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

By R. L. Hunter

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Example text

In setting his novel to vie with the visual appeal of a painting, Longus employs a mild form of the sort of selfadvertisement used by Aelian in introducing his description of the Vale of Tempe, TO. KaAovpEva TEP1TT/ TO. 1), or by Lucian in the introduction to a description of a marvellously ornate room, TO xaAE1TOV TOU TOAPiJpaTO\ opaTE, aVEV xpwpaTWV Kat UXT/paTWV Kat T01TOV uvuTiJuau8aL TouavTa\ fl KOva\· 1j;LA17 l'ap TL\ 7j l'parp17 TWV AOI'WV (de domo 21), or by the speaker in the following passage of Himerius, rpEPE 017 I'pa1j;w TWL AOI'WL TOV 1TivaKa· €XEL l'ap olpaL 1TpO\ piPT/ULV olKEta Kat AOI'O\ rpappaKa ...

The life of Daphnis and Chloe and the landscape which they inhabit have a quite different tone from the poetry of Theocritus to whom Longus owes his largest literary debt (cf. below pp. 59-63). I have already noted a certain affinity between D&C and the poetry of Tibullus (abovepp. 5-6), but the closest Greek analogues are probably to be found in the Acharnians and Peace of Aristophanes, which share with Tibullus and Longus an opposition between the unpleasantness of war and a quiet and happy life in the countryside.

O",a~. -y€vro. i'J",,' (Theocr. 82-8) Modern critics have concluded from a combination of this passage, Theocr. aAOLaLV, 8VU€pWTa "ai. aciCPVL' ... dT€ a'YPoLKo, "ai ahmAo, "ai €PWV "ai V€O, ... Tilv Av"aivLOv i"fT€v€v i5n TaXLaTa 8t8a~aL Tilv T€XVTW, 8t' 11, 0 {30VA€TaL 8pciu€L XAfrr1V, that goatherds were traditionally unlucky or inexperienced in love,2s but it is noteworthy that at least one scholiast interpreted Theocr. €V €A€'Y€V' {30V"OAO, WV, cpT/uiv, ou "aTei {30V"OAOV, €pcu,. i~LV €'Y"paT€i" ToiJvavnov 8€ Aa'YvoTaTOL oi al7rOAoL.

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