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unlike Theocritus, who observes and describes^Virgil does 28 moralize and philosophize. The Bucolics symbolize Virgil's own recognition of "the tense union of reason and emotion which is his inheritance from Orpheus";^^ therefore, his poetry tends to be subjective and artificial in contrast to Theocritus' more objective and realistic approach. Virgil's eclogues appeal to both the emotion and the intellect; but, because Theocritus' poetic aim is entertainment, the Idylls attract the reader's aesthetic appreciation by an appeal to the senses. Where an involvement in social and political issues is concerned, Virgil's eclogues plunge actively into their midst, whereas Theocritus demonstrates an "almost deliberate unconcern" for any political involvement in the idylls. Because of this disparity of subject matter, the Greek poems reveal more humor than their Latin counterparts. To make rustic life more palatable for cultured society, Theocritus injects his shepherds with courtly behavior. Nevertheless, in order to keep an element of realism, he could not polish all their rustic manners; so he neutralizes their remaining crudities by his comic treatment of them. "With deliberate irony he makes his Sicilian shepherds 53 live above their intellectual means." The overall tone of the Bucolics also differs from that of the Idylls. Virgil's poems are more serious and at times even verge on pessimism. Perhaps it is because
of this seriousness that Virgil minimizes the role of love 29 in his pastoral poems. Only three eclogues deal with love: the second and the eighth concern the sorrows of love; and the tenth concentrates on the love poetry of Gallus which Virgil views as a threat to pastoral poetry. Theocritus' pastorals are lighter and possess a soothing quality of diversion from urban turrooil. Neither poet is expressing a genuine summons back to nature, for this plea would be in direct conflict with their individual purposes for writing bucolic poetry. Each poet accomplishes his poetic intent because the pastoral life in each of the poets' work is ideal and remote: if such an existence were obtainable, there would be no rationale for writing poetry of this nature. The change in spirit from Theocritus to Virgil marks the most essential difference between these poets. To Theocritus, the pastoral need only have intrinsic value, but to Virgil, an ulterior motive was compulsory. It was this Virgilian spirit and talent that captured the unswerving allegiance of Renaissance eclogists and held dominion over their poetry.
Page 1 and 2: THE EVOLUTION OF ALLEGORY IN THE PA
Page 3 and 4: CHAPTER I INTRODUCTION To readers o
Page 5 and 6: 2 that was independently valuable a
Page 7 and 8: CHAPTER II THE CLASSICAL PASTORAL P
Page 9 and 10: scene, the task of defining befell
Page 11 and 12: times the terms pastoral and idyll
Page 13 and 14: masquerade in which he wishes us to
Page 15 and 16: 13 important for its introduction o
Page 17 and 18: any he had previously garnered and
Page 19 and 20: Tityrus, the eclogue ends on a note
Page 21 and 22: 19 popular use of riddles and puzzl
Page 23 and 24: 21 the problem of conflict between
Page 25 and 26: 23 integrated the Greek version of
Page 27 and 28: 25 harmonize the perfection of natu
Page 29: 27 conventions. To a greater extent
Page 33 and 34: 31 Whether Calpurnius held any infl
Page 35 and 36: 33 classics. Virgil's entire works
Page 37 and 38: 35 elegy is a consolation. In the f
Page 39 and 40: 37 New developments also arose in t
Page 41 and 42: 39 Ages had done. Man is still a fa
Page 43 and 44: 41 Blacks or Guelfics supported the
Page 45 and 46: During the years between 1347 and 1
Page 47 and 48: 45 secular world or to religious li
Page 49 and 50: 47 satire against the Church. These
Page 51 and 52: 49 recognition from their political
Page 53 and 54: After Petrarch and Boccaccio, there
Page 55 and 56: 53 comic element envelope the most
Page 57 and 58: 55 Barclay's fourth Egloge and Spen
Page 59 and 60: 57 a strong feeling of nationalism;
Page 61 and 62: 59 gulf which exists between the wo
Page 63 and 64: in which the fisherman is substitut
Page 65 and 66: setting, and "to return, strengthen
Page 67 and 68: 65 humanists' pastorals, which in m
Page 69 and 70: The Italian humanists along with th
Page 71 and 72: 69 consideration involves two theme
Page 73 and 74: 71 an element of humor in his pasto
Page 75 and 76: 73 The birde of Cornewall, the Cran
Page 77 and 78: 75 When men be busied in killing of
Page 79 and 80: 77 shepherds lend themselves readil
Page 81 and 82:
79 unifying effect in the Calender.
Page 83 and 84:
81 implications of the Aesopic fabl
Page 85 and 86:
83 origin, • • of one of the ma
Page 87 and 88:
85 bulk of his successors composed
Page 89 and 90:
87 The second set of characters con
Page 91 and 92:
89 the pastoral tradition. The fina
Page 93 and 94:
meditating the muse, for after all,
Page 95 and 96:
93 This Platonic revival was respon
Page 97 and 98:
95 it had existed was forgotten. Hu
Page 99 and 100:
NOTES CHAPTER I Martha H. Shackford
Page 101 and 102:
22, -Virgil himself refers to his p
Page 103 and 104:
101 CHAPTER III iRenato Poggioli, "
Page 105 and 106:
103 Harrison, p. 8. ^^Grant, p. 104
Page 107 and 108:
105 l^Highet, The Classical Traditi
Page 109 and 110:
107 49 Kermode, p. 43. 50 Evans, p.
Page 111 and 112:
Greenlaw, Edwin A. "Spenser and Luc
Page 113:
Shackford, Martha H. "A Definition
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