Daphnis and Chloë

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Daphnis and Chloë:

see LongusLongus
, fl. 3d cent. A.D., Greek writer. The pastoral romance Daphnis and Chloë is attributed to him. Idyllic in nature, the poem tells the charming story of the love of a goatherd and a shepherdess.
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Daphnis and Chloë

their idyll reconciles naïveté and sexual fulfillment. [Gk. Lit.: Magill I, 184]

Daphnis and Chloë

innocent though passionate love of two children. [Gk. Lit.: Daphnis and Chloë, Magill I, 184]
Allusions—Cultural, Literary, Biblical, and Historical: A Thematic Dictionary. Copyright 2008 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
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.