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

By R. L. Hunter

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Extra resources for A study of Daphnis & Chloe

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2 Chariton compares the emotional scene in the courtroom at Babylon to a scene in a play, rie; av ¢pauaL Kar' a~iav EK€LVO ro UX17/la rou &KaurT/piov; rroLoe; rrOLT/rije; Err!. UKT/V17e; rrapaoo~ov /lu{)ov ovrwe; dU1na'Y€V; €~o~ae; av EV {)€arpWL rrap€LVaL /lvpiwv rra{)wv rr Ai"/p€t . rravra Tiv O/lOU, MKpva, xapa, {)a/l(3oe;, €A€Oe;, arrwria, €vxai. Here Chariton makes us see the events 'from the gallery' and exploits the 40 THE CONSTITUENT ELEMENTS natural similarity between a law-court and a theatre.

Oiwv (Jewv ... ro. dv(Jfl 7rcivra "Epwroc; €p-ya, ro. >vro. ara, 8Lo. oL 7rv€ovaw. This passage is, in both content and style, very like other descriptions of 'syncretic monotheisms' (Chalk [1960] 33) of the Hellenistic and imperial periods; Isis' self-presentation at Apuleius, Met. 5 may serve as a representative example: en adsum tuis commota, Luci, precibus, rerum naturae parens, elementorum omnium domina,44 saeculorum progenies initialis, summa numinum, regina manium, prima caelitum, deorum dearumque facies uniformis, quae caeli luminosa culmina, maris salubria jlamina, inferum deplorata silentia nutibus meis dispenso.

79 For Longus this ambiguity means that in describing the I'parpiJ on Lesbos as TEP1TVOTEpa Kat TEXVT/V €XOVua 1TEPLTT17V Kat TVXT/V epwTLKiJv he is also in these words advertising the pleasures and substance of his novel. 80 The first half means, with reference to the painting, 'a painted description' but perhaps also hints at the novel as a 'description of a painting'. In later Greek iUTopia appears with the sense 'story told in a work of art' (Ach. Tat. 1, Nicolaus III p. pwToe; is both 'an account of love' and a 'picture of love'.

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


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