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MOSCHUS of Syracuse, 2nd century B.C., came next. As a 'grammarian' he wrote a (lost) work on Rhodian dialect. Though he was classed as bucolic, his extant poetry (mainly 'Runaway Love' and the story of 'Europa') is not really pastoral, the 'Lament for Bion' not being Moschus's work. 'Megara' may be Theocritus; but 'The Dead Adonis' is much later. BION of Phlossa near Smyrna lived in Sicily, probably late 2nd and early 1st century B.C. Most of the extant poems are not really bucolic, but 'Lament for Adonis' is floridly brilliant. 'Myrson and Lycidas' is probably not by Bion. The so-called Pattern-Poems, included in the 'bucolic' tradition, are found also in the Greek Anthology.
Originally published in 1953, this book provides a series of English translations from ancient Greek bucolic poetry by Theocritus, Moschus and Bion. A detailed introduction is included, with information on each of the poets. Textual notes are incorporated throughout. This book will be of value to anyone with an interest in ancient Greek literature, literary criticism and bucolic poetry.
Now available in paperback for the first time, the twenty-three contributions collected in this volume on Greek and Latin Pastoral focus mainly on the historical genesis, the stylistic and narrative features, the literary self-definition, and the fortunes of pastoral from its Theocritean origins to the Byzantine age.
A sequence of poems that interrogates American civics and citizenry from its foundation in the pastoral tradition. In Irredenta, Oscar Oswald raises the prospect of pastoral opposition to state power, elaborating and investigating the genre through ethical and spiritual inquiry. As a citizen is a stranger to itself, so too does Oswald's pastoral speaker define the tensions between identity and nationality inherent in a civic body as they are traversed across the American political geography: land, water, and country, from the Mojave to Wisconsin.
Agonistic or friendly song exchange in idyllic settings forms the very heart of Roman pastoral. By examining in detail the evolution of a wide variety of literary, linguistic, stylistic, and metrical features, the present book focuses on how politics, panegyrics, elegy, heroic, and didactic poetry function as guest genres within the pastoral host genre, starting from Vergil and continuing with Calpurnius Siculus, the Einsiedeln Eclogues and Nemesianus.
Brill's Companion to Theocritus offers an up-to-date guide to a thorough understanding of Theocritus’ literary output. Exploring his corpus from a variety of novel perspectives, it presents a detailed account of the intricacy of Theocritus’ poetic art.
Intro -- Contents -- Preface -- Introduction -- Chapter 1: A Lost Pastoral Rhythm: The Poetry of John Montague -- Chapter 2: "The God in the Tree" : Seamus Heaney and the Pastoral Tradition -- Chapter 3: "Love Poems, Elegies: I am losing my place " : Michael Longley's Environmental Elegies -- Chapter 4: Learning the Lingua Franca of a Lost Land: Eavan Boland's Suburban Pastoral -- Chapter 5: "In My Handerkerchief of a Garden" : Medbh McGuckian's Miniature Pastoral Retreats -- Chapter 6: "When Ireland Was Still under a Spell" : Miraculous Transformations in the Poetry of Nuala Ní Dhomhnaill -- Conclusion: The Future of Pastoral -- Notes -- Bibliography -- Index.
In a book as beautifully written as the poetry it celebrates, Kathryn Gutzwiller uses the famous Idylls of Theocritus to show us the formative processes at work in the creation of a literary genre--the pastoral--and how the very structure of a genre both shapes and limits judgments about it. Gutzwiller argues that Theocritus' position as first pastoralist has haunted critical assessments of him. Was he merely a beginner, whose simple descriptions of country life were reworked by Vergil into poems of imagination and tender feeling? Or was he a genius of great creative ability, who first found the way to encapsulate in humble detail a metaphysical vision of man's emotional core? Examining Theocritus from the point of view of "beginnings," Gutzwiller succeeds in placing him both within his native Greek intellectual tradition and within the tradition of critical commentary on pastoral. As she points out, "beginnings are hard to pin down . . . the thing begun did not exist before and yet its composite parts were already somewhere in existence." Gutzwiller provides an analysis of the herdsman figure in pre-Hellenistic Greek literature, showing that the simple shepherd or goatherd had long been used as a figure of analogy for characters of higher rank. Theocritus was the first poet to focus on the shepherd himself and bring the analogies down into the pastoral world. Through her careful analyses of the seven pastoral Idylls, Gutzwiller demonstrates that in turning the focus on the shepherd Theocritus created a group of literary works with an inner structure so unique that later readers considered it a new genre. In her conclusion Gutzwiller explores subsequent controversies about the pastoral, from ancient to modern times, revealing how they continue to reflect the structural pattern that originated in Theocritus's poetry.