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Updated: June 13, 2025
But by failing to make this simple assumption naturally due any and every poet readers of Vergil have needlessly marred the effect of some of his finest passages. The fifth Eclogue, written probably in 41 B.C., is a very melodious Daphnis-song that has always been a favorite with poets. It has been and may be read with entire pleasure as an elegy to Daphnis, the patron god of singing shepherds.
At Miletus, the temple of Apollo, also Ionic in its proportions, was the undertaking of the same Paeonius and of the Ephesian Daphnis. At Eleusis, the cella of Ceres and Proserpine, of vast size, was completed to the roof by Ictinus in the Doric style, but without exterior columns and with plenty of room for the customary sacrifices.
The glass, it seems, was intentionally poisoned by Alcon, who adopted this elaborate device for placing the nymph in the power of her lover should she continue obdurate. They restore her, and finding her still unmoved by his suit Daphnis threatens her with violence. Her cries, however, attract the swains, who arrive with Hylas at their head.
Some of the suggested resemblances between the Hebrew and Greek Songs are perhaps interesting enough to be worth examining in detail. In Idyll i. 24, the goatherd offers this reward to Thyrsis, if he will but sing the song of Daphnis: I'll give thee first To milk, ay, thrice, a goat; she suckles twins, Yet ne'ertheless can fill two milkpails full.
Thus the poets, who understand life, after knowing much of love, more or less transitory, after feeling that sublime exaltation which real passion can for the moment inspire, eliminating from human nature all that degrades it, created the mysterious names which through the ages fly from lip to lip: Daphnis and Chloe, Hero and Leander, Pyramus and Thisbe.
The Daphnis of darkness took flight before the Chloe of shadow. Such was the idyll blooming in a tragedy. Ursus said to them, "Old brutes, adore each other!" Ursus added, "Some of these days I will play them a nasty trick. I will marry them." Ursus taught Gwynplaine the theory of love. He said to him, "Do you know how the Almighty lights the fire called love?
But there is a third argument, less practical in appearance but bolder and deeper, which is really decisive of the matter, though few seem to have seen it or at least taken it up. The separation of romance and novel of the story of incident and the story of character and motive is a mistake logically and psychologically. It is a very old mistake, and it has deceived some of the elect: but a mistake it is. It made even Dr. Johnson think Fielding shallower than Richardson; and it has made people very different from Dr. Johnson think that Count Tolstoi is a greater analyst and master of a more developed humanity than Fielding. As a matter of fact, when you have excogitated two or more human beings out of your own head and have set them to work in the narrative (not the dramatic) way, you have made the novel in posse, if not in esse, from its apparently simplest development, such as Daphnis and Chloe, to its apparently most complex, such as the Kreutzer Sonata or the triumphs of Mr. Meredith. You have started the "Imitation" the "fiction" and tout est l
Lubin was nearer the heart of things than Freeman and Macaulay, though they would have disdained him as a clod. Virgil and Theocritus were greater philosophers than either Comte or Hegel. Daphnis and Corydon represented the finest flower, the purest type of human evolution, and Herbert Spencer was nothing better than a particularly silly old man.
Daphnis, overcome with shame at the exposure of his villany, is glad to find a friend in the despised Dorinda, while Nerina rewards her faithful Hylas in accordance with her father's promise. Meanwhile at court Silvia and Thirsis have been surprised in their secret interview, and both doomed to die by the anger of the king.
Edme Sophie Gail-Garre, who flourished at the beginning of the nineteenth century, won some renown by her very popular songs and piano pieces, but was known chiefly by her successful operas. Among these were "Les Deux Jaloux," "Mlle. de Launay," "La Méprise," and "La Serenade." Mlle. Guenin, another youthful aspirant for fame, produced "Daphnis et Amanthée" in her seventeenth year.
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