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Analyses the re-animating culture of imperial Greek culture, focusing on sophistic declamations, ethopoetic exercises, ‘close encounter’ descriptions and Homeric performance. Suggests how all these spaces reveal a strong and very textually engaged awareness of the concept of ‘doubleness’ (being and not being the subject of one’s impersonation). By reading these modes alongside depictions of performance from within the Posthomerica (Nestor’s song, the song of the bards and the debate between Ajax and Odysseus) argues for the direct influence that they exerted on Quintus’ composition, providing models for how to expand creatively within the boundaries of a canonical, traditional text.
Considers how Quintus captures his stance towards Homer through the presentation of family relationships. Harnessing the frequent collusion between generational and poetic succession (examined using Harold Bloom’s ‘anxiety of influence’ and very prevalent in silver Latin poetry), Quintus first depicts a series of failed rivalrous filial usurpations – Penthesilea, Ajax, Achilles, Memnon – and shows that they fail because of their violent antagonism. He then portrays the two most successful examples of succession – Neoptolemus and Athena – as characterised by impersonation, embodiment and necromantic possession. This contrast becomes a reading of Quintus’ own positive and assimilating approach to Homer. Becoming the poetic father thus becomes the surest way to achieve lasting renown.