Abstract This study provides substantive evidence that in composing / Corinthians Paul made conscious use of the Complete Argument as reported in the Rhetorica ad Herennium. This cross‐cultural strategy of reasoning, in combination with Semitic structures of symmetrical reasoning, is employed to analyze the argument of / Corinthians 14, providing methodological criteria for accepting the modern tradition‐critical thesis that the admonition silencing women in Corinth (/ Cor. 14 33b‐35) is not original to Paul's epistolary argumentation. The study suggests the need for greater attention to the role of the Complete Argument as a strategy of cross‐cultural persuasion in Greco‐Roman epistolary literature while also providing an example of rhetorical criticism employed in the evaluative task of tradition‐textual criticism.

In the first half of On Demosthenes, Dionysius of Halicarnassus' mature critical essay, he presents the case that Isocrates, Plato and represent the three finest stylists when it comes to speaking with the diction approved by audiences. In the process of making an argument for the Demosthenic ideal, Dionysius needed to find commensurate speeches by Isocrates and Plato to compare with Demosthenes. For Isocrates, he compared the most elegant portion of On the Peace with a portion of an epideictic from Demosthenes' Third Olynthiac. It was a good choice. However, for Plato, finding an appropriate speech in the philosopher's writing proved more difficult. Of course, we would readily assume that by the first century BCE Dionysius should have felt compelled to use the Apology as the Platonic exemplar. It clearly ranks as one of the impressive speeches in all of history. For his part, were he not to use it, Dionysius was well aware critics would complain that the Apology presents itself as the ideal choice for this kind of analysis. So in anticipation of this objection and his otherwise obscure choice to use Socrates' funeral oration in the Menexenus, he dismisses Plato's Apology as something other than a true forensic and therefore not a viable candidate. He offers the following tantalizingly cryptic reason: There is one forensic by Plato, the Apology of Socrates; but this never saw even the threshold of a law-court or an open assembly, but was written for another purpose and belongs to the category neither of oratory nor of dialogue. I therefore pass over it. (On Dem. 23). Within his own lifetime Dionysius already felt compelled to respond to charges of impiety for committing the sin of suggesting that one could find infelicities in Plato's compositional style. In a letter responding to Gnaeus Pompeius' complaint that, You should not have exposed the faults of Plato when your purpose was to praise Demosthenes (Gn. Pomp. 1), Dionysius responded that had he not objectively compared the best discourses of Isocrates and Plato with those of his argument would have been unpersuasive as well as a criti

Dionysius of Halicarnassus's attention to harmonious composition from the small part of the clause to the whole of a work is at the heart of what Eduard Norden has called Kuntsprosa, the ancient theory of formal prose composition that came to fruition during the Augustan age of the early Empire. The effort of fifth- and fourth-century BC Greek writers to provide prose the dignity and affective power of oral poetry through literate embellishment and studied arrangement was fundamental to the transformation of literate consciousness and therefore cultural consciousness in which the power of the modern state was birthed. As the eye continued to supplant the ear as a means of using words effectively to move audiences and as literacy brought about an interiorized way of thinking and manner of expression, ancient Greek and Roman historians, orators, and philosophers learned to play with language. They found in this new consciousness exciting ways in which elegantly conceived discourse could formalize the affective power of poetry and the spellbinding magic of persuasive words (Romilly). And it is this compositional tension between words heard and words seen that came to fruition in the first century Critical Essays