Enigmatic and radiant, the Epistle to Diognetus emerges from the shadows of antiquity like a forgotten gem—its author unknown, its provenance uncertain, yet its voice clear and sublime. In a time of scorn and persecution, this brief letter stands as a luminous testament to the power of Christian faith, addressing a curious pagan mind with arguments rooted not in polemic but in beauty, moral force, and incarnational wonder.
Editions and Scholarship
The Epistle to Diognetus was first published by Henry Stephens in 1592 in both Greek and Latin, attributed to Justin Martyr. This editio princeps appeared without comment on the source manuscript, which has since been identified with a thirteenth-century codex from Strasbourg. Tragically, that codex was destroyed in the fire during the Prussian siege of Strasbourg in 1870, leaving only secondary copies for subsequent editions.
Otto produced a critical edition with Latin translation and extensive notes (Leipzig, 1852). Gebhardt and Harnack included it in their Leipzig edition of the Apostolic Fathers (vol. I, pp. 216–226), and it was also published in the Hefele-Funk edition (vol. I, pp. 310–333). Hollenberg, Krenkel, and Kayser provided important nineteenth-century editions and translations. English versions appeared in Kitto’s Journal of Sacred Literature (1852) and in the Ante-Nicene Christian Library (1867). French translations were made by P. le Gras (1725), M. de Genoude (1838), and A. Kayser (1856).
Debate over the Epistle’s authenticity and dating has been vibrant. Otto, Overbeck, and Donaldson raised doubts, with Donaldson even attributing it at one point to Henry Stephens himself—a theory later abandoned. Overbeck viewed the work as a fourth-century fabrication, a theory refuted by Hilgenfeld, Keim, Lipsius, and Dräseke. Dräseke’s own theory that it may have come from a Christian Gnostic such as Apelles is intriguing but unconvincing. Heinrich Kihn, Franz Overbeck, and others have added layers of discussion.
I. Discovery and Transmission
Until 1592, the Epistle to Diognetus was unknown to Christian literature. Henry Stephens, the Parisian printer-scholar, published it under Justin Martyr’s name, though he failed to identify its source. The codex later tied to this edition was the Strasbourg manuscript, which perished in 1870. All extant texts ultimately derive from this lost manuscript.
The document’s mysterious origins have led to speculation: some have considered it a literary invention from a later period, but without convincing evidence. Despite its obscurity, the letter shines with intellectual and theological brilliance unmatched by its more famous contemporaries. It remains a literary marvel authored by a nameless Christian genius whose work breathes the spirit of truth in an age of darkness.
II. The Enquirer: Diognetus
The recipient, Diognetus, was a cultured pagan seeking to understand the nature of Christian religion: its origin, moral vigor, and striking disinterest in worldly honors. He was struck by the Christians’ disdain for death and their unshakable devotion.
Some scholars have identified this Diognetus with the Stoic philosopher who taught Marcus Aurelius in the mid-second century—a man versed in Greek artistic and moral traditions, and possibly hostile toward the Christian martyrs whom he may have dismissed as stubborn fanatics. The connection, though speculative, fits the social and philosophical context of the letter, and adds an imperial resonance to the exchange.
III. Literary Quality and Spiritual Power
The Epistle responds to Diognetus’ questions with grace and rhetorical mastery. It is simultaneously an apology, a homily, and a hymn. It reflects the work of a classically trained mind, familiar with Greek philosophy yet radically shaped by the gospel.
The author first exposes the folly of idol worship (ch. 2), then critiques Jewish ritualism (ch. 3–4). He paints a stirring portrait of Christian life: Christians dwell in the world but are not of it, inhabiting their nations like souls in bodies (ch. 5–6). The letter then extols the coming of Christ (ch. 7), depicts the world’s plight before Him (ch. 8), and addresses the question of His late appearance in salvation history (ch. 9). A passage on redemption in chapter 9 surpasses all previous patristic formulations in clarity and depth.
Chapters 10–12 explore the moral transformation wrought by the gospel. The final two chapters, likely appended by a different hand, adopt a mystical tone, connecting faith and knowledge to Edenic images—the Tree of Life and the Tree of Knowledge.
IV. Theological Character
The letter marks a transition from the practical exhortations of the Apostolic Fathers to the reflective theology of the Apologists. It is Pauline in spirit—relishing freedom, faith, and divine mystery. Though the Old Testament is not quoted, no trace of Gnostic disdain appears. Instead, the focus is positive: Christ, the incarnation, the transformation of souls.
The doctrine of redemption is central. God sent His Logos not to condemn, but to save, transforming the hearts of men. Grace, not merit, stands at the center. The style is lucid, compact, and elevated. Bunsen called it “after Scripture, the finest monument of sound Christian feeling and manly eloquence.”
V. Authorship and Date
The author describes himself as a “disciple of the apostles” (ch. 11), though this could mean simply a second-generation Christian. The earliest manuscript attributes the work to Justin Martyr, but stylistically and theologically, it surpasses Justin in elegance and originality. Most scholars agree it belongs to the mid-second century—perhaps between 130 and 160 AD.
Some date it earlier, under Trajan or Hadrian; others, such as Keim, place it under Marcus Aurelius (161–180), pointing to persecution references. A few later scholars suggest even later dates, but such views are now largely discredited.
As to authorship, names proposed include Apollos, Quadratus, Ambrosius, and even Henry Stephens—but all remain conjectural. The true author will likely remain anonymous, his identity swallowed by time, while his words endure with undiminished splendor.
