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.

        The most extensive discussion of the grand style is found in Demetrius, On Style 38-124; he calls it the elevated (megalopreph/j) style. According to Demetrius, elevation comes from thought, vocabulary and syntax.

        With regard to vocabulary, Demetrius says that elevation results from the use of unusual words (77), new coinages (95-98), including compound words (91-93) and onomatopoeia (94), and metaphors (78-90) and other tropes, especially epithet, which may be combined with metaphor (85), and allegory (99-102). Poetic vocabulary adds elevation (112-13).

        With regard to syntax, Demetrius says that hiatus should neither be ignored, nor avoided completely. Hiatus, especially between the same long vowels and diphthongs, produces grandeur (68-74). Although Aristotle does not discuss full, plain and middle styles, Demetrius seems to understand Aristotle as describing the full or elevated style. Therefore, Demetrius regards Aristotle’s comments on rhythm as referring to the elevated style. Thus use of the paean is elevated, but heroic rhythm (i.e., dactyl, spondee, and possibly anapest) is too solemn⁵⁸, and the iamb too ordinary (38-43). Demetrius identifies the following figures of speech as appropriate to the elevated style: repetition (59, 61, 66, 103), anthypallage, or substitution of one grammatical case for another (60), asyndeton, though polysyndeton can also increase elevation (61-63, 54-58), variety in the use of cases (65). Crowding figures together should be avoided (67). Long clauses produce grandeur (44), as does composition in periods (45-47). Other syntactical features that produce elevation are: a series of ugly sounds (48-49, 105), putting less vivid words before the more vivid (50-52), not having connectives correspond too precisely (53), aposiopesis (103), indirect construction (104), and use of the epiphoneme (106-11).

        The faulty style corresponding to the elevated is the frigid. It arises particularly from speaking too grandly of small things (119-23). Hyperbole is the most frigid of all figures (124-27).

        To a considerable extent, Demetrius’ description of the grand style resembles Cicero’s description of stylistic ornament in general. We have already observed that the style of 2 Pet largely conforms to the latter. However, Demetrius adds some items. Demetrius says that the new coinages that produce elevation include compound words and onomatopoeia. All four of 2 Pet’s new coinages are compound words. None is an example of onomatopoeia, but one of 2 Pet’s rare words is,