Daphnis et Chloé is a 1912 ballet and orchestral concert work, subtitled symphonie chorégraphique (choreographic symphony), for orchestra and wordless chorus by Maurice Ravel. It is in three main sections, or parties, and a dozen scenes, most of them dances, and lasts just under an hour, making it the composer's longest work. It premiered as a ballet, but it is more frequently given as a concert work, either complete or excerpted.

The dance scenario was adapted by choreographer Michel Fokine from a pastoral romance by the Greek writer Longus thought to date from the 2nd century AD, recounting the love between the goatherd Daphnis and the shepherdess Chloé. Scott Goddard in 1926 published a commentary on the changes to the story Fokine had to apply in order to make the scenario workable.

Ravel began to write the score in 1909 after a commission from impresario Sergei Diaghilev for his Ballets Russes, completing it some months before the premiere of the staged work. This took place at the Théâtre du Châtelet in Paris on 8 June 1912, with sets designed by Léon Bakst, choreography by Fokine, and the Orchestre Colonne conducted by Pierre Monteux. Tamara Karsavina and Vaslav Nijinsky danced the shepherdess and goatherd.

At almost an hour long, Daphnis et Chloé is Ravel's longest work. Four discernible leitmotifs give it musical unity. The music, some of the composer's most passionate, is widely regarded as some of his best, with extraordinarily lush harmonies typical of the Impressionist movement; even during the composer's lifetime commentators described it as his masterpiece for orchestra.

Ravel extracted music from the symphonie to make two orchestral suites, which can be performed with or without the chorus. The first was prepared as early as 1911, that is, before the staging. The second, essentially Partie III of the whole, was issued in 1913 and is particularly popular. (When the complete work is performed it is more often in concert than staged.) Ravel adhered to his description of the music in his formal titling of the suites:

Suite No. 2 was transcribed for solo piano by Andrew Zhou in 2021.

Daphnis et Chloé is scored for a large orchestra consisting of:

On the island of Lesbos, in a meadow at the edge of a sacred wood stands a grotto hewn out of rock, at the entrance of which is an antique sculpture of three Nymphs. Somewhat toward the background, to the left, a large rock vaguely resembles the form of the god Pan. In the background sheep are grazing. It is a bright spring afternoon. When the curtain rises, the stage is empty. Youths and girls enter, carrying gifts for the Nymphs in baskets. Gradually the stage fills. The group bows before the altar of the Nymphs. The girls drape the pedestals with garlands. In the far background, Daphnis is seen following his flock. Chloé joins him. They proceed toward the altar and disappear at a bend. Daphnis and Chloé enter at the foreground and bow before the Nymphs.