THE EVOLUTION OF ALLEGORY IN THE PASTORAL ... - Repositories

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those Renaissance and Elizabethan pastorals which are clearly based on the Virgilian type using a form of dialogue with pastoral names and pastoral imagery and possessing an ulterior meaning are being designated as eclogues. The purpose of this study is to consider some possible reasons behind the popularity of the pastoral during that great revival of art, literature, and learning in Europe; to demonstrate the innovations which occurred in the genre in its progression from classical times through the Italian Renaissance into Elizabethan England; and, finally, to establish the Renaissance pastoral as a convenient vehicle for satire and personal allegory.
CHAPTER II <strong>THE</strong> CLASSICAL <strong>PASTORAL</strong> PRECEDENTS Pastoral poetry had its literary beginnings in the third century B. C. in the Greek Idylls of Theocritus (ca. 310 - ca. 250 B. C). His youth was spent in Syracuse and Sicily in times disturbed by both civil and foreign wars. During his manhood after failing to interest the tyrant Hiero in his work, he became a member of the sophisticated court of Ptolemy at Alexandria. Perhaps the confusing situation at this cosmopolitian court persuaded Theocritus to leave and choose to spend the remainder of his life in the simplicity of rural Sicily, where some of his pastoral idylls were undoubtedly written. Theocritus' actual sources are obscure, but the ancestry of the musical herdsman probably preceded Homer's description of a scene on the shield of Achilles in which shepherds are rejoicing in the playing of the syrinx, an instrument invented by Pan. About 600 B. C. Stesichorus introduced a type of bucolic poetry into Greek literature. He composed a choral ode in which he told the story of Daphnis, an account based on a simple, rustic tale localized in the vicinity where Stesichorus lived. The folk tale becomes a divine myth, for Daphnis is said to be either the son or the beloved of Hermes and also the tender of the cattle of Helios. Our information about the poem is
Page 1 and 2: THE EVOLUTION OF ALLEGORY IN THE PA
Page 3 and 4: CHAPTER I INTRODUCTION To readers o
Page 5: 2 that was independently valuable a
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 and 30: 27 conventions. To a greater extent
Page 31 and 32: of this seriousness that Virgil min
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
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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
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55 Barclay's fourth Egloge and Spen
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57 a strong feeling of nationalism;
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59 gulf which exists between the wo
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in which the fisherman is substitut
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setting, and "to return, strengthen
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65 humanists' pastorals, which in m
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The Italian humanists along with th
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69 consideration involves two theme
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71 an element of humor in his pasto
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73 The birde of Cornewall, the Cran
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75 When men be busied in killing of
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77 shepherds lend themselves readil
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79 unifying effect in the Calender.
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81 implications of the Aesopic fabl
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83 origin, • • of one of the ma
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85 bulk of his successors composed
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87 The second set of characters con
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89 the pastoral tradition. The fina
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meditating the muse, for after all,
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93 This Platonic revival was respon
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95 it had existed was forgotten. Hu
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NOTES CHAPTER I Martha H. Shackford
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22, -Virgil himself refers to his p
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101 CHAPTER III iRenato Poggioli, "
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103 Harrison, p. 8. ^^Grant, p. 104
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105 l^Highet, The Classical Traditi
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107 49 Kermode, p. 43. 50 Evans, p.
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Greenlaw, Edwin A. "Spenser and Luc
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Shackford, Martha H. "A Definition
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