Reviewed by: Chain of Gold: Greek Rhetoric in the Roman Empire by Susan Jarratt Anna Peterson Susan Jarratt, Chain of Gold: Greek Rhetoric in the Roman Empire. Carbondale: Southern Illinois University Press, 2019. 200 pp. Coined by Philostratus in the early third century CE, the label “Second Sophistic” (c. 50-250 CE) is increasingly recognized as an imperfect periodic designation. Does it refer exclusively to the tradition of epideictic rhetoric as described by Philostratus? Or can it be expanded to include the full range of Greek literary production during the first three centuries CE? At its core the term reflects feelings of belatedness and nostalgia, such that the common narrative of the period has become one in which an elite Hellenic identity was defined above all by paideia (“education” or “culture”). While this rooting of an elite Greek identity in the classical past is well recognized as a response to Roman hegemony,1 recent scholarship has begun to expand on this conventional view, pointing to elements of continuity both with earlier Hellenistic literature and the literature of the fourth century CE.2 Jarratt’s monograph Chain of Gold consequently sets a tall task for itself in once again addressing the cultural politics of the Second Sophistic. It is an ambitious and thought-provoking work, even if in the end it does not completely succeed in what it sets out to do. At its core, it argues for a reappraisal of the “second sophistic habit of dwelling in the past” as something that was not “monologic and static” but “varied and dynamic” and that offered the writers and performers of the period “a politically protected way of ‘talking back’ to empire.” (17) For Jarratt, the obsession with the past that has come to define this period of Greek literature is not a simple matter of nostalgia but rather of critical memory, one that allowed the authors of this period to reimagine and keep alive a deliberative civic space. Jarratt’s aim in this book is not at its core an entirely new idea. That said, what makes her work so thought provoking is her desire to locate “a colonial counterdiscourse” in a broad range of works (38). Moreover, she is certainly correct that too often classicists have been overly hesitant about reading the literature of the period through the lens of postcolonial theory (3). In addition to an introductory chapter outlining the monograph’s methodology, Chain of Gold develops this argument across six case studies, covering respectively Dio Chyrsostom’s Euboean Discourse (Chapter 2), Aelius Aristides’ Roman Oration (Chapter 3), Philostratus’ Life of Apollonius of Tyana [End Page 103] (Chapter 4) and Imagines (Chapter 5), Heliodorus’ Aithiopika (Chapter 6), and Libanius’ To Those Who Call Him Tiresome (Chapter 7). Generally speaking, this is a nice mixture of well-trod and often overlooked texts. Her strongest chapters are those which connect what she calls rhetorical vision to the post-colonial concerns outlined in the monograph’s first chapter. For example, her discussion in Chapter 3 of Aristides’ Roman Oration explores how “the ‘ sophist . . . draws on the resources of [Homeric] epic to enhance his powers of visualization,” providing his audience not only “a phantasm of [Rome’s] imperium but also a techne of viewing” (47). Likewise, Chapter 5 reads Philostratus’ Imagines—an intriguing collection of descriptions of works of art—as an exploration in rhetorical vision that pushes the limits of ekphrasis. Treating the text as a museum of sorts, Jarratt acts as curator, bringing out how the text handles reoccurring images of youth, women, and different ethnicities, among others. This is Jarratt’s most successful chapter, in part thanks to the inclusion of an appendix, which maps out the paintings in relation to one another. In a few instances, however, Jarratt does not make full use of the ancient evidence. The clearest example of this comes in her discussion of Dio Chrysostom’s Euboean Discourse (Or. 7). In this speech, Dio professes that he will narrate a personal experience, relating how, after being shipwrecked in Euboea, he was taken in by a huntsman, who recounted his own troubled participation in local politics. The huntsman’s tale then prompts Dio to expound on...
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