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Russian poet Polina Barskova renders Longus’ novel  Daphnis and Chloe  into a poem of the same name. The poem takes scenes from throughout the novel, as well as some of the novel’s attributes, and works them into a strange new form: an intimate ‘epithalamion’ featuring only Daphnis and Chloe, situated in a bubble of time at the novel’s close. This article explores Barskova’s reception of Longus: the specific moments from the novel which she distorts or magnifies; and how she inscribes Longus’ allusiveness and poeticness, his novel’s artefactuality, textuality, and antiquity, into the poem. It places Barskova’s response to  Daphnis and Chloe  in ‘Dafnis i Khloia’ in the context of her four other poems referring to pastoral, half of which also have links with  Daphnis and Chloe . This uncovers a markedly ominous aesthetic at work in all Barskova’s reception of ancient pastoral. Finally, the article discusses the ‘anti-pastoral’ tendencies peculiar to Russian literature’s reception of Western pastoral, and particularly the pastorals of Joseph Brodsky, which inform the ominous notes of decay in Barskova’s pastoral.

Polina Barskova’s ‘Daphnis and Chloe’: a Russian pastoral