Folklore Mythology

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By R. L. Hunter

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Vv. 2-3) Although the text of v. 2 is not certain,15 the idea of the rebirth of the world in spring must be present in this couplet; editors note that the Stoics seem to have placed the birth of the world in springtime (Chrysippus fro 584, SVF II p. 180) and they compare Virgil's lines on the infancy of the earth: 18 THE CONSTITUENT ELEMENTS non alios prima crescentis origine mundi inluxisse dies aliumue habuisse tenorem crediderim: uer illud erat, uer magnus agebat orbis et hibernis parcebant flatibus Euri, cum primae lucem pecudes hausere, uirumque terre a progenies duris caput extulit aruis, immissaeque ferae siluis et sidera cado.

29). LifJwv iK€Tat, Tile; ~€ elKoVoe; OeaTal, just as we will both read and 'see' the literary elKwv. L110te; and this is part of the second major function of Longus' presentation of his work as a painting. The link between poetry and painting was commented upon at least as early as the famous dictum of Simonides that painting was silent poetry and poetry painting that talked. D. MnKaXov. " l)'1}v €V eKciaTwt. at.. 7rI/OVV avatJitaw Kai. XaXovaav elKova, oiJroL c5LaT1i~a~ KT/POV, aXX' el7rwv f7rT/.

3 and p. 73 below). This tension between c/>VULe: and T€XV'Tl is also reflected in the very artificial form in which the 'natural' education of the children is described: the highly wrought verbal and stylistic sophistication of the novel is, as in Theocritus, set in pointed opposition to the simple, 'natural' subjectmatter. Longus signals this tension by presenting his novel as an elaborate work of art, a novel containing both T€XV'TlV 7repLTrr,v and rVX'TlV epwTLKr,v. ,atC;, and so Longus' prologue device is seen to be directly related to the major themes of this playful work.

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