Terrance Callan, «The Style of the Second Letter of Peter», Vol. 84 (2003) 202-224

Readers of the Second Letter of Peter have often commented on its style, usually in negative terms. This essay examines the style of 2 Pet more thoroughly than has been done heretofore, using Cicero’s discussion of style, and that of other ancient writers, as a framework. This examination shows that 2 Pet largely conforms to ancient canons of style and should be seen as an example of the grand Asian style. Recognition of this may help readers avoid unthinking assessment of 2 Pet’s style by standards not accepted by its author, and develop greater appreciation of its style in terms of its author’s own aims and standards.

mentioned at the beginning. On a smaller scale, supplying abundantly (e)pixorhge/w) is mentioned in 1,5 and 11, tying that section together.

        Thus most repetition of words in 2 Pet can be seen as an effort to produce the artistic and other effects described above⁴¹. Watson has catalogued many other figures of speech and thought that serve to ornament 2 Pet⁴².

        c) Sentence structure

        Many of the sentences of 2 Pet are relatively short and simple. However, 2 Pet also contains several long, complex sentences⁴³. These are instances in which the periodic style is used for ornament⁴⁴.

        The first and most elaborate of these periods is 1,3-7. This is a complex sentence, of which vv. 3-4 form the protasis and vv. 5-7 the apodosis⁴⁵. VV. 3-4 are a genitive absolute introduced by w(j, on which depend a relative clause and a purpose clause. The main verb of vv. 5-7 is an imperative. If vv. 5-7 are taken as a single clause, the sentence consists of four clauses, which is the maximum length of a period according to Demetrius⁴⁶. The last clause is also the longest, as Demetrius recommends (On Style 18). This period forms the introduction to the message of 2 Pet, a good place to use a period according to Quintilian (Institutio Oratoria 9.4.128). This sentence is not only grammatically complex; it is also ornamented with many figures of speech and thought. According to Watson, vv. 3-4 exhibit two figures of speech in addition to the tropes and transplacement already noted above — personification and hendiadys⁴⁷. VV. 5-7 constitute the figure of speech called climax and also exhibit the