Up For Interpretation: Considering the Allegorical Tendencies of the Derveni Author and Flavius Josephus Daniel Jacob Whittle Department of History and Classical Studies McGill University, Montreal May 2020 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Master of Arts (History and Classical Studies: Classics) © Daniel Jacob Whittle 2020 Table of Contents Abstract ....................................................................................................................................... ii Résumé ………………………………………………………………………………………... iii Acknowledgements .................................................................................................................... iv Chapter 1—Origin Stories: The Beginnings of the Interpretive tradition……………………... 1 Chapter 2—The World of and According to the Derveni Author……………………………... 21 Chapter 3—Unfamiliar Face: Bringing Josephus into the Mix………………………………... 48 Chapter 4— Conclusion: Classical Literature and Deeper Meanings ........................................ 84 Bibliography …………………………………………………………………………………... 91 i Abstract: This thesis adopts the case-study approach to explore the interaction between textuality and authority, particularly how aspiring intellectuals used their interpretations of authoritative and credible writings to construct their legitimacy and authenticate their own persuasiveness. It focuses on the Derveni papyrus, an exegete of an Orphic poetic cosmogony, which the Derveni author believed contained enigmatic divine wisdom, encoded by Orpheus; and Josephus, a Flavian historian with his own affinity for dream and prophetic interpretation, whose skills are undergirded by alleged expertise in and interpretation of sacred Judean texts (or scripture, or writings he characterises as oracular, among other values he assigns them). The discussion of the Derveni papyrus considers the author’s authenticating strategy for their own claim to expertise and efficacy through an association to a previously authenticated text. Many contemporary rival practitioners and intellectuals were vying for the same type of position and authenticity within a highly competitive environment. The second author studied in the thesis, Flavius Josephus, uses the allegorical tradition to portray his own interpretive methods and to characterise whom he believes to be good examples of interpretive intellectual experts. The thesis then reflects on both case studies in dialogue with one another, observing the similarities and key differences in their engagements with the broad phenomenon of allegorical reading. It demonstrates the profitability of extending this methodological approach to symbolic reading developed by Peter T. Struck, among others, to new and less conventional case studies. Ultimately, the thesis contributes to a richer and more diversified understanding of the spread and interactivity of Greek intellectual culture in the Hellenistic and Roman worlds, one that also decentres what we mean by “Greek” intellectualism in these periods. ii Résumé: La thèse suivante traitera de l’interaction entre la textualité et l’autorité; en particulier de la manière dont les intellectuels en développement utilisèrent leurs propres interprétations d’écrits crédibles et faisant autorité afin de construire leur légitimité et d'authentifier leur propre force de persuasion. Mon argumentation s’articulera autour du papyrus Derveni, exégète d’une cosmogonie poétique orphique, laquelle contenait une sagesse divine énigmatique selon notre auteur, intégrée par Orphée; et de Josèphe, historien de la période flavienne, avec sa propre affinité pour le rêve et l’interprétation prophétique, deux compétences qui sont sous-tendues par un prétexte de compétence et d’interprétation des textes (ou des écritures et écrits qu’il caractérise comme oraculaires, entre autres valeurs qu’il leur attribue). Ma discussion sur le papyrus Derveni portera sur la stratégie d’authentification de l’auteur pour ses propres prétentions à l’expertise et à l’efficacité par une association à un texte auparavant authentifié. De nombreux praticiens et intellectuels rivaux contemporains de notre auteur se disputaient le même type de position et d’authenticité dans un environnement hautement concurrentiel. Avec mon deuxième auteur, Flavius Josèphe, je retracerai comment il utilise la tradition allégorique pour décrire ses propres méthodes d’interprétation et pour caractériser ceux qu’il considère comme de bons exemples d’experts intellectuels interprétatifs. Pour finir, je réfléchirai sur les deux études de cas en mettant l'une et l'autre en dialogue, tout en observant les similitudes et les différences principales dans leurs engagements avec le phénomène de lecture allégorique. En fin de compte, j’ai l’intention de démontrer la rentabilité d’étendre le type d’approche de la lecture symbolique développé par Peter T. Struck, entre autres, à des études de cas nouvelles et moins conventionnelles. Les résultats de ce type de recherche devraient contribuer à une compréhension plus riche et plus diversifiée de la diffusion et de l’interactivité de la culture intellectuelle grecque dans les mondes hellénistiques et romains, une compréhension qui décentralise également ce que nous entendons par « intellectualisme grec » à cette époque. iii Acknowledgments: While everyone listed below has directly or indirectly helped with this project, these acknowledgments are not only for those efforts, but a long thank you for all of my six years at McGill as both and undergrad and graduate. I will start by thanking my supervisor, Heidi Wendt, not only for all her advice over these last two years, but for introducing my to Peter T. Struck’s αἴνιγμα. I’d also like to thank all of the Classics professors at McGill who, each in some way or another, contributed to this thesis. Especially Dr. Martin Sirois, who is the reason I know any Greek, Dr. Charles Gladhill and Dr. Darian Totten, who are both the reason I know any Latin, and Dr. Michael Fronda who is the reason I know way too much about the Roman Triumph. Of course, I’d also like to thank Lynn Kozak the first and last prof to hire me as an RA, the reader of this thesis, and the reason I did anything vaguely theatrical during university. Although not at McGill, I would like to mention one more professor: Raymond Blake. He has read and edited nearly everything I have every written, regardless of how late I send it. For most of my life he has been like a second father to me and someone I’d admire greatly despite our occasional political differences. In addition, I’d like to thank all my 817 friends and colleagues. Alexis Lemonde-Vachon for editing my French abstract and the many lovely pork saté dinners; Donald McCarthy, my thesis brother in arms, and occasionally the Latinist I aspire to be (minus the coffee problem); and Neha Rahman who may have started as my unpaid intern, but has become one of my favourite people to talk to—be it politics, films, or the cultural cornerstone: Oh Hello—my co-director, and a dear friend. I’d like to thank all my friends from across the globe, and in particular all those who had to live with me, for their understanding during late nights reading/ranting about ancient Greek and Latin and for their patience for my constant tardiness. With special mentions for the Come Dine with me crew; the Squid to my Whale, Tyrel Stokes; Christo Morrison, more than just a great book recommender; Aaron Fritzler, my saving grace during freezing winters in Regina, Saskatchewan; and Joe Beaumont, my best friend, without whom I wouldn’t have survived Montreal let alone McGill. iv Finally, I’d like to thank all of my family. My aunt and uncle, Brian and Joanna, who yearly provided room, board, company, and conversations—along with all my cousins: Ben, Catherine, Tom, and Maddy—during my UK excursions to get away from Montreal. With a special thanks to Harry and Jessie for their wonderful additions and decorations on my thesis notes; they are probably my favourite people in the whole world. I would like to thank Sol who kept me company and provided mischievous distractions in the last couple weeks of writing. My brother, Our Joseph, for your intentional and unintentional daily comic relief. Last but not least, I would like to thank my parents without whose love, support, and hard work I would never had any of the opportunities I have been fortunate to have been given. To my Mum, always a source of inspiration, support, and the perfect person to vent to over facetime be it related to school or the world generally, and to my Dad, he is and always will be my working-class hero. I’d like to dedicate my thesis to those who, sadly are no longer with us, but were also responsible for the person I am today: Grandma Janet, Grandad Harry, and my dear dog, Tess. v Chapter 1—Origin Stories: The Beginnings of the Interpretive Tradition What do we expect from poetry? Is it an entertaining diversion? An edifying tale? A craft whose masters delight and move us with their elegance and fine workmanship? Yes, perhaps. But a few bold souls, ancient as well as modern, have it in mind that poetry will do something more for us. They suspect that the poets’ stories might say more than they appear to say, and that their language might be more than just words.1 It is the attitude and nature of one of these very (although I would perhaps not say either bold or few) souls that inspired this project. I have always been fascinated by understanding why and how texts,