(E. Gr.)
DAPHNE (Gr. for a laurel tree), in Greek mythology, the daughter of the Arcadian river-god Ladon or the Thessalian Peneus, or of the Laconian Amyclas. She was beloved by Apollo, and when pursued by him was changed by her mother Gaea into a laurel tree sacred to the god (Ovid, Metam. i. 452-567). In the Peloponnesian legends, another suitor of Daphne, Leucippus, son of Oenomaüs of Pisa, disguised himself as a girl and joined her companions. His sex was discovered while bathing, and he was slain by the nymphs (Pausanias viii. 20; Parthenius, Erotica, 15).
DAPHNE, in botany, a genus of shrubs, belonging to the natural order Thymelaeaceae, and containing about forty species, natives of Europe and temperate Asia. D. Laureola, spurge laurel, a small evergreen shrub with green flowers in the leaf axils towards the ends of the branches and ovoid black very poisonous berries, is found in England in copses and on hedge-banks in stiff soils. D. Mezereum, mezereon, a rather larger shrub, 2 to 4 ft. high, has deciduous leaves, and bears fragrant pink flowers in clusters in the axils of last season’s leaves, in early spring before the foliage. The bright red ovoid berries are cathartic, the whole plant is acrid and poisonous, and the bark is used medicinally. It is a native of Europe and north Asia, and found apparently wild in copses and woods in Britain. It is a well-known garden plant, and several other species of the genus are cultivated in the open air and as greenhouse plants. D. Cneorum (Europe) is a hardy evergreen trailing shrub, with bright pink sweet-scented flowers. D. pontica (Eastern Europe) is a hardy spreading evergreen with greenish-yellow fragrant flowers. D. indica (China) and D. japonica (Japan) are greenhouse evergreens with respectively red or white and pinkish-purple flowers.
DAPHNEPHORIA, a festival held every ninth year at Thebes in Boeotia in honour of Apollo Ismenius or Galaxius. It consisted of a procession in which the chief figure was a boy of good family and noble appearance, whose father and mother must be alive. Immediately in front of this boy, who was called Daphnephoros (laurel bearer), walked one of his nearest relatives, carrying an olive branch hung with laurel and flowers and having on the upper end a bronze ball from which hung several smaller balls. Another smaller ball was placed on the middle of the branch or pole (called κωπώ), which was then twined round with purple ribbons, and at the lower end with saffron ribbons. These balls were said to indicate the sun, stars and moon, while the ribbons referred to the days of the year, being 365 in number. The Daphnephoros, wearing a golden crown, or a wreath of laurel, richly dressed and partly holding the pole, was followed by a chorus of maidens carrying suppliant branches and singing a hymn to the god. The Daphnephoros dedicated a bronze tripod in the temple of Apollo, and Pausanias (ix. 10. 4) mentions the tripod dedicated there by Amphitryon when his son Heracles had been Daphnephoros. The festival is described by Proclus (in Photius cod. 239).
See also A. Mommsen, Feste der Stadt Athen (1898); C. O. Müller, Orchomenos (1844); article in Daremberg and Saglio’s Dictionnaire des antiquités.
DAPHNIS, the legendary hero of the shepherds of Sicily, and reputed inventor of bucolic poetry. The chief authorities for his story are Diodorus Siculus, Aelian and Theocritus. According to his countryman Diodorus (iv. 84), and Aelian (Var. Hist., x. 18), Daphnis was the son of Hermes (in his character of the shepherd-god) and a Sicilian nymph, and was born or exposed and found by shepherds in a grove of laurels (whence his name.) He was brought up by the nymphs, or by shepherds, and became the owner of flocks and herds, which he tended while playing on the syrinx. When in the first bloom of youth, he won the affection of a nymph, who made him promise to love none but her, threatening that, if he proved unfaithful, he would lose his eyesight. He failed to keep his promise and was smitten with blindness. Daphnis, who endeavoured to console himself by playing the flute and singing shepherds’ songs, soon afterwards died. He fell from a cliff, or was changed into a rock, or was taken up to heaven by his father Hermes, who caused a spring of water to gush out from the spot where his son had been carried off. Ever afterwards the Sicilians offered sacrifices at this spring as an expiatory offering for the youth’s early death. There is little doubt that Aelian in his account follows Stesichorus (q.v.) of Himera, who in like manner had been blinded by the vengeance of a woman (Helen) and probably sang of the sufferings of Daphnis in his recantation. Nothing is said of Daphnis’s blindness by Theocritus, who dwells on his amour with Naïs; his victory over Menalcas in a poetical competition; his love for Xenea brought about by the wrath of Aphrodite; his wanderings through the woods while suffering the torments of unrequited love; his death just at the moment when Aphrodite, moved by compassion, endeavours (but too late) to save him; the deep sorrow, shared by nature and all created things, for his untimely end (Theocritus i. vii. viii.). A later form of the legend identifies Daphnis with a Phrygian hero, and makes him the teacher of Marsyas. The legend of Daphnis and his early death may be compared with those of Narcissus, Linus and Adonis—all beautiful youths cut off in their prime, typical of the luxuriant growth of vegetation in the spring, and its sudden withering away beneath the scorching summer sun.