All books are subject to recall after two weeks Olin/KroGh Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924079597245 Cornell University Library reformatted this volume to digital files to preserve the informational content of the deteriorated original. The original volume was scanned bitonally at 600 dots per inch and compressed prior to storage using ITU Group 4 compression. 1997 BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENTFUND THE GIFT OF Henrg M. Sage 189X .J^.;zM.s..e.7-e. 3.6/jzr/a 6896-1 THE STORY OF DAPHNIS AND CHLOE PAN AND DAPHNIS. Rome—Museo delle Terme. THE STORY OF DAPHNIS AND CHLOE A GREEK PASTORAL BY LONGUS EDITED WITH TEXT, INTRODUCTION, TRANSLATION AND NOTES BY W. D. LOWE M.A. Editor of the Cena Trimalchionis of Petronius Arbiter Tales of the Civil War from Caesar Book III Scenes from the Life of Hannibal Livy Selections from Lucretius Book V Lecturer in Education Durham University Junior Censor University College Durham Formerly Scholar of Pembroke College Cambridge CAMBRIDGE DEIGHTON BELL AND CO. LONDON GEORGE BELL AND SONS 1908 {All Rights reserved] : fflamiimrge PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS. PREFACE. ' I "HE pastoral Daphnis and Chloe is, speaking ge- ^ nerally, somewhat undeservedly neglected. This is probably due to the fact that recent editions have been for the most part very free translations or reprints of old translations, presumably for English readers, as none of them give the Greek text. It is hoped that the present edition by providing text and translation will introduce a larger number of scholars to the very interesting study of the develop- ment of the Greek novel in its early stages. I should like to express my gratitude to Mr A. Earnshaw Smith of the firm of Messrs Deighton, Bell and Co. of Cambridge for his interest in the work and the many valuable suggestions which he has made. The text owes much to the care of the reader at the University Press, Cambridge. W. D. LOWE. The Castle, Durham. July, 1908. INTRODUCTION. UNFORTUNATELY nothing whatsoever is known about the author of the pastoral of Daphnis and Chloe. The name Longus, however, seems to indicate either that he was a Greek of Roman extraction or that he was a Greek freedman in some Roman family. A tenta- tive suggestion has been put forward that the name Longus is merely a nom de plume, but in that case we should probably have found some hint, even if uninten- tional, in the prologue, or some reference to it in the early commentators and grammarians. It is indeed more than doubtful whether the title Sophist really belongs to him, and it has been suggested with greater probability that some confusion between two writers of the same name arose at an early date, and that as a result the pastoral was wrongly assigned to the Sophist. There is a similar uncertainty about his date, which ranges according to the various opinions between the beginning of the third and the end of the fifth century in the Christian era, the late Sir Richard Jebb inclining to the later date on literary grounds. The style of the writer is easy and conversational, INTRODUCTION vii though frequently marred by jingling assonance and by his perpetual efforts to obtain the false effects of anti- thesis and rhythmical balance : sometimes the result is satisfactory, but more often it is so obviously artificial as to destroy totally all the charm of some genuinely poetical idea. Though the style is light and easy to read, the Greek is not the Greek of the Classical age : the sentences are short and, on the whole, disconnected, and little use is made of the longer and more complex period. The construction of many of the sentences is rather natural and colloquial than grammatical, and one feels as one reads that the style is close to the easy freedom of grammar in the modern novel. The exaggerated use of antithesis and its unpleasing effect have been mentioned : we now come to a more serious defect, the absolute misuse of a graceful idea or sentiment by indiscriminate and, occasionally, exact word-for-word repetition. One instance after another occurs where a whole succession of ideas or situations in the development of the plot is repeated with the same chilling effect, as for example the exact repetition of the various items in the description of a garden or grotto. In other words, the early Greek novelist, for such the writer really is, has not learned the art of concealing art, but is a too apt pupil of the Alexandrine school, which was the forcing-house of excessive elaboration, embellish- ment and antithesis. viii INTRODUCTION And yet the story of Daphnis and Chloe is a work of it is much grace of language and beauty of thought ; indeed full of poetry, and an earlier writer who had not learned the value and power of prose would have given it to us in the form of a Theocritean idyll, for a poem in prose it is. The pastoral is in the style of the Story of Antheia and Habrocomes by Xenophon of Ephesus, a work slightly earlier in date : it is a romance of Greek life, and is therefore of greater attraction and interest than the more elaborate and dramatic Tale of Aethiopia by Heliodorus, which reflects the influence of Syrian and oriental romance, and while surpassing our pastoral in intricacy of plot falls below it in grace and simplicity. It is also closely related to the Clitopho and Leucippe of Achilles Tatius, but probably of later date. Our author has true poetic fancy and can reproduce the fervour of a lover of Southern temperament : in certain passages he indulges in all the freedom of the Greeks, whose candour exceeds the limit that we set to delicacy, and yet throughout he handles his story with care, and his tale is never disgraced by the cold brutality and coarseness which disfigure the pages of the Roman writer of the Imperial period. The Greek story has had numerous imitators, as is natural, since it describes the growth and development of pure love between two young lovers. Bernardin de Saint-Pierre was indebted to Longus for the conception of Paul et Virginie, and the language which he uses INTRODUCTION ix to tell his tale bears a striking resemblance to the Greek original. In the same way Guarini borrowed from the Greek his Pastor Fido, and through him the original story was introduced into England, for Fletcher founded his Faithftd SJiepherdess on Guarini's work, though un- fortunately in the English version the purity of the early love, so pleasing in the Greek, is absent and re- placed by lower passions. The plot of Ramsay's Gentle Shepherd was taken at the suggestion of a friend from our pastoral. The text of Longus has been subject to strange vicissitudes of fortune. In 1598 Columbanius published in Florence an edition based on the codex Florentinus and three codices Ursini, and thereby brought the pastoral again before the notice of scholars. In 1778 Villoison produced at Paris a much improved text with additional readings from three codices Parisini, one of which contained marginal glosses, together with a Latin translation and the accumulations contributed by the scholarship of two centuries. The year 1809 was the date when the text was completely revolutionised, and that by a French officer, Paul Louis Courier. He was engaged in examining the contents of the Mediceo-Laurentian library at Florence, and there he found a manuscript of Longus which had come from the library of the abbey of Monte Cassino. This manuscript dated further back than the former existing copies and contained a long passage, roughly X INTRODUCTION from the thirteenth to the seventeenth chapter inclusive in the first book, which was wanting in all the rest and explained a lacuna that had long been a difficulty and the despair of commentators. Courier at once proceeded to transcribe the passage from the original, but unfortunately completed his task by blotting out either by accident, or by design (as Goethe and Cobet suspected), the whole passage in the manuscript through a disaster to his inkpot. The whole classical world at once took up arms vindicating or impugning his intentions. The disgust and disappoint- ment of scholars were widespread, for it was no longer possible to verify Courier's copy, and a good deal of doubt was thrown upon the accuracy of his transcription at the time. Still, in spite of Cobet's insinuations, his ability eis a Greek scholar may render us fairly coniident of the general accuracy of his text. He also made use of a codex which was lying in the library of the Vatican. In 1811 Passow produced at Leipzig a Greek text incorporating the passage discovered by Courier to- gether with a German translation, and in 1843 Seller brought out at Leipzig his edition of the text with a Latin translation and a commentary that includes all that is best of Villoison and Passow. It is on this edition that the following text and translation are based. (! Some passages have been excised, but nothing that affects the plot or construction of the story has been omitted. INTRODUCTION xi Other translations in addition to those mentioned above have appeared, notably a very popular French version of great grace, though somewhat quaint and old- fashioned in style, published by Amyot in 1559, before he was raised to the bishopric of Auxerre.