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This universe, a totality organized by a provident Erôs with a harmony recalling Plato’s ideal cosmic music, is able to accommodate the emotional, imaginative and rational aspects of humanity. The gods of this world are accessible; Daphnis and Chloe develop a close relationship with Pan and the Nymphs and Erôs, and through them with the material and biological universe. In Longus’ era many aristocrats participated in Dionysic rituals held in the countryside, and Dionysos imagery is common on Roman-era sarcophagi.
The Sense of Open-Endedness in the Ancient Novel,” Arethusa 32, 215–238. H. 1953. The Ruling Power. A Study of the Roman Empire in the Second Century after Christ through the Roman Oration of Aelius Aristides. , vol. 4, 871–1003), Philadelphia. E. 1967. The Ancient Romances: a Literary-Historical Account of their Origins. Berkeley. Propp, V. , trans. 1968. The Morphology of the Folktale. 2nd ed. Austin. Ruiz-Montero, C. 2000. “Caritón de Aphrodisias y el Mundo Real,” in P. Liviabella Furiani and A.
Myth, Rhetoric and Fiction. A Reading of Longus’ Daphnis and Chloe, Lincoln: University of Nebraska Press. McCulloh, W. E. 1970. Longus, New York. Morgan, J. R. 1995. ‘The Greek novel: towards a sociology of production and reception,’ in A. , The Greek World, London, 130–152. — 1996. ‘Heliodorus,’ in G. , The Novel in the Ancient World. Leiden, 417– 456. , Studies in Heliodorus, Cambridge, 1998, 60–78. , and Emerson, C. 1990. Mikhail Bakhtin: Creation of a Prosaics, Stanford. D. 1988. Passionate Love and Respectable Society in Three Greek Novels.