By R. L. Hunter
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Additional info for A study of Daphnis & Chloe
Hipp. aKC;)L ¢avei'r/e; [sc. oe; EMoLe;, it is not prompted by evidence of the destructive power of Eros, and neither Longus nor his readers are ever likely to be 'afflicted' with the experiences of Daphnis and Chloe. e; "Epwra E¢v,,/ev 11 ¢ev~eraL, 77 but on' the evidence of this novel no one would wish to. The idea of the novel as a painting is exploited by Longus in two main ways. First, a painting occupies a definite space (even it if extends over several walls) and is not open-ended. So also Longus' Lesbos is essentially a closed world.
J1vOote; KaTT]XOUat Kat OAwe; a7rallTa V7r€P TOU T€P7rIlOU j1T]xaIlWIlTat (Zeus trag. 39, cf. Philopseud. 4, Isocr. ad Nicoclem 48, Dio Chrys. ); in his guide to the way in which young men should study poetry Plutarch also stresses at length the falsehoods with which poetry is filled (Mor. 16a-f). Longus thus hints clearly at the entirely fictitious nature of the narrative which is to follow 98 and this is particularly important in view of the fun which he is to have a few lines later in the prologue with the historiographical tradition (cf.
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. rrpea(3VraToe; O€ wv (Jewv aiJ'roe; Kat vewraToe; €aTW, Tf/c; 0' aet rrapovaT/e; wpae; Kat JlQipae; €/JiAoe;.
A study of Daphnis & Chloe by R. L. Hunter