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.