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

More documents

Recommendations

Info

oth late and imperfect, but we know that an important section was a lament for Daphnis. Thus arose the convention of the lovelorn shepherd, indulging in his own suffering or wringing sympathy from his friends through his 2 singing. Whether the origins of pastoral literature are "folk" or "literary" is a controversy that arose during the neoclassical period when critical thinking about pastoral literature became much more prominent than writing it. Unfortunately, neither the Pbetics of Aristotle nor the Ars Poetica of Horace offers any direct comment on pastoral poetry. Quintilian makes what is perhaps the earliest critical comment relating to pastoral in an incidental and none too favorable remark about Theocritus' "peculiar" style. The earliest explanation for the origins of pastorr.l occurs in the Codex Ambrosianus 222 (c. 1250), the oldest extant codex containing the poems of Theocritus. This account is "neither scientific nor ethical; neither does it 3 contain any critical implications." Although no direct or notably significant criticism of the pastoral exists in any of the ancient and medieval sources, the general critical principles derived from Aristotle, Horace, Quintilian, Longinus, and Cicero are the sources for later pastoral 4 theories. Since there was no attempt on the part of Renaissance critics either to define pastoral or to discuss the
scene, the task of defining befell the methodical neoclassicists, and the art of discussing went to the empirical Romanticists. One of the earliest critics who ventured to define pastoral was Rene Rapin (1659), who proposed the "literary" theory of origins, generally accepted by modern tendencies, in the preface to his own eclogues, "Disser- 5 tatio de Carmine Pastorali." Rapin suggested that this form of poetry resulted from the ancient way of life and arose with the advance of civilization. He felt that the pastoral did not develope as a formal, literary type until the nation had attained a state of culture and thereby imparted some degree of sophistication to the pastoral poet. According to W. W. Greg (1906), over-sophistication is a prerequisite of the pastoral, which "arises purely as a solace and relief from the fervid life of actuality." Thus the pastoral origin becomes a theory of a natural evolution of the shepherd's folk songs into a civilized poet's expression in pastoral terms. No religious origins can be clearly established, although there may be some connection with the primitive agricultural festivals and ceremonial fertility rites; for pastoral poets have traditionally identified themselves with Orpheus, a significant figure in such celebrations. During the Hellenistic age, bucolic themes appeared in many kinds of poetry (lyric, comedy, and possibly even in elegy and dithyramb) before an actual form was given to
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: CHAPTER II THE CLASSICAL PASTORAL P
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
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
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?