A study of Daphnis & Chloe by R. L. Hunter

By R. L. Hunter

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RW) Of particular interest in this regard are the prose 'hymns' of Aristeides (Or. 37-46 K). In these attempts to rival the language and function of poetry52 there are many examples of extravagant praise which remind us of Philetas' description of the powers of Eros. P'Ya oM' euvai. vvKToe; Toivvv Kat r)Jl€pae; rr€paTa €rrWK01rei, Tilv Jl€V aiJToe; oatOOuxoe; Te Kal r)'YeJlWv Tf/c; lJl/lewe; 'YL'YvOJleVOe;, rilv Of €T€pOLe;rrapLeie;' ap'Ywv 0' iJJlwe; OVO' oi5rwe;, aet 0' €V €/JOpaL Kat KLV'I7aeL TOV alwva OL€~€pxeraL.

Above p. 17 on the name Nape). An 'allegorical' interpretation is certainly not demanded by the prologue or even suggested by the scenes on the painting which the narrator lists,96 but more suo Longus has hinted at a second and deeper level of meaning which he challenges us to pursue; the quarry, however, remains pleasantly elusive. The element of TO T€P7rIlOIl in the novel/painting (),paCPi7 T€P7rIlOT€pa, KTilj1a T€P7rIlOIl) associates the work with the poetic tradition and, in particular, with the 'poetic licence' which is a standard theme in ancient criticism.

22 where Daphnis is about to throw himself off a cliff as he sees Astylus chasing him, but he is also certainly aware of Theocr. 15 -6 f1 KaTa T1]Va, ITa, 1f€rpa, ... JlavEk El, Kpa(Jtv CLAOiJlav. A further influence here might have been the legend, attested most notably in a fragment of Menander's AEvKa(jia (fr. 258 K-T), of the leap of the lovesick Sappho from the Leucadian rock. 34 The Lesbian setting of the novel allows Longus to make pointed use of the poetry of Sappho (cf. below pp. 73-6) and may indeed partly have been dictated by this possibility.

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