Download e-book for kindle: A study of Daphnis & Chloe by R. L. Hunter

By R. L. Hunter

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J,ltJ,l€Lo8at OV/l¢VTOV TOLe; av8pw7rote; EK 7rai8wv EOTt Kat TOVTWt 8ta¢€pOVat TWV aAAwv ~WtWV on J,ltJ,lT/nKWTarOV Eon Kat Tae; /la8170ELe; 7rOt€LTat 8td. J,ltJ,l170€we; Tae; 7rpwrae;, Kat TO xalp€tv TOLe; J,ltJ,l17J,laat 7raVTae; (Poetics 1448b5-9). 1). 1). Li1U€TaL. 2). For only one activity, that of lovemaking, is such an education insufficient - here T€XVll is needed to bring natural desires to fulfilment, cf. 18 In this respect Daphnis and Chloe well illustrate another of Aristotle's dicta, (JAWr:; T€ 7) T€XVll TO.

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.

You only grow up once. 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 ...

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


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