Drama too had a definite influence on Longus, indeed the word δρᾶµα or δραµατικόν is applied to these romances by Photius.[269] The two recognition scenes in which Daphnis and Chloe find parents through the tokens placed with them when they were exposed as babies are copied from tragedy. New Comedy furnished at least three characters to the romance, Gnatho the parasite, Sophrone the nurse who exposed the baby Daphnis[270] and the city wench, Lycaenium. Elegiac poetry furnished Philetas, the father perhaps of erotic elegiacs. Echo repeating the name of Amaryllis suggests Vergil.[271] And Ovid perhaps contributed three names: Astylus, Dryas and Nape.[272] The influence of the rhetorical schools is slighter than in the other romances, but appears in the court-room scene with its speeches and in the use of parallelism and contrast. Parallelism, as Calderini says,[273] includes all the plot of the romance and proceeds from the number and selection of the characters to the variety of the secondary episodes and to the description of the smallest details. Daphnis and Chloe are both exposed, both rescued by shepherds. Both are kidnapped. An attack on Chloe is made by Dorco, on Daphnis by Gnatho. Chloe touches Daphnis when he is bathing and falls in love. Daphnis kisses Chloe and his heart rises to his lips. Astylus, the city son of Dionysophanes, is sophisticated, Daphnis is virginal. The oath of Daphnis is matched by the oath of Chloe. On and on proceeds this balancing. And the parallelism appears not only in plot, but in details of phrase and sentence structure: balanced rhythmical phrases set off by rhymes or alliterations; bipartite or tripartite periods, elaborate in their rhetorical structure. Sometimes indeed Longus’ Pastorals seem written in modern verse, indeed they are written in poetic prose.[274] Out of all these interests in art, music and literature and beyond them Longus has created a style peculiarly his own and suited to his pastoral romance. His sentence structure is simple and paratactic. His comparisons are drawn from the life of shepherds. Chloe is as restive as a heifer.[275] Dorco claims he is as white as milk but Daphnis says Dorco is as red as a fox.[276] Daphnis and Chloe run about like dogs freed from their leashes.[277] Chloe plunders from Daphnis’ mouth a bit of cake as though she were a young bird being fed.[278]