James Craggs, The pastoral amours of
Daphnis and Chloe. Written originally in Greek by Longus, and Translated into English.
A Study of
Daphnis and Chloe. Cambridge: Cambridge UP, 1983.
MacQueen seeks to discover ~what
Daphnis and Chloe is about' (p.
Daphnis and Chloe played happily together, amusing themselves in many ways.
(1990), Myth, Rhetoric and Fiction: a reading of Longus'
Daphnis and Chloe. Lincoln and London.
Morale booster: Elisha Willis as Chloe and Iain Mackay as Daphnis in Birmingham Royal Ballet's
Daphnis and Chloe and (inset) Cesar Morales as Oberon and Miyako Yoshida as Titania in The Dream.
As a theatrical designer, he created the sets for Frederick Ashton's ballet,
Daphnis and Chloe, in the Festival of Britain year in 1951, and costumed for Stravinsky's Apollo at the Royal Opera House, Covent Garden, in 1968.
But the highlight of the night those present will never forget was surely the fluent Ravel effect this amazingly committed orchestra produced in the second
Daphnis And Chloe Suite.
"Dances That Tell a Story:
Daphnis and Chloe," 11:54 a.m.
Birmingham Royal Ballet's Strictly Dancing featuring Paquita, Nine Sinatra Songs and
Daphnis and Chloe, until Saturday.
Scholars of European literature from classical to modern discuss such topics as the aesthetics and ethics of poikilia in Longus'
Daphnis and Chloe, post-pastoral as a tool for ecocriticism, agnostic poetics in Virgil's Third Eclogue, and the pastoral mode in Malcolm Lowry's The Forest Path to the Spring.
Richard Farnes conducted with the surest of instincts for Bartuk's vividly expressionistic score, the orchestra having proved its mettle in Ravel's
Daphnis and Chloe, suites 1 and 2.