Volume 19, 2007 - Brown University

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124 The Charioteer of Delphi. Delphi, Greece, 474 B.C.E. Original photograph by Scott Nelson. Used by permission.
The Inner World of the Pastoral: Virgilian Allusion in Sannazaro’s First Piscatorial Eclogue Francesco Pucci Pastoral verse is historically a hybrid genre: in any pastoral poetry the reader finds monologue, dialogue, elegy, satire, myth, and more. Out of this hybrid nature follows an intrinsic allusiveness: in seeking to bring together many genres and forms, the poet must incorporate specific sources from those traditions either directly or indirectly. The distinguishing characteristic of all pastoral poetry, however, is its creation of an “other” world. This provides the opportunity for allusion and even necessitates it—in order to construct an imaginary pastoral landscape, the author must draw from either the real world or the literary world. The former produces allegory while the latter produces allusion. The hybrid nature and the penchant for allusion present in the pastoral are evident in the works of the father of the genre, Theocritus (316-260 B.C.). His Idylls have been the most influential of ancient Greek bucolic poetry. The title is derived from the Greek word “,” meaning “picture” or “scene.” This cycle of poems consists of individual vignettes that span genre and style. Each idyll is, in turn, an amalgamation of literary forms and an allusive invocation of more ancient works. If Theocritus invented the pastoral poem, then Virgil confirmed and deepened it. Virgil’s Bucolica were his first masterpieces (ca. 39 B.C.E.), in which he draws heavily from Theocritus in theme and form while adding to the tradition. Pastoral poetry is often said to have both an inner and outer world. For Virgil, the outer world was Rome in the last days of the Republic. Virgil expertly causes the “other” world of his Eclogues to turn outward on Rome; thus the poetry becomes a source of great allegory and satire. Virgil’s pastoral world is not a utopia; rather, his shepherds face political conflict, exile, and perturbations in the natural world. The inner world of the Bucolica, however, is not only the literal landscape surrounding Corydon and Thyrsis but also the inner world of poetry. Each eclogue examines the creation of poetry, the ideal qualities of pastoral verse and even the shortcomings of the genre—in this sense, Virgil’s Eclogues are self-reflective. It is Virgil’s development of these inner and outer worlds and the ease with which he moves between them that is perhaps his great contribution to pastoral poetry. 125
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Faculty Editor Joseph Pucci Managin
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Law Codes of Gortyn, Crete, Greece,
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Tholos Temple, Sanctuary of Athena
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Livy’s Exemplary History 71 Amy H
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Tomb of M. Vergilius Eurysaces the
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4 Sarah Grover The focalization at
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8 Ephesus. Original photograph by J
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10 Laura Brown-Lavoie What to call
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12 Excavation of the Fortress of Ma
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14 Lindsey Brett Meyers Hephaestus
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16 Lindsey Brett Meyers metheus tha
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18 Lindsey Brett Meyers sublimate h
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20 Treasury of the Athenians, Delph
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22 Mark Morales bombards the audien
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24 Sketch of Nike relief from the b
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26 Hillary Dixler imagination, is t
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28 Hillary Dixler assigns to the ep
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34 Eleanor Thomas On the other hand
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36 Eleanor Thomas In Hippocratic me
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42 Maia Peck fruits, and sometimes
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44 Maia Peck suggests that the anci
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46 Column at Ephesus. Original phot
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48 Matthew Nicholson This assumptio
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50 Matthew Nicholson do battle. Enc
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52 Matthew Nicholson Alcibiades, in
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54 Tomb of Iltutmis, 1235, Qutub Mi
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56 Amanda Earl likened to heroes. A
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58 Amanda Earl contrasting Sparta w
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60 Amanda Earl naively believe in t
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62 Amanda Earl
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64 Stephanie Bernhard Plutarch port
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68 Martha Gimbel Aeneas should peri
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70 Martha Gimbel She cries, “I am
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72 Amy Hall Goins Once again, the p
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Page 86 and 87: 76 Pyrrhus. Sketch by Nicholas Kay.
Page 88 and 89: 78 Ariayné Hilliard then will I re
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Page 92 and 93: 82 Scott Nelson weeds, which he ass
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Page 96 and 97: 86 Curtis Steyers the expenses of c
Page 98 and 99: 88 Curtis Steyers Few historians of
Page 100 and 101: 90 Curtis Steyers Now the last age
Page 102 and 103: 92 Grainne O’Hara Belluomo the na
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Page 108 and 109: 98 Peter Catsimpiris Immediately af
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Page 112 and 113: 102 Megan Cohen is forced to either
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Page 116 and 117: 106 David Guttmann ings. Each chara
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Page 120 and 121: 110 Elizabeth Broadwin heading to h
Page 122 and 123: 112 Elizabeth Broadwin Lucian’s c
Page 124 and 125: 114 Elizabeth Broadwin This passage
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Page 128 and 129: 118 Laocoon. Vatican, Italy, ca. fi
Page 130 and 131: 120 Zohar Atkins Him. He shows how
Page 132 and 133: 122 Zohar Atkins vilest person cont
Page 136 and 137: 126 Francesco Pucci By the end of t
Page 138 and 139: 128 Francesco Pucci aural imagery u
Page 140 and 141: 130 Francesco Pucci Mustard, Wilfre
Page 142 and 143: 132 Morgan Palmer addition, both th
Page 144 and 145: 134 Morgan Palmer the translator’
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Page 148: 2 David Fusaro Morgan Palmer, class
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Volume 19, 2007 - Brown University

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