rhet rical "ig#res% F r attracti n an! inc rp rati n see Cases an! Relati&e Pr n #ns% The p ints n + t (e !isc#sse! ha&e n t s '#ch t ! +ith the r!erly arrange'ent (). as +ith the e$pressi n an! the th #ght% II. Style in the N. T. The characteristics " the )% T% +riters recei&e! treat'ent in chapter I,% The precise /#esti n here is +hether the +riters " the )% T% sh + any 'arks " rhet rical st#!y% 0e ha&e seen alrea!y (The Sentence* Rhyth') that the sch lars are !i&i!e! int t+ ca'ps n this s#(-ect% 1lass2 ((#t n t 3e(r#nner) arg#es that Pa#l4s +ritings an! the Epistle t the He(re+s sh + the in"l#ence " the r#les " rhyth' " the literary pr se " Asia (Asianis') an! R 'e (Pa#sanias* Cicer * C#rti#s* Ap#lei#s)% 3eiss'ann. +ill ha&e n ne " it% It is a pretty /#arrel an!* as #s#al* there is

1 Blass, Gr. of N. T. Gk., p. 295. 2 3ie Rhyth'en !er asianischen #n! r5'ischen 6#nstpr sa , 1905. Curtius CURTIUS, G., Greek Ety olo!y. 2 "ols. #1$$%&. ''', St#!ien 7#r griech% #n! lat% Gra''atik #1$%$(1$)$&. *eiss a++ *EISS,-NN, -., Bi.le Stu/ies #1901&. Tr. .y -. Grie"e0 1f. 1i(elst#!ien #1$95& a+/ )e#e 1i(elst#!ien #1$9)&. ''', 1i(lische Gr8cit8t etc% #T2eol. Ru+/s12au, 3kt. 1912&. ''', 3ie Hellenisier#ng !es se'itischen 9 n theis'#s #N. 4a2r.. f. /. kl. -lt., 1905&. ''', 3ie ne#t% F r'el 6i+ C2risto7 #1$92&. ''', 3ie Sprache !% griech% 1i(el #T2eol. Ru+/s12au, 190%, No. 11%&. ''', 3ie Urgeschichte !es Christent#'s i' :ichte !er Sprach" rsch#ng #I+ter+. 8o12., 50. 3kt. 1909&.

tr#th in ( th &ie+s% One '#st get his (earings% 0e can all agree +ith 1lass2 at nce that the )% T% +riters are n t t (e c 'pare! n this p int +ith the literary 'asters " Attic pr se* (#t +ith +riters like P ly(i#s% 0e are s#rely n t t l k " r the antithetic style " the Attic rat rs (Is crates* :ysias* 3e' sthenes)%; I" there is <sthetic (ea#ty in . C r% .; r He(% ..* it 'ay (e the nat#ral <sthetic " H 'er4s rhaps !ies* n t the arti"icialities " Is crates% 1lass= a!'its the p &erty " the Oriental lang#ages in the 'atter " peri !s an! particles an! ! es n t clai' that the )% T% +riters r se a( &e the O% T% r r se t the le&el " Plat % An! yet ) r!en in his Antike Kunstprosa clai's that in his (est !icti n Pa#l rises t the height " Plat in the Phdrus% 0ila' +it7> 95llen! r"" like+ise calls Pa#l ?a classic " Hellenis'%@ Sir 0% 9% Ra'say is a st #t a!& cate " r the real Hellenic in"l#ence n Pa#l4s li"e%A 1#t Ra'say sc #ts the + r! ?rhet ric@ in c nnecti n +ith Pa#lB ?I can har!ly i'agine that ne +h ha! e&er e$perience! the spell " Pa#l c #l! #se the + r! rhet ric a( #t the t+ e$a'ples +hich

''', Hellenistisches Griechisch #9er:o!;9au1k<s Reale+1y1., =II, 1$99&. ''', :icht & ' Osten #190$&. ''', >i!2t fro t2e -+1ie+t East #1910&. Tr. .y Stra12a+.

''', Ne? >i!2t o+ t2e N. T. #190)&. Tr. .y Stra12a+. ''', @apyri #E+1y1. Bi.l., III, 1902&. ''', St. @aul i+ t2e >i!2t of So1ial a+/ Reli!ious 9istory #1912&. 1 T2eol. >it., 190%, p. A5A0 T2e EBpositor, 190$, p. )A. See also 2is St. @aul #1912&. 2 Her'ene#tik #n! 6ritik, 1$92, p. 19$. T2e true !ra aria+ is .ut too ?illi+! to see t2e ot2er poi+t of "ie?. Cf. Gil/ersl., - . 4our. of @2ilol., 190$, p. 2%%. 5 9a2+e, C#r sprachl% Dsthetik !er Griech%, 1$9%, p. A. A Her'ene#tik #n! 6ritik, p. 19$. Nor/e+ N3R*EN, E., 3ie antike 6#nstpr sa% 2% A#"l% #1909&. 8ila o?it:;,Clle+/orff 8I>-,38ITD;,E>>EN*3RFF, U. =3N, 3ie griech% :iterat#r !es Altert#'s (3ie 6#lt% !% Gegen+% , 190), Tl. I, -.t. "iii, pp. 5(25$. 5. -ufl. 1912&. ''', E(er !ie Entsteh#ng !er griech% Schri"tsprachen #,er"% !e#tscher Phil% #n! Sch#l'% , 1$)9, pp. 5%(A1&. Ra say R-,S-G, 8. ,., Cities a+/ Bis2opri1s of @2ry!ia. 2 "ols. #1$95, 1$9)&. ''', St. @aul t2e Tra"eller #1$9%&. 5 Cf. t2e 1o+tro"ersy .et?ee+ 2i a+/ @ri+1ipal Gar"ie i+ T2e EBpositor for 1911 a+e+t Gar"ie<s .ook, Stu/ies of @aul a+/ 9is Gospel #1911&.

he 'enti ns "r ' First C rinthians* an! R 'ans%@F There +as in Pa#l4s ti'e arti"icial rhet ric +ith +hich Pa#l e&i!ently ha! n c nnecti n* n r !i! any " the +riters " the )% T% One cann t (elie&e that Pa#l* " r instance* st#!ie! at ne " the "a' #s sch ls " rhet ric n r that he st#!ie! the +ritings " the c#rrent rhet ricians% This '#ch 'ay (e "reely a!'itte! a( #t all " the )% T% +riters* +h +r te in the lang#age " the pe ple* n t " the sch ls% 3eiss'annG c rrectly saysB ?The hist ry " Christianity* +ith all its +ealth " inci!ent* has (een treate! '#ch t "ten as the hist ry " the Christian literary #pper class* the hist ry " the l gians an! ecclesiastics* sch ls* c #ncils an! parties* +hereas Christianity itsel" has "ten (een ' st tr#ly ali&e in /#arters re' te "r ' c #ncils%@ This is all pre>e'inently tr#e an! +e '#st ne&er " rget that Hes#s +as a carpenter* H hn a "isher'an an! Pa#l a tent'aker% An! yet 3eiss'ann. hi'sel" +ill say " H hnB ?St% H hn has n liking " r pr gress al ng an #nen!ing straight r a!I he l &es the circling "light* like his sy'( l* the eagle% There is s 'ething h &ering an! (r !ing a( #t his pr !#cti nI repetiti ns are in n +ise a(n r'al +ith hi'* (#t the 'arks " a c nte'plati n +hich he cherishes as a preci #s inheritance "r ' St% Pa#l an! "#rther intensi"ies%@ There is a per"ecti n " " r' in the Para(les " Hes#s that s#rpasses all the r#les " the gra''arians an! rhet ricians% The eagle "light " H hn 'akes the ca+ing " the syntactical cr +s piti"#l% The passi n " Pa#l (r ke thr #gh all the tra!iti nal " r's " speech% He lacke! the p#nctili #s re"ine'ents2 " the St ic rhet ricians* (#t he ha! the cycl nic p +er " 3e' sthenes an! the ele&ati n " Plat % E&en 1lass; sees that ?the st#!ie! e'pl y'ent " the s >calle! G rgian ass nances is necessarily " reign t the style " the )% T%* all the ' re (eca#se they +ere c 'parati&ely " reign t the +h le peri !I acci!ent* h +e&er* " c #rse pr !#ces ccasi nal instances " the'* an! the +riter "ten !i! n t !ecline t 'ake #se " any that s#ggeste! the'sel&es%@ This + #l! see' ' !est en #gh t satis"y 3eiss'ann% In partic#lar 1lass= n tes ?the a(sence " rhet rical arti"ice in the H hannine speeches%@ He "in!s little " that nat#re in 9ark an! :#ke% ?1#t in 9atthe+ there really is s 'e artistic sense " style*@ (#t it is ?'ainly !ra+n "r ' He(re+ an! n t "r ' Greek%@ The 'any /# tati ns in this G spel sh + a cl se #se " the :XX an! the He(re+ O% T% An! yet* n the +h le* the Greek r#ns s' thly en #gh% 65nig has a &al#a(le article n ?Style " Script#re@ in the E$tra , l#'e " Hastings4 3icti nary " the 1i(le* (#t he !eals 'ainly +ith the O% T% There is in tr#th little that is !istincti&e in the style " the )% T% apart "r ' the nat#ralness* si'plicity* ele&ati n an! passi n " the +riters% It is nly in the Epistle t the He(re+s that 1lassA "in!s ?the care an! !e$terity " an artistic +riter@ as sh +n (y his ccasi nal

% T2e EBpositor, -u!., 1911, p. 15). ) >i!2t fro 1 >i!2t fro t2e -+1ie+t East, p. A0A. t2e -+1. East, p. A10.

2 4. 8eiss, 1eitr% 7#r pa#linischen Rhet rik, 1$9), p. 1%$. 5 Gr. of N. T. Gk., p. 29$. A I.., p. 502. 5 I.., p. 29%.

a& i!ance " hiat#s* (#t e&en here 1lass has t strain a p int t 'ake it stick% 1#lt'annF !ra+s a !e"inite parallel (et+een the style " Pa#l an! the Cynic>St ic 3iatri(e an! 'akes his p int* (#t e&en s ne + n!ers i" a"ter all Pa#l #ses /#esti n an! ans+er s skil"#lly (y reas n " !e"inite st#!y " the s#(-ect r (eca#se " his !ialectical training as a ra((i an! his nati&e geni#s in s#ch 'atters% It is per se* h +e&er* entirely p ssi(le that Pa#l kne+ the c '' n St ic !ialectic als as he !i! the tenets " c#rrent St icis' (c"% Pa#l4s + rk in Athens)% The e$a'ples " "ig#res " speech in the )% T% are !#e t the nat#re " speech in general* t the ccasi nal passi n. " the +riter* t the play " his "ancy* t #nc nsci #s e$pressi n " geni#s* t 'ere acci!ent% 0e '#st n t 'ake the 'istake " rating 'en like :#ke* Pa#l* Ha'es an! the a#th r " He(re+s as ( rish an! #nintellect#al% They li&e! in an age " great c#lt#re an! they +ere sat#rate! +ith the n (lest i!eas that e&er "ille! the h#'an (rain% As 'en " geni#s they +ere ( #n! t resp n! t s#ch a sit#ati n% They ! sh + a !istinct literary "la& #r as Heinrici2 has s +ell sh +n% In . C r% .; +e ha&e "inish " " r' an! th #ght% E&en H hn* calle! !"#$ (Ac% =B.;)* r se t the highest planes " th #ght in his G spel% 3eiss'ann in his St. Paul g es t the e$tre'e " 'aking Pa#l a 'ere 'an " a""airs !e& i! " the l gical c#lt#re*Jan #ntena(le p siti n in &ie+ " Acts an! Pa#l4s Epistles +hen he saysB ?His place is +ith A' s* the her!s'an " Tek a* an! Tersteegen* the ri(( n>+ea&er " 9Klhei'@ (p% F)% 0e 'ay (r#sh asi!e the arti"icial r#les " G rgias as t st#!ie! e"" rts " r the )% T% In!ee!* the 'en " the ti'e ha! largely re"#se! t " ll + the lea! " G rgias " Sicily* th #gh his na'e cl#ng t the "ig#res " speech% His 'anneris's +ere n t "ree "r ' a""ectati n an! pe!antry%; The Attic rat rs " the " #rth cent#ry 1%C% ha! their +n r#les " r easy an! "le$i(le practical speech% The +riters an! speakers " the later ti'e ' !i"ie! these in their +n +ay% 0e are n t c ncerne! here t " ll + 1lass= in his e"" rt t pr &e that Pa#l an! the +riter " He(re+s +ere st#!ents " the c#rrent rhet ricians% This +e "ail t see* (#t +e ! see that the lang#age " the )% T% +as a li&ing rganis' an! e$hi(its 'any " the pec#liarities " h#'an speech +hich the rhet ricians ha&e !isc#sse!% F r c n&enience* there" re* +e a! pt their ter'in l gy% III. Figures of Idea or Thought (%& "' ). 1lass. (ser&es that these "ig#res " th #ght (el ng ' re t the later peri ! " Attic rat ry% S 'e " the' are !istinctly rhet rical in character* as the rhetorical question " +hich Pa#l 'akes
Bult a++ BU>T,-NN, R., 3er Stil !er pa#linischen Pre!igt #n! !ie kynischst ische 3iatri(e #1910&. % 3er Stil !er pa#linische Pre!igt #n! !ie kynisch>st ische 3iatri(e , 1910. 1 ) r!en (3ie ant% 6#nstpr sa, B/. II, p. 50$& speaks of @aul<s use of r2etori1al fi!ures as /ue to 2is 6To+.7 9ei+ri1i #C#' Hellen% !% Pa#l#s* 6 ''% 7# II 6 r.& sees @aul<s 6Ei!e+art.7 9ei+ri1i 9EINRICI, H. F., 3er literarische Charakter !er ne#test% Schri"ten #190$&. 2 3er literarische Charakter !% ne#t% Schri"ten , 190$. 5 Gr. of N. T. Gk., p. 295. A 3ie Rhyth'en !er asianischen #n! r5'ischen 6#nstpr sa , 1905. 1 Gr. of N. T. Gk., p. 50A.

a(#n!ant #se* especially in the Epistle t the R 'ans% 1lass2 'akes a g ! criti/#e " s#ch /#esti ns as sh +ing !ialectical li&eliness an! perspic#ity* as in R % ;B. ' ( ) ) * +,"',; (=B.L) - ( ./'$0 . 1 2 3 . 4,'5; This is /#ite like the !iatri(e in Epictet#s an! ther & +riters (Ra!er'acher* N. T. Gr.* p% .M2)% C"% . C r% GB.M ""% Other /#esti ns are /#ite e' ti nal* as in 2 C r% ..B22% In R % MB;.N;A +e ha&e a ?(rilliant rat rical passage*@ + rthy " any rat r in the + rl!% There are thers al' st e/#al t it* R % F* G* O* .L* ..I . C r% ;* =* M* O* .2* .;* .AI 2 C r% 2* ;* =* A* M* .L* ..* .;% Here +e ha&e rat ry " the highest kin! +ith the s #l all a(la7e +ith great i!eas% The + r!s resp n! t this high en&ir n'ent an! are all agl + +ith (ea#ty an! light% Certainly the Epistle t He(re+s is rat ry " the highest r!er* as are the a!!resses in Acts% 1lass; thinks that :#ke is !istinctly ?#npr "essi nal (idiotisch)@ in his 'anner " presenting the great speeches in Acts* !"67 8* n t %7 8% That is tr#e* (#t ne + #l! ha&e a 'artinet spirit t ca&il at the + r! el /#ence here% The !isc #rses " Hes#s in 9atthe+* :#ke an! H hn are a( &e all praise in c ntent an! spirit% One cann t think that Hes#s +as a technical st#!ent " rhet ric* (#t he sang +ith the + !r (in4s n te* an! that "ar s#rpasses the highest achie&e'ent " the (est traine! & ice +h se highest praise is that she appr aches the + !r (in r the nightingale% There is per"ecti n " " r' in the th #ghts " Hes#s +hether +e t#rn t the Ser' n n the 9 #nt in 9atthe+* the Para(les in :#ke .A* r the 3isc #rses in the Upper R ' an! On the 0ay t Gethse'ane in H hn .=N.G% The style " the rep rters ! es n t c nceal the c ns#''ate skill " Christ as the ?9aster Preacher@ " the ages% There is #n! #(te! #se " irony (!6') in the )% T% 0e see it in the + r!s " Hes#s% See the high sc rn in 9: /$# ) ; - ;6 9- (9t% 2;B;2)% This is the c rrect te$t* n t /$#% S als /- : 7 ./7 * * (9k% GBO) an! < = .";% 8&$ /; >?6 +,/& (:#% .;B;; There is ' re " it in Pa#l4s +ritings% C"% . C r% =BMI 2 C r% ..B.O "%I .2B.;I R % ..B2L% There +as ne&er a ' re ni'(le 'in! than that " Pa#l* an! he kne+ h + t a!apt hi'sel" t e&ery ' ! " his rea!ers r hearers +ith #t any sacri"ice " principle% It +as n !eclai'er4s tricks* (#t l &e " r the s #ls " 'en that 'a!e hi' (ec 'e all things t all 'en (. C r% OB22)% He c #l! change his t ne (eca#se he l &e! the Galatians e&en +hen they ha! (een le! astray (Gal% =B2L)% The rhet ricians call it prodiorthosis* as in 2 C r% ..B2.* . 8@ /;6 (c"% als ..B. "%* .F "%* 2;) an! epidiorthosis* as in R % ;BA* A B6 /;6% C"% als . C r% GBFI .2B..I R % MB;=I Gal% =BO% S Pa#l #ses paraleipsis* as in 2 C r% OB=* & 6 %,- C:D E 7 /;6 9:* instea! " & %,F% As 1lass. s#ggests* Pa#l4s innate !elicacy " "eeling 'akes hi' take the repr ach n hi'sel"% C"% als Phil% .O* E 7 /;6 < , 8'/% S in R % GB= Pa#l says 9: .#$ G H rather than (l#ntly assert I ; ( r .#$)% There is s 'eti'es a lack " parallelis' (heterogeneous structure)% C"% . H % 2B2* J/) - K- C-D = - C;6 D //A </, * , * instea! " - </,
2 I.. T2e 6Ter i+olo!y of Gra ar7 is +ot fiBe/ like t2e la?s of t2e ,e/es a+/ @ersia+s. Cf. Rep. of t2e 4oi+t Co . o+ Gr. Ter i+ol., 1911. Ra/er a12er R-*ER,-C9ER, >., )e#t% Gra''atik% 3as Griechisch !es )% T% i' C#sa''enhang 'it !er , lkssprache #1911&. 5 Gr. of N. T. Gk., p. 505. 1 Blass, Gr. of N. T. Gk., p. 50A.

* , C"% als Ph% 2B22* 'LM .'% C"% : in 9k% .2B;M "%* 7 ;, . C: N C- > 2 H % 2% IV. Figures of E !ression (%& /;?6 ). 0hat 0iner2 calls ?1r ken an! Heter gene #s Str#ct#re@ (anac l#th n* oratio variata) has ha! s#""icient !isc#ssi n #n!er The Sentence% S as t asyn!et n% There re'ain a n#'(er " ther p ints +hich 'ay (e gr #pe! " r c n&enience% (a PARA::E:S A)3 CO)TRASTS (Parallelis!us !e!"roru!)% There are 'any ill#strati ns " this i!i ' in the )% T%* ( th in the G spels an! Epistles% The O% T% is "#ll " s#ch + r!s an! phrases* partic#larly in the Psal's% One +h rea! these hy'ns '#ch + #l! nat#rally ha&e his eye an! ear traine! t this " r' " rhyth'% 0e ! n t nee! t see c nsci #s e"" rt at p etry* th #gh in . Ti'% ;B.F +e pr (a(ly ha&e a "rag'ent " an early Christian hy'n% The He(re+ parallelis! is 'ani"est in :#% .B=2N=A (the s ng " Eli7a(eth)* =FNAF (the s ng " 9ary)* an! FMNGO (the s ng " Cacharias)* 2B2ON;2 (the s ng " Si'e n)% One ! es n t ha&e t g t the Greek rhet ricians% The spirit " rhaps !y here sh +n is !#e t the Spirit " G ! ' &ing the heart an! stirring the highest i'p#lses " the s #l% There are ther e$a'ples " pri'iti&e Christian s ng in the )% T%* as in Eph% AB.=I H#!e 2= "%I Re&% AB.2N.=* an! "ten in this ( k% There is the per"ecti n " p etic " r' in the n (le pr se in . C r% .;I .ABA=NGI C l% .B.LN.2% One hesitates t think that this #se " antithesis r parallelis' is arti"icial e&en i" it is c nsci #s% This parallelis' 'ay (e synony!ous (9t% .LB2FI H % .B.GI R % ..B;;) r antithetic (H % ;BFI R % 2BG)%. There are als e$a'ples " #hias! r $everted Parallelis! ("r ' the letter X) as in Phile' n A* 7 $ 7 ' O >% ! ) +$* ! M K',% S 9t% GBFI Ph% .B.A "%I . Th% ABFI Ph% ;B.L%2 I ! #(t &ery '#ch i" Pa#l +as at all c nsci #s " the stilte! parallelis' that 1lass; sees in . C r% .B2A ""% +ith anaphora (the "irst + r!s alike) as in = //'L= //'* r antistrophe (the last + r!s alike) as in * *L* *L- #6 L- #6* r sy!ploce (( th alike) as in .?/;? I ) E %@D .?/;? I ) E %@% C"% He(% 2B.F% The 'an#scripts &ary a !eal in . C r% .B2A ""%* an! 1lass has t -#ggle the te$t in r!er t 'ake it c 'e #t in ?r #n!e! peri !s " three secti ns%@ 0hat i" this "inesse +as praise! (y !ilettante rhet ricians +hen they " #n! it in 3e' sthenes r Cicer P S#rely Pa#l +as n t a ?stylist@ " the "ashi n " Cicer n r e&en " 3e' sthenes% Perhaps n rat r ?+ #l! ha&e regar!e! the el /#ence " this passage +ith ther "eelings than th se " the highest a!'irati n%@ 3 #(tless s * (#t " r the passi n an! " rce* n t " r the 'ere + r!>play% H#st s the three p etical /# tati ns (Ac% .GB2MI . C r% .AB;;I Tit% .B.2) ! n t -#sti"y straining a"ter acci!ental lines in Ac% 2;BAI Has% .B.GI He(% .2B.2 "%* r else+here% 1lass= is s " n! "
8i+er 8INER, G. B., 3e &er( r#' c#' praep% c 'p s% in )% T% Us# #1$5A(1$A5&. ''', Gra''% !% ne#t% Sprachi!i 's (.M22)% G% A#"l% & n :Kne'ann #l$%)&. 2 8.;T2., p. 5%%. 1 8.;T2., p. %59. 2 Gree+, 9a+/.. to N. T. Gk., p. 555. 5 Gr. of N. T. Gk., p. 500 f. A I.., p. 502.

"in!ing p etic parallelis' in the G spels that he act#ally 'akes it tilt the scales against the (est 'an#scripts in s 'e passages as in 9t% AB=AI GB.; "%I 2AB;A% This see's '#ch like eisegesis% (" CO)TRASTS I) 0OR3S% There is the s le'n repetiti n " a + r! +ith p +er"#l e""ect (the epanadiplosis " the rhet ricians)* (#t 1lass ! es n t clai' this as a rhet rical !e&ice in the )% T% It is nat#ral t str ng e' ti n% C"% . . (:#% MB2=)I (9t% 2AB..)I 6 6 (H % .OBF)I Re&% .MB2* P P% See Ph% ;B2% C"% als the t+ h #rs " sh #ting in Ac% .OB;=% #li!a% is as l! as H 'er% This is again a per"ectly nat#ral 'eth ! " e'phasis% C"% the links in the list " &irt#es in 2 Pet% .BANG% See als R % AB;NAI .LB.=% There is a c#'#lati&e " rce in the repetiti n% Per contra& 'eug!a p#ts t gether + r!s that ! n t pr perly g t gether* as in . C r% ;B2* / 9Q .D = 4-% S als :#% .BF=* R%$ ) =* %F C /- =*% C"% . Ti'% =B;% This c nstr#cti n is #s#ally e$plaine! as elliptical* ne &er( (as a( &e) (eing #se! +here t+ are necessary " r the "#ll state'ent% 6Khner>Gerth. treat it as a species " "rachylogy% The #se " synony!s is n t a(sent in the )% T%* th #gh n t in the richness " the classic i!i '% C"% :#% MB.A* . "'5 /1 1* an! the #se " 6 an! 8/;6 si!e (y si!e in H % 2.B.AN.G +here Peter 'akes a p int " #sing 8/;6% See chapter n F r'ati n " 0 r!s%2 The play n + r!s takes 'any t#rns% The ono!atopoetic + r!s like S6 (c"% #r ?'#r'#r@) are &ery si'ple% C"% H % FB=.% E$a'ples " initial alliteration cc#r* like $'5D /?'5 (R % .B2O)I 94D 9$8, (.B;L)I :D ,;,D ,;,D ,D /& (.B;L "%)% It is har! t tell +hether this is c nsci #s r #nc nsci #s% There are als instances " parono!asia an! anno!inatio. Parono!asia is rather l sely applie! in the ( ks% 0iner; #ses it nly " r + r!s " si!ilar sound* +hile 1lass= c n"ines it t the rec#rrence " the sa'e + r! r + r!>ste'* like M - (9t% 2.B=.)I . Q (2 C r% OBM)I I '6 (. Ti'% .BM)* an! #ses parechesis " r !i""erent + r!s " si'ilar s #n!* like / /' (:#% 2.B..)I > 8N T > (He(% ABM)I 8, 8, (R % .B2O)I ,;, ,;, (.B;.)% See als 2 C r% .LB.2I R % ..B.G% The p int is a "ine ne an! nee! n t (e presse!% 1#t anno!inatio !eals +ith the sense as +ell as the s #n!% Th#s U; an! ; in 9t% .FB.MI # V # (Ac% MB;L)I 98:L8:L68: (R % .2B;)I $"W .S;,D //A S;, (2 Th% ;B..)% C"% als 9t% 2GBOI :#% OBFLI Ac% 2;B;I 2 C r% ;B2I . C r% ..B2O ""%I Ph% ;B2 "%I 2 C r% =BM "%I R % .B2LI AB.OI .2B.AI Eph% =B.% E&en s there is a certain a' #nt " &erlapping in the t+ "ig#res% The ancients !i! n t s'ile (eca#se a p#n +as 'a!e% It +as 'erely a neat t#rn " speech an! +as &ery c '' n% S Hes#s says t Th 'as* 7 ', B //A (H % 2LB2G)% (c CO)TRACTIO) A)3 EXPA)SIO)% It is !i""ic#lt t !ra+ lines (et+een gr #ps a' ng these "ig#res " speech% (eug!a* as +e ha&e seen* can &ery +ell c 'e in here as a s rt " ellipsis% The ellipsis " s#(-ect r pre!icate ca'e #p " r !isc#ssi n #n!er The
HI2+er;Gert2 HJ9NER;GERT9, A#s"% Gra''% !% griech% Spr% ;% A#"l% " 6Khner% Tl% II* 1!e% I, II #1$9$, 190A&. 1 II, p. 5)0. 2 Cf. Tre+12, N. T. Sy+o+y s0 9ei+e, Syn ny'ik !% ne#t% Griech% 5 8.;T2., p. %5%. A Gr. of N. T. Gk., p. 29$.

Sentence% 1#t a "e+ ' re + r!s are nee!e! here% C"% ) I (2 C r% .B.M)I I . (Ph% =BA) as sa'ples " the a(sence " the c p#la% S H % .=B..I Ac% .OB2M* ;=I 2 C r% ..BF% It is n t al+ays clear +hat &er( is t (e s#pplie!* th #gh !' an! ' are the ' st c '' n% C"% 867 / . ",;, ) =* Ac% .LB.AI = . /H C 4/' * *D //N . ",* . C r% =B2L% C"% H % 2.B2.I . C r% AB.2% Us#ally the c nte$t 'akes clear +hat &er( is +anting* as in 9t% 2GB2AI Ac% .MBFI R % =BOI AB.MI 2 C r% OBGI Gal% 2BOI Re&% .B=% In 2 C r% MB.A the participle >%6 '#st (e s#pplie! +ith I acc r!ing t a c '' n Greek i!i '% C"% als R % .;BG* G ) 8* +here 0iner. s#pplies "" /% C"% als . C r% =BF% It is easy t s#pply I in passages like He(% .BG /;* =B; X$% The c nte$t s#pplies the n #n in a case like Ac% 2.B;.* S$6 =) :% C"% H % 2LB2* Y ) (Qpe ple t k a+ay4)% In Ac% 2.B.F* ,F/ - $-* s#pply ; as in :#% ..B=O* % 9any &er(s are c nsi!ere! clear en #gh +ith #t the (-ect% S "6 (sc. 4') in Tit% ;B;I ;%6 (sc. *) in :#% .GB;* .;%6 in .=BG* .;%6 (sc. %/) in 9k% FB.OI ,4//6 (sc. /,) as in Ac% =B.A (c"% :#% 2=B.G* 4// +ith (-ect)I ,//46 in :#% .B;.% It is #nnecessary (see A!-ecti&es) t rec #nt again the 'any instances " the a!-ecti&e +ith #t a s#(stanti&e +here the gen!er an! n#'(er an! c nte$t 'ake it clear% A "e+ c '' n e$a'ples s#""ice% F r the a(sence " C; n te 1 '@ (:#% .;B;2)I C Z (9t% FB;=)I F & (9t% 2GBM)I 1 .%;@ (:#% .;B;;)I 1 .@ (Ac% .FB..)I C [?F (2.B.)I 1 [;5 (Ac% 2LB.A)% F is easily s#pplie! in 9t% 2;B.A* C ?$* an! in He(% ..B2F* . !,% S#pply /- in Re&% OB..* . 1 \//$1% S +ith I" in :#% AB.O* 'I .OB=* .'$% 0e 'iss J in H % 2LB.2* . /,:* an! "6 in 9t% .LB=2* ],%% S +ith %' in 9t% FB;* C "?D C an! %# in :#% .GB2=* . FL! &% 9#ch ' re seri #s is the ellipsis in 9t% 2FBA* an! Gal% AB.;* +here the c nte$t '#st s#pply ( th &er( an! s#(-ect% C"% als =% <L//N in H % GB22% In a case like 2 Th% 2B; "%* < .L<* there is n ap ! sis e$presse!% These are (#t sa'ples " the ellipses c '' n t Greek (c"% ! "W &) as t all lang#ages ' re r less% It is n t + rth +hile t try t (ring #n!er this rhet rical "ig#re all the lapses an! t#rns " style in each +riter% C"% the a(sence " the &er( +ith E in . C r% .B;.* +ith ) & in =BF* +ith ^ "; in Ph% ;B.;* +ith * "; in 2 C r% OBF* +ith E again in Gal% 2BO% C"% als 9k% .=B2OI . C r% .LB2=I 2 C r% AB.;% Aposiopesis stan!s t itsel" since it is a c nsci #s s#ppressi n " part " a sentence #n!er the in"l#ence " a str ng e' ti n like anger* "ear* pity% C#ri #sly en #gh 1lass*. +h sees s 'any rhet rical tr pes in the )% T%* !enies that any instances " ap si pesis cc#r in the )% T% I ! n t c nsi!er his (-ecti ns +ell " #n!e!% 0e 'ay !is'iss 9k% GB.. an! :#% 22B=2 (eca#se " the tr#e te$t (see 0% H%)* an! nee! n t /#i((le &er < & in Re&% 22BO% 0e 'ay agree +ith 0iner2 that +e ha&e si'ply anac l#tha in 2 Th% 2B; ""% 1#t +e ha&e le"t thers like 9k% ..B;2* //A X6_ .? #60L.84* ) <%/% See als :#% .;BO* ` W &@ ! ) ;//L! "; &D .] =&% S again .OB=2* ! >6 % S H % FBF2* .A ( 6F ) ,J) * #, 4' <, Y ) ; Then again Ac% 2;BO* ! "W * .//$ =G 3 B/L% It is p ssi(le t regar! R % GB2= as ap si pesis% 0hat !i""erentiates these passages "r ' ellipses r a((re&iati ns " ther cla#ses (c"%
1 8.;T2., p. 590. 1 Gr. of N. T. Gk., p. 29A. 2 8.;T2., p. %00.

9t% 2AB.=I 9k% .;B;=I 2 C r% ;B.;) is the passi n% One can al' st see the gest#re an! the "lash " the eye in ap si pesis% 0e nee! n t " ll + 'in#tely the &ari #s s rts " "reviloquence r "rachylogy that are p ssi(le% Th #ght ' &es ' re rapi!ly than e$pressi n an! the + r!s "ten cr +! t gether in a c 'presse! +ay that 'ay (e n t nly terse* (#t at "irst (sc#re% A g ! ill#strati n cc#rs in 9t% OBF* E "W !"F < .?,' >% I ,J) * #, . F F 8; K'L /; G /,G a b , 7 /'$D /% Here the E&angelist has inserte! /; G % (e" re the c ncl#si n t 'ake it clearer% The sa'e thing is ! ne in the parallel passages in 9k% 2B.LI :#% AB2= (an inci!ental arg#'ent " r a c '' n ! c#'ent " r this paragraph)% C"% als 9k% .=B=O* //N E /$6- J 8'% S H % .;B.MI .AB2A% C"% Ac% .B.* +here c? i'plies ";/ (e" re : "" B% d C;D /% See a si'ilar #se " ? in 9t% 2LBM* :#% 2;BA% A case like :#% 2=B=G* ?* a' #nts t anac l#th n r the #se " the participle as a principal &er(% C"% als 'S6 in 9k% GB.O% ,ari #s e$a'ples " ellipsis>like 7e#g'a are als instances " (rachyl gy% ) clear line " !istincti n appears% S in c 'paris ns +e s 'eti'es ha&e t "ill #t the sense% C"% Re&% .;B..* e% ; " < 'H* i%e% ; ',% C"% . H % ;B.. "%I 2 Pet% 2B.% Other instances " (rachyl gy 'ay (e seen in :#% =B2F "%I H % AB;FI .AB..I Ac% 2GB22I Gal% 2B.F% The s >calle! constructio praegnans (el ngs here als % C"% 2 Ti'% =B.M* # ! 7 4/'* th #gh ! " itsel" ! es n t 'ean Qint %4 1#t n te "#6 ) f&/ (Ac% 2;B2=) +here the n ti n is that " taking t Feli$ an! s sa&ing Pa#l% C"% als .$ A 7 I" (9k% .LB=F)% See als :#% ..B.; I 7 I .? =** (C l% =B.F) 7 . g"'% 1lass. !isting#ishes (rachyl gy "r ' ellipsis in that (rachyl gy a""ects the th #ght rather than the gra''atical " r'* (#t ( th i!eas are #s#ally present% C"% R % ..B.M% It + #l! (e +earis 'e t en!ea& #r t p#t a na'e r tag #p n e&ery str#ct#re that see's !e"ecti&e "r ' the stan!p int " " r'al gra''ar r rhet ric% ?It +ill (e seen that 'any " the' are !#e t that agility an! ac#teness " the Greek intellect +hich ena(les the Hellene r Hellenist rea!ily t sacri"ice the gra''ar " a sentence t its l gic* r in ther + r!s its " r' t its 'eaning% Hence ar se the 'any " r's " the sense)*igure (%F ) ) $* constructio ad sensu!)%@2 0e ha&e seen ill#strati ns " this c nstr#cti n A #n!er C nc r! (The Sentence) an! nly a "e+ "#rther are calle! " r here% In!ee!* this secti n is largely an ill#strati n " this principle% In H % .ABF = re"ers t ) /FI in Ac% .GB.F =* p ints t Christ* +h has n t (een 'enti ne!I in GB2=* ) !* th #gh n Egyptian ha! (een 'enti ne!I in . C r% GB;F* '6* the s#(-ect (eing !ra+n "r ' the c nte$t (the t+ y #ng pe ple)% 0iner; +as gla! t n te a !ecline in e'phasis n these &erre"ine'ents in his !ay% These s#pp se! a(n r'alities +ere calle! hypallage% Fr ' the present stan!p int 0iner hi'sel" yiel!e! entirely t '#ch t the &ery thing that he c n!e'ne!% 0hat is the #se in "ig#ring #t the &ari #s +ays that Pa#l c #l! ha&e e$presse! hi'sel" in 2 C r% ;BG* " r instanceP The papyri ha&e ta#ght #s t (e chary a( #t charging H hn +ith (eing #ngra''atical in /&$ % (H % .B.=)% These 'atters si'ply sh + that the )% T% +riters #se! a li&e lang#age an! +ere n t a#t 'ata%= It is ! #(tless tr#e that n ther +riter #se! repetiti n " + r! an! phrase as
1 Gr. of N. T. Gk., p. 29A. 2 Farrar, Gk. Sy+t., p. 202. 5 8.;T2., p. %5A. A Cf. E il 9ei+ri12, 3ie s genannte p lare A#s!r#cks+eise i' Griech., 1$99, p. 2%.

!i! the a#th r " the F #rth G spel* (#t n ne +ill !eny that he !i! it +ith c ns#''ate skill an! 'ar&ell #s &i&i!ness an! !ra'atic p +er%A There are 'any instances " pleonas! in the )% T% as in all &ernac#lar speech% It is " 'any s rts% The sa'e + r! 'ay (e repeate! " r clearness as in 9QL9Q (C l% 2B.;)I "L%;6 (2 Ti'% =BO)% This re!#n!ancy is #s#ally !#e t the c#st ' " the lang#age +ith n th #ght " the repetiti n*. as in dL=F (9k% GB2A)I ;6 Q// (2 C r% GB.;)I =L& (Ac% 2LB2L* 2G)I .) ! & (. C r% .AB2)I '$ /;6 (9k% .ABO)I $ , (Ac% MB2F)I G !"@ F !' like #r ?ch#rch>h #se@ (:#% 22B..)I > A * (H % ..BG)I "h > (:#% .OB=)I .? >?6 Rec% (2=BAL)I <H i (Ac% 2B;L)I < = > (. H % 2B22)I / . ",;, (Ac% .LB.A)* etc% C"% als the c gnate acc#sati&e% Re!#n!ances like these e$a'ples are n t ling#istic &ices% They see' ple nastic t the technical st#!ent +h is #n+illing t all + " r the gr +th " the lang#age% E'phatic + r!s ha&e the c nstant ten!ency t (ec 'e less s an! t nee! re> en" rce'ent% This l &e " e'phasis in the )% T% is nat#ral t c n&ersati n an! t a certain e$tent has the Oriental richness an! +ealth " c l #r%2 0e see the sa'e thing in the O% T% an! in the papyri letters% It is a sign " li"e an! in partic#lar li"e in the East% These &i&i! !etails gi&e li"e an! (ea#ty t the pict#re% C"% .' 7 %: (9t% 2FBA.)I >% +$* /4 (H % 2.B.;)I ] "A %) =- (Ac% .AB2;)I j/$ = k& (H % .B2L)% +pe%egetical cla#ses are c '' n% C"% 7 /7 /' 9- (R % .2B.)* in app siti n +ith the in"initi&e cla#se* FD /% S . C r% GB2F* < /) #H* as an e$pansi n " * /) 9%% In H % GB;A < is pr (a(ly ca#sal% 0e 'eet hyper"ole in H % 2.B2A* ="N =) e ) %6& A 8 44/'% C"% als 9t% .;B;2% ,itotes is c '' n en #gh* as in Ac% .BA* = A //A C;I .=B2M* % = l/'% See als .AB2I .OB..* 2; "%I 2.B;OI 2GB.=* 2LI 2MB2% -eiosis is* " c #rse* nly a species " hyper"ole (y #n!erstate'ent% C"% Pa#l4s #se; " it in . Th% 2B.AI 2 Th% ;B2* G% 0e 'ay p#t t gether t+ re'arks " 9illigan%= ?St% Pa#l ha! e&i!ently n t the pen " a rea!y +riter* an! +hen he ha! nce " #n! an e$pressi n s#ite! t his p#rp se " #n! it &ery !i""ic#lt t &ary it%@ ?St% Pa#l ha! e&i!ently that highest gi"t " a great +riter* the instincti&e "eeling " r the right + r!* an! e&en +hen +riting* as he ! es here* in his ' st Qn r'al style* an! +ith an al' st c 'plete a(sence " the rhet rical "ig#res* s largely practise! in his !ay* he ! es n t hesitate t a&ail hi'sel" " the ' re p p#lar 'eth !s " a!!ing p int r e'phasis t +hat he +ants t say%@ There is n necessary inc nsistency in these t+ state'ents% A!! an ther "r ' 9illigan. +hich +ill help t rec ncile the'% ?0e rea!ily rec gnise that the arresting char' " the Ap stle4s style is principally !#e t Qthe 'an (ehin!*4 an! that the highest " r' " all el /#ence* Qthe rhet ric " the heart*4 is speaking t #s%@ S it is +ith all the )% T% +riters ' re r less% They are 'en " geni#s*
5 Cf. -..ott, 4o2. Gr., pp. A01(A%5. 1 Blass, Gr. of N. T. Gk., p. 295. 2 Cf. -. 4. 8ilso+, E p2asis i+ t2e N. T., 4our. of T2eol. Stu., =III, pp. )5 ff. 5 ,illi!a+, Co A I.., p. l"i f. 1 Co . o+ T2ess. Epistles, p. l"i f. . o+ T2ess. Epistles, p. l"ii.

" &arying !egrees " c#lt#re* an! 'en " l &e " r Christ an! 'an% :ang#age +ith these 'en is n t an en! in itsel"% They ! n t say ?pretty@ things an! t y +ith the'% As the + r!s " Hes#s are spirit an! li"e* " r they thr ( an! p#lse t >!ay (H % FBF;)* s the :etters " Pa#l are 4: !%,'* as e&en his ene'ies a!'it (2 C r% .LB.L)% The H#!ai7ers at C rinth !i! n t !isc#ss the rhet rical niceties " these :etters% They "elt the p +er " the i!eas in the' e&en +hen they resiste! Pa#l4s a#th rity% Pa#l #se! tr pes*2 (#t he s' te hearts +ith the' an! !i! n t 'erely tickle the "ancy " the l &ers " s phistry%; Pa#l !enie! that he sp ke . : 8' /* th #gh his + r!s see' t the l &er " Christ t (e "#ll " the highest appeal t the s #l " 'an% One '#st !isc #nt this !isclai'er n t 'erely (y Pa#l4s nat#ral ' !esty* (#t (y c ntrast +ith the C rinthian4s c ncepti n " % They l &e! the rhet rical "lights " the arti"icial rat rs " the ti'e% (d 9ETAPHORS A)3 SI9I:AR TROPES % 0e nee! n t tarry &er antiphrasis* a'(ig#ity* hen!ia!ys* hyp k ris'a* $y' r n* periphrasis* p lypt t n* syllepsis* an! the h#n!re! an! ne !istincti ns in &er(al anat 'y% 9 st " it is the rattle " !ry ( nes an! the - y " !issecti n is g ne% 0e 'ay pa#se &er Metaphor (8)* since little pr gress c #l! (e 'a!e in speech +ith #t the pict#re " the literal an! physical carrie! &er t the ' ral an! spirit#al as in I & I / (H % .LB..)% C"% the greatest 'etaph r in the )% T%* Pa#l4s #se " - " r the ch#rch (Eph% .B22 "%)% The Si!ile is -#st a (it ' re " r'al* as is seen in the #se " < in 9t% .;BA2* Q M < . #H !"@% Para"les are (#t special " r's " the 'etaph r r si'ile an! " r' the ' st characteristic "eat#re " the teaching " Hes#s in s "ar as " r' is c ncerne!% The para(le (4/&) !ra+s a c 'paris n (et+een the nat#ral an! the ' ral r i'plies it% It 'ay (e a crisp pr &er( (:#% =B2;) r a narrati&e ill#strati n " '#ch length* as in the S +er (9t% .;)% The Allegory (//$') is a para(le " a special s rt that calls " r n e$planati n* a speaking para(le (c"% the G ! Shepher! in H % .L an! the Pr !igal S n in :#% .A)% Metonymy (6,') an! Synecdoche (,"%&) are s '#ch 'atters " e$egesis that they '#st (e passe! (y +ith #t "#rther c ''ent% It is certain that n + r!s kn +n t 'an are c 'para(le in &al#e +ith th se c ntaine! in the )% T% 3espite all the &ariety " !icti n n the part " the rep rters* pr (a(ly partly (eca#se " this &ery "act* the + r!s " Hes#s still "ascinate the 'in! an! +in 'en t G ! as " l!% m .; < .;/ I +$* M /, ,D .?/& J 2%/ . 1 ""%1 =*_ Y A ""6 =M j .?,' >%6 =% j J : =- (9t% GB2M "%)% It is the c nstant peril " scri(es an! gra''arians. t strain #t the gnat an! t s+all + the ca'el% I 'ay ha&e "allen a &icti'* like the rest* (#t at least I 'ay (e per'itte! t say at the en! " the l ng r a! +hich I ha&e tra&elle! " r s 'any years* that I - y"#lly rec gnise that gra''ar is n thing #nless it re&eals the th #ght an! e' ti n hi!!en in lang#age% It is -#st (eca#se Hes#s is greater than S crates an! Plat an! all the Greek thinkers an! p ets that +e care s '#ch +hat :#ke an! Pa#l an! H hn ha&e t tell a( #t hi'% Plat an! Xen ph n h l!
2 Cf. 9ei+ri1i, C#' Hellen% !es Pa#l#s* 6 ''% 7# 2 6 r% 5 1 Cor. 2KA. 1 Gil/ersl. is s1or+ful of t2ose ?2o fear 6t2at a+t2ropolo!y is !oi+! to i+"a/e t2e sa1rosa+1t real of sy+taB, ?2i12 .elo+!s, stri1tly speaki+!, to t2e i1roto ists a+/ statisti1ia+s'ot2er?ise k+o?+ as *ea/ Sea -pes.7 - . 4our. of @2ilol., 190), p. 255.

#s (eca#se " their +n 'essage as +ell as (eca#se they are the interpreters " S crates% It 'atters n t i" Hes#s sp ke chie"ly in the Ara'aic% The spirit an! heart " his 'essage are enshrine! in the Greek " the )% T% an! interprete! " r #s in li&ing speech (y 'en " the pe ple +h se &ery !icti n is n + speaking t #s again "r ' the r#((ish>heaps " Egypt% The papyri an! the straca tell the st ry " str#ggle n the part " the &ery class " pe ple +h "irst resp n!e! t the appeal " Pa#l (c"% . C r% .B2F ""%)% Christianity is n t (#rie! in a ( k% It e$iste! (e" re the )% T% +as +ritten% It 'a!e the )% T% It is -#st (eca#se Christianity is " the great !e' cracy that it is a(le t 'ake #ni&ersal appeal t all ages an! all lan!s an! all classes% The chie" treas#re " the Greek t ng#e is the )% T% ) t il is t great i" (y 'eans " it 'en are ena(le! t #n!erstan! ' re e$actly the 'in! " Christ% I" ne is !isp se! t think less " the )% T% (eca#se it stan!s in the &ernac#lar &* let hi' re'e'(er that the speech " these Christians +as rich (ey n! 'eas#re* since #t " it ca'e the + r!s " Hes#s% These +ere carrie! in the c '' n tra!iti n " the peri ! an! +ritten ! +n "r ' ti'e t ti'e (:#% .B.N=)% Pa#l +as n t a rhet rician* th #gh a 'an " c#lt#re* (#t he care! '#ch " r the talk " the Christians that it sh #l! (e + rthy% n / 9- . % o/ k,;D !"; - ": 9Q [ [H ' (C l% =BF)% That +as g ! a!&ice " r the C l ssians an! " r all speakers an! +riters* gra''arians incl#!e!* an! 'akes a "itting "on !ot t lea&e +ith the rhet ricians +h 'ight care t /#i((le "#rther &er niceties " lang#age% * /;D . X%