SELF-REFLEXIVITY AND METAFICTION IN ACHILLES TATIUS’ LEUKIPPE AND KLEITOPHON BY AMANDA DAWN MYERS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Classics, Ancient History, and Archaeology School of History and Cultures College of Arts and Law University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines the self-reflexive and metafictional aspects of Achilles Tatius’ Leukippe and Kleitophon. The aim is to map this self-reflexivity by examining the intricacy of its narrative structure, revealing the self-consciousness of the text, and thereby comment on the visibility of the author. Achilles Tatius is a notably difficult text. It presents a narrative of complexity, while appearing superficial. Scholars have recognised this complexity, but have yet to produce a clear analysis of how the text functions as a complete work. Through the discourse provided by the theory of ‘metafiction’, this complexity is able to be diagnosed and explored to its completion. It is only through the totality of the text that a complete understanding of Achilles’ novel becomes possible. In examining the text by book-pairs, a comprehensive and intelligent structure emerges, revealing a highly conscious text through its awareness of its own fictive structure. The consequence of providing a comprehensive analysis is that many of these insights cannot be explored to the extent they deserve, as more research remains to be done. The conclusion of the thesis will provide a larger understanding of how these book-pairs function as separate ‘movements’ of the text, revealing a sophistic ‘symphonic’ novel. ACKNOWLEDGEMENTS I would like to gratefully acknowledge those who have accompanied me in my journey in writing this thesis, without whom none of this would be possible. First, I would like to extend my deepest thanks to my supervisor, Professor Ken Dowden, whose expertise, guidance, and genuine sense of humour has made the last three years particularly entertaining and educational. It has been a great pleasure working with him. I would like to thank to my examiners, Tim Whitmarsh and Elena Theodorakopoulos, who offered their invaluable insights. They have been more than accommodating and supportive during this process. I would also like to thank my partner, Phillip Myers, whose constant support, affection, as well as a steady supply of freshly baked biscuits kept me focused and motivated. I would never have ventured into the Greek novel, let alone Achilles Tatius had it not been for my time at Swansea University, for which I must both blame and thank Dr Ian Repath and Dr John Morgan. Their dedication to the Greek novels as well as their encouragement of others to subscribe to them is inspiring, if not unnerving. I must also acknowledge both Dr Evelien Bracke and Dr Fritz-Gregor Herrmann for revitalising my appreciation for the Greek language, and Christy Drake-Lowe, who originally inspired my love of the Classics and the Latin language. I would also like to thank my friends in the PGR community and at Westmere House: Beth Spacey, Bernadette McCooey, Ian Styler, Bob Brown, Stephanie Appleton, Victoria Schuppert, Ruth Léger, Claire Harrill, and Guy Kirkham-Smith. All of you have helped maintain my sanity and I could not have done this without your unending support and friendship. Additionally, I would like to thank the staff, instructors, and community at the Munrow Sports Centre who motivated me to keep my body fit, even if and when my mind was not: Helen Coy, Yvonne Aggett, Michelle Elwell, and many others. Finally, I would like to thank my parents, Anita and Jan Huxman, who have never doubted my abilities and have always encouraged me to challenge myself. Contents Introduction ............................................................................................................................................ 1 History of Scholarship on the Ancient Novel ...................................................................................... 2 History of Scholarship on Achilles Tatius ............................................................................................ 5 Second Sophistic and Declamation ................................................................................................... 16 Narratology and Metafiction ............................................................................................................ 26 The Analysis: Approaches, Structure, and Terminology ................................................................... 35 Chapter 1 ............................................................................................................................................... 46 Books 1 and 2: Seeming like Fiction ...................................................................................................... 46 1.1 Structure ..................................................................................................................................... 49 1.2 Narrative Exchange: Logos and Mythos ...................................................................................... 60 1.3 Performance Quality ................................................................................................................... 67 1.4 Fictionality and the Pursuit of Audience ..................................................................................... 78 1.5 A Phoenician Tale and the Authorial Role of Eros and Tyche ..................................................... 85 1.6 A Hermeneutic Game: The Rules ................................................................................................ 90 1.6.1 Ekphraseis of Paintings ........................................................................................................ 92 1.6.2 Micro-narratives and ‘Digressions’ ...................................................................................... 94 1.6.3 Interpretation and Reinterpretation: Dreams and Omens .................................................. 98 1.6.4 Narrative Levels ................................................................................................................. 103 1.6.5 An Intratextual, Intertextual, and Interpretive Game ....................................................... 107 Conclusion ....................................................................................................................................... 111 Chapter 2 ............................................................................................................................................. 112 Books 3 and 4: A Nilotic Mosaic .......................................................................................................... 112 2.1 Structure ................................................................................................................................... 114 2.2 Approaching Egypt .................................................................................................................... 127 2.3 Life, Death, and Artificiality ....................................................................................................... 135 2.4 Mixing of Genres ....................................................................................................................... 142 2.4.1 Historiography.................................................................................................................... 143 2.4.2 Declamation and Art Criticism ........................................................................................... 149 2.4.3 Tragedy and Myth .............................................................................................................. 154 2.4.4 Epic ..................................................................................................................................... 158 2.5 Advancing the Narrative and the Visibility of Author ............................................................... 159 Conclusion ....................................................................................................................................... 172 Chapter 3 ............................................................................................................................................. 175 Books 5 and 6: Reinitiating the Narrative ........................................................................................... 175 3.1 Structure ................................................................................................................................... 177 3.2 Departing Egypt for Ephesus: The Widow of Ephesus .............................................................. 191 3.3 Discourse on Truth .................................................................................................................... 196 3.4 Focalisation Shift: Incarcerating the Narrator .........................................................................