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By R. L. Hunter

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T/AiwL TOV oupavav rrpoe; Tilv rilv, arravra OL€Kpi977 Kal aTaGLV olKe{av ~Aapev. oAov(Jiae; iJn Kat aiJToe; Ti)L (3aaLAelaL TWV iJAWV TOV Ala OT/JlwvPYl7aae; €rr€aTT/ae, Kal OUK li)(pL TWV (Jewv ~aTT/ Jlovov, aAM Kal Tove; r)Jlt9€ove; aiJToe;. rrap1'/'Ya'Yev rrelaae; (Jeove; avveA(Jeiv Toue; Jl€V 'Yvva~i, Tove; Of vUJl€/Jate;. oe; d(Javaa{av r)Jliv rropi~eTat. JlWv OtLKveiraL 0 (Jeoe; Kat VT/KTWV Kal xepaaiwv KallLeplwv. on on (Men. Rhet. -RW) Of particular interest in this regard are the prose 'hymns' of Aristeides (Or.

A()eUT€pO, €l, Ttl epwTo, ep'Ya, not only reworks the idea of Theocr. B7-B (quoted above) but also humorously expresses Daphnis' sense of the superiority of Tpci'YOL to "pwi. 12 in which Daphnis falls 24 THE CONSTITUENT ELEMENTS into a pit together with a Tpa:yOC; and both are pulled out by Chloe and Dorcon. It is possible also that in creating the character of Daphnis Longus was influenced by the figure of KOJ,Larac; in Theocritus' Seventh Idyll. WW, €vr€ XtWV w<: n<: Kar€rciKero J,LaKPOV ix/>' AlJ,LoV 1/ "AfJw 1/ 'POM1TW 1/ Ka6Kaaov €axar6wvra.

Ara Kat. €V u"(€A1IMv €'Tft. Tilv 'TfeTpaV uvaTpeXOVT€C:, ot O€ 'Tf€pt. v6v. 38 It is thus clear that although Longus has peppered his narrative with details from the legend of the Sicilian Daphnis, he has made no effort to use the legend as a constant narrative frame. 39 Such selectivity is typical of him: he drew material from a great many sources, but did not reproduce anyone source so faithfully that it came to dominate the narrative. (iii) The gods in Daphnis & Chloe No aspect of Longus' novel has attracted so much recent comment as his treatment of the divine.

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

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