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We saw in the last chapter how the Heronian tradition fragmented and flourished in the Byzantine and medieval Islamic worlds. Yet in the Latin west, Hero’s trail went quite cold during this period. A few references suggest that he continued to be characterized as he was in Pappus, as a mechanical author and pneumatic wonder-worker. In the Summa Philosophia of the Pseudo-Grosseteste, Hero is named as an egregius philosophus who strove to demonstrate the void “through clepsydras and siphons and other instruments.”1 Henricus Aristippus recommends in the preface to his 1156 translation of the Phaedo that his pseudonymous addressee elect to stay in Sicily, where he has access to a rich library of philosophical and scientific texts, including “the mechanica of the philosopher Hero … who argues so subtly about the void.”2
Chapter 7 considers stylistic imitation and appropriation in the debate over Atticism and Asianism, with a special focus on how Cicero distorts the aims and positions of his detractors in the diatribe against the Atticists (285–91). He trades on various meanings of Atticus/Attici in order to make a rhetorical – rather than strictly logical – case. He downplays Atticism as outdated and relegates its stylistic virtues to the plain style (genus tenue). Rejecting Atticism does not entail rejecting the plain style. Instead he acknowledges it as one of many oratorical virtues to be subsumed under the capable orator’s broad stylistic repertoire. Cicero promotes a model of stylistic diversity, examples of which are found in the long histories of Greek and, especially, Roman oratory.
The previous chapters unfolded how Hero inscribed himself into an evolving textual tradition and the strategies he devised to turn books into sites for exploratory engagements (real or imagined) with the world. Hero’s most distinctive features as an author are his systematic reorganization of a body of past technical knowledge into an accessible and orderly group of new texts and his deployment of that systematic knowledge to restructure how his reader negotiates between the textual and material worlds. He exhibits a deep concern that his reader be able to understand everything in his texts, and he often seeks to augment that understanding with vivid accounts of embodied engagements with the technologies he describes. His texts are often quite simple in their rhetoric and structure, but they open a window onto a world of material complexities.