Greek and Latin Pastoral poetry

This study, illustrating the use in both ancient and modern poetry of a pastoral landscape to symbolize the poet’s ‘place’ of inspiration and creation, marked a radical departure from traditional approaches to Virgilian pastoral.  The publication of Virgil’s Bucolics is seen as a literary event in which the self-consciousness of the Theocritean tradition found its fullest measure.  The Golden Age of the ‘messianic’ Eclogue IV, like the child who rules it, is interpreted as a monument to poetry rather than to politics. The influence of Catullus and of fellow poets (especially Pollio and Gallus) on Virgil’s early work is emphasized.

Il presente volume non ha fini di lucro, ma ha come scopo la divulgazione di ricerche scientifiche prodotte in ambito accademico. Le immagini contenute in questo numero, corredate dei nomi degli autori e delle fonti da cui sono tratte, rientrano nella finalità della rivista; pertanto per l'utilizzo e la diffusione di questi materiali valgono i termini previsti dalle singole licenze o, in assenza di licenze specifiche, si applica quanto previsto dalla Lda n. 633/41 e succ. mod.

This is the text of a paper I delivered at the 2013 APA (now Society for Classical Studies) Annual Meeting. It examines satirical representations of poetic patronage in Juvenal Satire 7 and in Spenser's pastoral poetry. It won't be published in any other form, so I upload it here for the curious.

The allegorical conception of the bucolic genre that became general in Nero's time led to a simplification compared to Vergil's complex art of creating symbols. Calpurnius overcame the limits of a mere reproductive imitation exactly by making use of the possibilities of pastoral allegory; in Corydon's figure he painted a bitterly self ironic picture of his own efforts to establish himself, of the controversies of patronage and the miserable situation of poets. In Eclogue IV he does not only reverse the lines of allusions from Vergil, Ovid and other poets but also key concepts of the Augustan age such as rusticitas, paupertas, simplicitas, vates and thus confronts his own age with its deficiency in view of the idealised rule of Augustus. The carmen amoebeum exalts the Golden Age of Nero, which has often been analysed separately from the narrative frame as a document of uninhibited adulatio, can gain its full meaning only in this context.

(UNCORRECTED PREPRINT)

In the early modern age, pastoral poetry became a current genre of the praise of rulers, kings and emperors. In spite of its overwhelming richness and contemporaneous importance, this branch of the bucolic genre has received relatively little attention from researchers. Even in comprehensive works on the history of the genre, one often finds hasty remarks, e.g. that these panegyric poems were foremost influenced by Vergil's Eclogue 4. The present paper offers a short overview of the immense diversity of the genre, paying great attention not only to Vergil, but also to the decisive influence of Calpurnius Siculus, Sannazaro and Baptista Mantuanus, as well as to the techniques of the Kreuzung der Gattungen, mainly to the interaction between pastoral and epic poetry. The analysis shows that, in spite of the huge variety of forms and the large distances in time and space, the image of the ideal emperor is surprisingly constant, and that the picture of the mythical Golden Age is almost completely drawn with the motives of the idealized reign of Augustus taken from epic poetry

Responding to new anecdotage on eclogue three, 1 the present account starts with the eclogue's chronotopology including location by old beeches [1.a], taken to imply an economic system of production and exchange [1.b], that animates drama [2], which beyond the dramatic surface implies an agenda in poetics featuring amant alterna [sc. carmina] Camenae [3]:2 agenda realized with respect to contexts in both literature and culture [3.a], but particularly with respect to the rest of the eclogue book, where in recursive revision, alternos [sc.versus] Musae meminisse uolebant,3 and where.beech symbolizes development-from single broad, to dense green tops, to old and carved, to medium for new writing, but then tops broken, lost, yet beech at last implied to feed swine in Arcadia and get inscribed with loves to close the book [3.b]: all calculated in closely counted increments eclogue by eclogue connumerating also the third-{E. i} 5+5+63(+5)+5: {E. ii} 5+63 (+)5: {E. iii} 63<48>: {E. iiii} 63 [4].4

In recent years, the study of Ovid's poetry has begun to benefit from a renewed interest in pastoral poetry. Studies such as those of Barchiesi (2006) and Fabre-Serris (2003) have suggested other ways of interpreting instances of pastoral in the Metamorphoses moving beyond the focus on the idealised natural setting. This article suggests a new reading of pastoral poetry in Ovid by exploring for the first time how the Ovidian epic employs and reactivates the construction of the pastoral fantasy as a systematic world. In Metamorphoses 5 in particular, the poet dramatises the creative encounter between the generic worlds of pastoral and epic poetry in a new version of the (classically pastoral) song contest. Calliope, who is typically connected to epic poetry, competes against one of the Pierides, an epithet used for Virgil's pastoral Muses of the Eclogues, but never for his Muses in didactic and epic poetry. The narration of this song contest between the Pierides and Muses, from an anonymous Muse to Pallas (Met. 5.294-698), serves to inscribe internally within the Metamorphoses a story of the Muses' previous performances. However, the anamnesis of previous performances and the depiction of the poet-singers as reperforming their songs are the building blocks of the history of the pastoral world that is inscribed within pastoral poetry. Showing how within the Metamorphoses epic and pastoral interact as genres and shape each other anew, this approach aims to offer a new perspective on the intertextual relationship between Ovid and Virgil.

IVjLodern critics often credit Theocritus with inventing a new poetic genre.1 Still, Theocritean bucolic poetry, while clearly the beginning of something new and enduring, is as much the result of a reformulation and modification of precedents as it is an entirely new form.2 I wish to re-examine here one feature of Theocritean bucolic, the supposed "hierarchy of herdsmen," with these observa tions in mind. In portraying the differing herding professions?namely cowherds, shepherds, and goatherds, which are strenuously distinguished from each other in the poems?Theocritus deftly uses existing literary structures of meaning, most notably from early epic, for programmatic purposes. Representation of herdsmen, especially the goatherds Lycidas and Comatas of Idyll 7 and Comatas of Idyll 5, becomes one way the poet creates, and broadcasts, his new bucolic poetics. Whether a pastoral hierarchy?that cowherds or oxherds (?ouKO^oi) are somehow superior to shepherds (rcoipe ve?), who are in turn superior to goatherds (aXn?Xoi)3?exists within the poems of Theocritus has been a debated question for some years.4 Real-life economic concerns certainly could play a role in the perception of such a hierarchy, since cattle were more expensive to purchase and raise than sheep or goats (as they still are).5 But a strict system of ordering within the bucolic poetry of Theocritus is difficult to trace without controversy. Thus 5 Witness our "cattleman," a term that retains some of the positive connotations of the Greek ?ouKOXoc. This is due, most probably, to matters of economic value. Cattle are larger, and thus require more food and space, and can be used for plowing. All of these factors contribute to their higher 228 PHOENIX, VOL. 59 (2005) 3-4. Van Sickle, J. 1970. "Po?tica teocritea," QUCC 9: 67-83. Wendel, C. ed. 1967. Scholia in Theocritum vetera. Stuttgart.

In Eclogue 3, Vergil flags the rough verses of his quarreling shepherds as alterna, evoking similar songs in aetiologies of early drama in the Georgics, in Livy, and in Horace. These later treatments often set early Italian practices against their foreign (especially Greek) counterparts to interrogate contemporary literary and social concerns. I argue that Eclogue 3—albeit with pastoral obliqueness—does the same, adumbrating a discomfort with indigenous Italian coarseness. My conclusion reassesses the significance of Palaemon’s judgment (e.g., his award of the vitula to both herdsmen) in the context of Roman literary history.

In questo intervento intendo indagare il ruolo dell’osservatore nel determinare il significato delle opere figurative di tema
pastorale prodotte in Veneto nei primi decenni del Cinquecento, in particolare concentrando l’attenzione su i disegni e le
stampe di Giulio e Domenico Campagnola. Infine presenterò un dipinto su tavola della Barnes Foundation di
Philandelphia, attribuito alla scuola di Tiziano, che finora non ha ricevuto adeguata attenzione critica.

Στην περιοχή του Αγίου Αθανασίου Γαλαξειδίου, εγγύτατα στην περιοχή της Ακρόπολης των Προϊστορικών χρόνων  και νοτιοδυτικά του οικισμού των Πέντε Ορίων, εντοπίζονται ο πύργος και οι ημιϋπαίθριοι –κάποτε- χώροι σταυλισμού μιας κτηνοτροφικής εγκατάστασης των ελληνιστικών χρόνων. DRAFT PAPER.

Mantuan (1447-1516) published eclogue book Adulescentia (1498) that crossed Alps & occupied schools for more than a century: essay traces him from famous school in Gonzaga court at Mantua to his fame as 'Christian Maro' & citation by school master in Loves Labour's Lost: preface to verse translation for I Tatti series

Abstract
Nella produzione bucolica di Teocrito l’equilibrio tra idealizzazione e realismo nella rappresentazione della vita dei pastori è ottenuto con una sapiente alternanza tra momenti di delicata poesia e scene di volgare crudezza o di banale ingenuità. Quando Virgilio riprende in latino il genere bucolico, assecondando il gusto del suo tempo, ormai alieno dalla concretezza dei poeti ellenistici e neoterici, evita di riprodurre gli aspetti più rozzi e realistici della poesia teocritea o li addolcisce nei toni e nel linguaggio.

Abstract
In the bucolic production of Theocritus the balance between idealization and realism in the representation of pastoral life is obtained with a learned alternation between pieces of refined poetry and scenes of vulgar obscenity or trivial naivety. When Virgil introduces in Latin poetry the bucolic genre, in accordance with the taste of his time, reluctant to the concreteness of Hellenistic and neoteric poets, avoids reproducing the most crude and realistic aspects of Theocritean poetry, or softens them in spirit and language.

This thesis is an original philological study in the field of literature, in which the author,
using two fields of science, i.e. the humanities and the natural sciences, tries to find the answer,
what species of plants are hidden under Latin names, which the Roman poet Virgil used
to create realities for the shepherds of his bucolic poetry.
The work itself consists of six chapters, of which the first two are supposed to serve as
an introduction to the research, and the subsequent ones are already a proper analysis. In the
introduction, the author outlines the research methodology adopted in the dissertation and
presents the current state of research on plants in ancient writings.
The first chapter presents the genesis of the idyll as a literary genre in the light of ancient
comments to Virgil's eclogues, than discusses the genre terms and the metre of the
genre, in the end, it presents the views on the role of the plants in creating the reality of the
eclogues, as well as the principles of Latin systematic nomenclature.
In the second chapter, the author describes the floral richness of the Mediterranean region,
presenting first its division, then points out the plant forms encountered there, the chapter
closes with considerations about the impact of human activity on the shape of the vegetation
of the area.
Chapter three identifies the names of deciduous trees and individual species assigned to
them, divided into deciduous trees and evergreen.
The next chapter contains analyses of the names of conifers, which the author lists in his
poetry, then the fifth chapter discusses the names of shrubs and semi-shrubs, the last one, the
sixth, is devoted to herbaceous plants.
In the summary of the research, the author contains key statements regarding the functioning
of plant species in bucolic poetry and presents perspectives for further research on
nature in ancient poetry.
The thesis is concluded by a bibliography divided into editions of texts in the original
language, editions of texts in translations, as well as studies and dictionaries.
It shall be stated that this work is a philological work, but thanks to the use of biological
research methods, it was possible to identify and describe individual plant species.
Quod erat demonstrandum, spero me demonstrasse.

In Echoing Hylas, Mark Heerink argues that the story of Hylas—a famous episode of the Argonauts’ voyage—was used by poets throughout classical antiquity to reflect symbolically on the position of their poetry in the literary tradition. Certain elements of the story, including the characters of Hylas and Hercules themselves, functioned as metaphors of the art of poetry. In the Hellenistic age, for example, the poet Theocritus employed Hylas as an emblem of his innovative bucolic verse, contrasting the boy with Hercules, who symbolized an older, heroic-epic tradition. The Roman poet Propertius further developed and transformed Theocritus’ metapoetical allegory by turning Heracles into an elegiac lover in pursuit of an unattainable object of affection. In this way, the myth of Hylas became the subject of a dialogue among poets across time, from the Hellenistic age to the Flavian era. Each poet, Heerink demonstrates, used elements of the myth to claim his own place in a developing literary tradition.

With this innovative diachronic approach, Heerink opens a new dimension of ancient metapoetics and offers many insights into the works of Apollonius of Rhodes, Theocritus, Virgil, Ovid, Valerius Flaccus, and Statius.

“Holds its own with the best recent work on intertextuality in Latin poetry. Heerink skillfully deploys a series of sustained and convincing readings in support of an overarching thesis about the metapoetic allegory of the myth.” — Philip Hardie, Trinity College, University of Cambridge

'The Shepherds Jubileee' was a poem published in 1701 by Dublin actress Dorothy Smith to welcome the new viceroy to Ireland and to petition him for patronage of the theatre in Smock Alley. The poem alludes in detail to Virgil's Eclogues. The Virgilian allusion purports to be in tune with the poem's panegyric strain, but in fact the ideological complexity of the Eclogues rings through and leads to historical ironies.

How did Spenser in The Shepheardes Calender read Virgil's Eclogues, in which (Latin) editions, to what ends and effects?  This study, a Chapter in the book referenced below, attempts to answer those questions by an analysis and interpretation of Renaissance Virgil editions, and close reading of Spenser's and Virgil's pastorals, and E. K.'s Glose.

Au cours des années 1640, Claude Lorrain réalisa deux très larges paysages pour le cardinal Camillo Pamphilj, neveu du pape Innocent X : Vue de Delphes avec une procession (1646) et Paysage avec figures dansantes (1648) (aussi appelé Le Moulin).  Ces paysages, deux pendants, furent exposés dans le Casino de la villa Pamphilj à Rome, propriété extra-urbaine de Camillo, afin de décorer le bâtiment, tout en s'inscrivant et participant au style classique du Casino Belrespiro et de la villa Pamphilj, qui est par ailleurs une villa baroque.  Le Casino et la villa évoquent l'Antiquité grecque et romaine, à la fois sur le plan de l'architecture, du programme décoratif et de l'organisation du parc de la villa.  Les pendants de Claude semblent à leur tour entretenir divers dialogues avec le Casino et la villa Pamphilj, les vues peintes se superposant aux vues réelles à partir du Casino, de même qu'un esprit all'antica se dégageant des deux paysages, à la fois par l'architecture, par le recours à la figure divine d'Apollon et par l'évocation d'un univers pastoral virgilien.  J'en viens ainsi à postuler la problématique suivante, que je défendrai tout au long de ma présentation : la relation qu'entretiennent les deux paysages de Claude avec la villa Pamphilj, le Casino Belrespiro et la famille Pamphilj est basée sur des jeux d'échos, de correspondances et de principes esthétiques communs.  Par le terme échos, j'entends les rappels et les reprises d'éléments et de thématiques présentant des variations, alors que par correspondances, j'entends les reprises basées sur un rapport de conformité, de symétrie, d'harmonie ou de concordance. Cette problématique permet la mise en relation de plusieurs médiums fort différents les uns des autres, mais qui participent tous au style classique de la villa Pamphilj : peinture, architecture, sculpture, bas-relief, jardin et parc (barco).  De plus, je veux dépasser la simple mise en rapport des pendants de Claude avec le programme décoratif de la villa et du Casino, les décors en stuc réalisés par le sculpteur Alessandro Algardi ayant déjà été largement étudiés par les historiens de l'art Olga Raggio, Danuta Batorska, Carla Benocci, Jennifer Montagu et Ralph-Miklas Dobler  .  Cela dit, je consacrerai la première partie de ma présentation, qui est beaucoup plus substantielle que les deux autres, aux divers échos à l'Antiquité classique et à la Rome du XVIIe siècle sous le pontificat d'Innocent X, entre les pendants de Claude, les décors en stuc et l'architecture du Casino Belrespiro et la famille Pamphilj.  La seconde partie portera sur les correspondances entre les vues imaginaires des paysages de Claude et les vues réelles à partir du Casino.  Enfin, la troisième partie sera dédiée aux principes esthétiques communs entres les paysages de Claude, le jardin formel et le parc de la villa.