...Is Daphnis and Chloe a Religious novel? The story of Daphnis and Chloe The story of Daphnis and Chloe pays homage to the God of love, Eros, Pan, and the Nypmhs with Dionysius and Hermes also present within the story, The role of the Gods in the novel is one of protection towards the essential love plot of Daphnis and Chloe, Whilst it is important to not take the Gods involvement away from the nature of love ( a dominant theme of the book) The religious themes of the novel are already apparent in the title, without even opening the pages a reader with a knowledge of greek lore and myth will already relate the name Daphnis to its greek meaning of ‘Laurus nobilis’ or ‘Bay Laurel’ which stood as a significant symbol to Apollo, Daphnis himself in greek myth was citied to be the child of Hermes and a Nymph who struggled to contain himself and subsequently lost his eyesight at the wrath of a infatuated nymph. The similarities between the Mythological Daphnis and Longus’ Daphnis would suggest that Longus intended to relate his character to the legend. However in the novel Daphnis barely portrays any of the divine features which the legend holds, the word ‘par excellence’ is used in relation to the Legend, the word meaning ‘Better than all others of the same kind’ and it does not relate to Longus’ Daphnis . Furthermore the name Daphnis was a commonly used name in Greek literature especially in pastoral poetry which is hardly surprising seeing as the Legend is supposedly the...
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...poetry, though, the Greeks were also essentially responsible for the invention of drama, and they produced masterpieces of both tragedy and comedy that are still reckoned among the crowning achievements of drama to this day. Indeed, there is scarcely an idea discussed today that has not already been debated and embroidered on by the writers of ancient Greece. The epic poems attributed to Homer are usually considered the first extant work of Western literature, and they remain giants in the literary canon for their skillful and vivid depictions of war and peace, honor and disgrace, love and hatred. Hesiod was another very early Greek poet and his didactic poems give us a systematic account of Greek mythology, the creation myths and the gods, as well as an insight into the day-to-day lives of Greek farmers of the time. The fables of Aesop represent a separate genre of literature, unrelated to any other, and probably developed out of an oral tradition going back many centuries. Sappho and, later, Pindar, represent, in their different ways, the apotheosis of Greek lyric poetry. The earliest known Greek dramatist was Thespis, the winner of the first theatrical contest held at Athens in the 6th Century BCE. Choerilus, Pratinas and Phrynichus were also early Greek tragedians, each credited with different innovations in the field. Aeschylus, however, is usually considered the first of the great Greek playwrights, and essentially invented what we think of as drama in the 5th Century...
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...Unity and Variety 1 The Concepts of Unity and Variety Let's begin by listening to two fundamental concepts that make a piece of music "work"—the concepts of unity and variety. Most people like hearing sounds that they find pleasing, memorable, and familiar. Within a given composition, the feeling of familiarity—fostered by, among other things, reiterations of a music idea—lends a sense of unity to the music. Whereas unity satisfies the human need for sameness and familiarity, variety sustains our interest and appeals to our need for, and enjoyment of, the new, different, and unexpected. To illustrate the relevance of these concepts, listen to how they are used in a piece of music by George Frideric Handel, a very famous musician who lived between the 17th and 18th centuries and whose music remains popular to this day. George Frideric Handel See Here the Conqu'ring Hero Comes George Frideric Handel Born: 1685 Died: 1759 Period: Baroque (1600-1750) Country: Germany/England See Here the Conqu'ring Hero Comes is one of Handel's most popular pieces. Three minutes and three seconds (3:03) long, it is a movement within a longer composition entitled Judas Maccabaeus written for an ensemble (group) of musicians. If you think of Judas Maccabaeus as a book, then See Here the Conq'ring Hero Comes acts as a chapter in that book. A movement may be enjoyed by itself; however, like a chapter in a book, it also fits into the structure of a larger composition. While you listen...
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...the Library of Congress | Table of Contents Music History from Primary Sources An Introductory Essay Alfred Mann A vellum leaf, 22 by 17 cm., from a prayer book. The letter forms of early Gothic script suggest the twelfth century, or a period even earlier. Neumes (marked in red) are placed above the first four lines of the Latin text. The entire page is richly illuminated in black, red, and blue, with a heavy gold layer decorating the initial A for the phrase beginning "Adoro te." The leaf was obtained for the Moldenhauer Archives from the music dealer and publishing firm Schneider, Tutzing. The Art of Musical Notation In its primary sources, music merges with the representational arts. Oral tradition has played a fundamental role in all ages, but in its formal sense, history--and the history of music--begins with the visual record. Musical notation, having emerged on a wide scale in all civilizations, produced in itself a highly individual record of artistic endeavor. The medieval monks who compiled the missals and other liturgical books for the service of worship rose from their function as scribes to artists in their own right; among the greatest documents of Baroque art are the holographs by Bach; and an entirely novel phase in artistic musical score design was initiated in the twentieth century. The primary sources of music reproduced in this volume rely on various aspects of the graphic arts, but foremost among them stands the representation of the musical...
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...A Company of Swans Chapter One There was no lovelier view in England, Harriet knew this. To her right, the soaring towers of King's College Chapel and the immaculate lawns sloping down to the river's edge; to her left, the blue and gold of the scillas and daffodils splashed in rich abundance between the trees of the Fellows' Gardens. Yet as she leaned over the stone parapet of the bridge on which she stood, her face was pensive and her feet— and this was unusual in the daughter of a professor of classics in the year 1912— were folded in the fifth position. She was a thin girl, brown-haired and brown-eyed, whose gravity and gentleness could not always conceal her questing spirit and eagerness for life. Sensibly dressed in a blue caped coat and tarn o'shanter bought to last, a leather music case propped against the wall beside her, she was a familiar figure to the passers-by: to ancient Dr. Ferguson, tottering across the willow-fringed bridge in inner pursuit of an errant Indo-Germanic verb; to a gardener trimming the edges of the grass, who raised his cap to her. Professor Morton's clever daughter; Miss Morton's biddable niece. To grow up in Cambridge was to be fortunate indeed. To be able to look at this marvelous city each day was a blessing of which one should never tire. Harriet, crumbling bread into the water for the world's most blase ducks, had told herself this again and again. But it is not cities which make the destinies of eighteen-year-old girls, it is people— and...
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