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626:("Sorceress"). The poet reports the contrasting songs of two herdsmen whose music is as powerful as that of Orpheus. Both songs are dramatic (the character in the first being a man and in the second a woman), both have almost the same pattern of three-to-five-line stanzas, with a refrain after each one. In one song the singer complains that his girlfriend is marrying another man; in the second a woman performs a magic spell to get her lover back.
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Menalcas comes across a herdsman
Damoetas, who is herding some animals on behalf of a friend. The two men exchange insults and then Damoetas challenges Menalcas to a singing competition. Menalcas accepts the challenge, offering some decorated cups as a prize, but Damoetas insists that the prize must
497:
In
Eclogue 5, Menalcas, meeting the young goatherd Mopsus, flatters him and begs him to sing one of his songs. Mopsus is persuaded, and sings a song he has made mourning the death of the fabled herdsman Daphnis. After praising the song, Menalcas responds by singing a song of equal length describing
250:
Numerous verbal echoes between the corresponding poems in each half reinforce the symmetry: for example, the phrase "Plant pears, Daphnis" in 9.50 echoes "Plant pears, Meliboeus" in 1.73. Eclogue 10 has verbal echoes with all the earlier poems. Thomas K. Hubbard (1998) has noted, "The first half of
640:
Young
Lycidas meets old Moeris on his way to town and learns that Moeris's master, the poet Menalcas, has been evicted from his small farm and nearly killed. They proceed to recall snatches of Menalcas's poetry, two translated from Theocritus and two relating to contemporary events. Lycidas is
298:
Some scholars have also observed numerical coincidences, when each eclogue in poems 1–9 is added to its pair: eclogues 2 + 8 = 3 + 7 = 181 lines, while eclogues 1 + 9 = 4 + 6 = 150/149 lines; 2 + 10 also = 150 lines. However, the significance of these findings is not clear. Similar numerical
206:
Several scholars have attempted to identify the organizational principles underpinning the construction of the book. Most commonly the structure has been seen to be symmetrical, turning around eclogue 5, with a triadic pattern. The following scheme comes from
Steenkamp (2011):
352:
A monologue by the herdsman
Corydon bemoaning his unrequited love for the handsome boy Alexis (the boss's darling) in the height of summer. The poem is adapted from the eleventh Idyll of Theocritus, in which the Cyclops Polyphemus laments the cruelty of the sea-nymph Galatea.
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607:
VIII, though there the quatrains are not in hexameters but in elegiac couplets. Scholars argue about why
Thyrsis loses. The reader may feel that despite the very close parallelism of his quatrains with Corydon's, they are less musical and sometimes cruder in content.
641:
anxious for a singing-match, while admitting that he is no match for two contemporary Roman poets whom he mentions by name, but Moeris pleads for forgetfulness and loss of voice. They walk on towards the city, postponing the competition until
Menalcas arrives.
154:, Virgil created a Roman version partly by offering a dramatic and mythic interpretation of revolutionary change at Rome in the turbulent period between roughly 44 and 38 BC. Virgil introduced political clamor largely absent from Theocritus' poems, called
598:
The goatherd
Meliboeus, a recurring character, soliloquizing remembers how he happened to be present at a great singing match between Corydon and Thyrsis. He then quotes from memory their actual songs (six rounds of matching quatrains) and recalls that
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in rural settings, whether suffering or embracing revolutionary change or happy or unhappy love. Performed with great success on the Roman stage, they feature a mix of visionary politics and eroticism that made Virgil a celebrity in his own lifetime.
501:
Eclogue 5 articulates another significant pastoral theme, the shepherd-poet's concern with achieving worldly fame through poetry. Ensuring poetic fame is a fundamental interest of the shepherds in classical pastoral elegies, including the speaker in
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and the "god" he met there who answered his plea and allowed him to remain on his land. He offers to let
Meliboeus spend the night with him. This text has been viewed as reflecting the infamous land-confiscations after the return of
251:
the book has often been seen as a positive construction of a pastoral vision, whilst the second half dramatizes progressive alienation from that vision, as each poem of the first half is taken up and responded to in reverse order."
671:. Virgil transforms this remote, mountainous, and myth-ridden region of Greece, homeland of Pan, into the original and ideal place of pastoral song, thus founding a richly resonant tradition in western literature and the arts.
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However, the arrangement of the eclogues into three groups of three does not prevent the collection also being seen as divided at the same time into two halves, with a second opening at the beginning of eclogue 6.
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be a calf, which is more valuable. A neighbour
Palaemon agrees to judge the contest. The second half of the poem is the contest itself, ending with Palaemon pronouncing it a tie.
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The average length of each eclogue is 83 lines, and long and short poems alternate. Thus the 3rd eclogue in each half is the longest, while the 2nd and 4th are the shortest:
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A dialogue between Tityrus and Meliboeus. In the turmoil of the era Meliboeus has been forced off his land and faces an uncertain future. Tityrus recounts his journey to
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Identification of the fourth eclogue's child has proved elusive, but one common solution is that it refers to the predicted child of the sister of
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Brooks Otis (1964) also detects a symmetry, in that eclogues 2, 3, 7 and 8 are particularly based on Theocritan models: Otis B. (1964),
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388:, also called the Messianic Eclogue, imagines a golden age ushered in by the birth of a boy heralded as "great increase of Jove" (
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In later years, it was often assumed that the boy predicted in the poem was Christ. The connection is first made in the
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phenomena have been found in other authors. For example, in Tibullus book 2, poems 1 + 6 = 2 + 5 = 3 + 4 = 144 lines.
1570:
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1133:, the Ten Eclogues in English Verse. Framed by Cues for Reading Out-Loud and Clues for Threading Texts and Themes
158:('little scenes' or 'vignettes'), even though erotic turbulence disturbs the "idyllic" landscapes of Theocritus.
480:
171:('selection', 'extract'). The poems are populated by and large with herdsmen imagined conversing and performing
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This article is about a major work of Virgil. For the genre of poetry known as "bucolics" or "eclogues", see
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The Pipes of Pan: Intertextuality and Literary Filiation in the Pastoral Tradition from Theocritus to Milton
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Variety is also achieved by alternating dialogue eclogues (1, 3, 5, 7, 9) with monologues (2, 4, 6, 8, 10).
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to sing to them, and how he sang to them of the world's beginning, the Flood, the Golden Age, Prometheus,
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the reception of Daphnis in heaven as a god. Mopsus praises Menalcas in turn, and the two exchange gifts.
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1016:
Miscellanea Virgiliana: In Scriptis Maxime Eruditorum Virorum Varie Dispersa, in Unum Fasciculum Collecta
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Buckham, Philip Wentworth; Spence, Joseph; Holdsworth, Edward; Warburton, William; Jortin, John,
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The eclogue is mostly based on Theocritus's Idyll 5, but with elements added from other idylls.
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803:(Vol. 54, No. 1, pp. 101-124). Classical Association of South Africa (CASA); p. 113.
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560:'s reed pipe and commissioned him to write a didactic poem; after which he told of
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as judge declared Corydon the winner. This eclogue is based on pseudo-Theocritus
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This eclogue tells the story of how two boys, Chromis and Mnasyllos, and a
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in 40 BC. The poem is dated to 40 BC by the reference to the consulship of
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Eclogues, trans. Len Krisak. Philadelphia: U of Pennsylvania P. p. vii.
576:, and then we learn that he has in fact been singing a song composed by
1061:. Vol. 4 (11th ed.). Cambridge University Press. p. 733.
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Acta Classica: Proceedings of the Classical Association of South Africa
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Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil
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Virgil's book contains ten pieces, each called not an idyll but an
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The tenth eclogue stands alone, summing up the whole collection.
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898:
Dettmer, H. (1980). "The arrangement of Tibullus Books 1 and 2".
455:, Virgil's patron at the time, to whom the eclogue is addressed.
393:
314:
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1211:(translated by H.R. Fairclough for the Loeb Classical Library)
432:, the inventor of the bucolic pipe, even in Pan's homeland of
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Incipit page of Eclogue 1 in a 1482 Italian translation of
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Dante, led by Virgil, Consoles the Souls of the Envious
874:"The book-roll and some conventions of the poetic book"
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1257:French translations (Bibliotheca Classica Selecta)
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847:. Ann Arbor: University of Michigan Press. p. 46.
997:Lee, Guy, trans. (1984). "Eclogue 5". In Virgil,
765:. Cambridge: Cambridge University Press. p. 119.
131:, is the first of the three major works of the
1070:The Oxford Classical Dictionary: Third Edition
778:. Clarendon, Oxford University Press. p. xxi.
1294:
659:and old bucolic hero, the impassioned oxherd
548:'s sisters; after which he described how the
8:
1066:Hornblower, Simon; Antony Spawforth (1999).
1019:, Cambridge: Printed for W. P. Grant; 1825.
655:In Eclogue 10, Virgil replaces Theocritus'
338:'s assassination in 44 BCE) were defeated.
110:
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1287:
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568:who was transmuted into a seabird) and of
763:Lines of Enquiry: Studies in Latin Poetry
674:This eclogue is the origin of the phrase
392:). The poet makes this notional scion of
914:"Virgil's "Eclogues" and Social Memory"
712:
462:appended to the Life of Constantine by
224:4 – Religion and the world that will be
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556:(a close personal friend of Virgil's)
146:Taking as his generic model the Greek
322:and Octavian's joint forces from the
104:
7:
1514:
797:"The structure of Vergil's Eclogues"
230:6 – Mythology and the world that was
1262:Latin texts and German translations
1236:The Bucolics and Eclogues by Virgil
1193:The Bucolics and Eclogues by Virgil
832:Vergil: A Study in Civilized Poetry
1135:. Johns Hopkins University Press.
25:
1274:An appreciation by Samuel Johnson
918:The American Journal of Philology
1537:
1525:
1513:
1174:
970:A Commentary on Virgil, Eclogues
470:makes fleeting reference in his
396:the occasion to predict his own
179:Like all of Virgil's works, the
66:
1110:The Design of Virgil's Bucolics
1001:. New York: Penguin. pp. 29–35.
483:: "a little child shall lead".
1093:. Cambridge University Press.
1027:. Cambridge University Press.
812:Steenkamp (2011), pp. 104–110.
622:This eclogue is also known as
424:and his mother, the epic muse
227:5 – The 'pastor' becomes a god
34:. For the poems by Dante, see
1:
1566:1st-century BC books in Latin
1431:Christian interpretations of
1089:Hunter, Richard, ed. (1999).
1023:Coleman, Robert, ed. (1977).
1127:Van Sickle, John B. (2011).
1108:Van Sickle, John B. (2004).
975:The Journal of Roman Studies
702:The Golden Bough (mythology)
667:, imagined dying of love in
1227:(Internet Classics Archive)
1184:public domain audiobook at
1166:, translated by John Dryden
1074:. Oxford University Press.
902:, 124(1–2), 68–82; page 78.
843:Hubbard, Thomas K. (1998).
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955:Pagan and Christian Creeds
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633:
615:
591:
517:
490:
408:to the lofty range of the
378:
360:
345:
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191:Structure and organization
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29:
1509:
1445:The Virgilian Progression
966:Nisbet, R. G. M. (1995).
889:Steenkamp (2011), p. 113.
863:Steenkamp (2011), p. 112.
821:Steenkamp (2011), p. 114.
774:Clausen, Wendell (1994).
404:, rising from the humble
47:The opening lines of the
27:Poem collection by Virgil
1467:Dante and Virgil in Hell
719:Davis, Gregson (2010). "
390:magnum Iovis incrementum
243:9 – Confiscation of land
211:1 – Confiscation of land
1091:Theocritus: A Selection
1058:Encyclopædia Britannica
968:Review of W V Clausen,
872:Van Sickle, J. (1980).
743:Liddell, Scott, Jones,
678:("love conquers all").
412:, potentially rivaling
987:Oration of Constantine
977:, 85, 320-321; p. 320.
795:Steenkamp, J. (2011).
665:Gaius Cornelius Gallus
460:Oration of Constantine
334:(the orchestrators of
203:
101:
55:
18:Virgil's Eclogues
1043:Gosse, Edmund William
912:Meban, David (2009).
880:, 13(1), 5–42; p. 20.
834:(Oxford), pp. 128–31.
198:
46:
580:on the banks of the
466:(a reading to which
464:Eusebius of Caesarea
453:Gaius Asinius Pollio
326:of 42 BCE, in which
1499:The Barque of Dante
1415:Vergilius Vaticanus
1405:Vergilius Augusteus
1387:Appendix Vergiliana
445:Octavia the Younger
237:7 – Singing contest
217:3 – Singing contest
185:dactylic hexameters
125:), also called the
106:[ˈɛklɔɡae̯]
51:in the 5th-century
1440:Sortes Vergilianae
1251:Other translations
447:, who had married
324:Battle of Philippi
240:8 – Two love songs
204:
56:
1553:
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1410:Vergilius Romanus
1241:Project Gutenberg
1198:Project Gutenberg
1142:978-0-8018-9799-3
853:978-0-472-10855-8
733:978-0-8122-4225-6
676:omnia vincit amor
173:amoebaean singing
165:, from the Greek
53:Vergilius Romanus
16:(Redirected from
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784:0-19-815035-0
781:
777:
771:
768:
764:
760:
755:
752:
749:
746:
745:Greek Lexicon
740:
737:
734:
730:
726:
722:
716:
713:
707:
703:
700:
698:
697:
693:
691:
690:
686:
685:
681:
679:
677:
672:
670:
666:
662:
658:
652:
644:
642:
637:
629:
627:
625:
624:Pharmaceutria
619:
611:
609:
606:
602:
595:
587:
585:
583:
579:
575:
571:
567:
563:
559:
555:
551:
547:
543:
539:
535:
531:
527:
521:
513:
511:
509:
505:
499:
494:
486:
484:
482:
479:
475:
474:
469:
465:
461:
456:
454:
450:
446:
442:
437:
435:
431:
428:, as well as
427:
423:
419:
415:
411:
407:
403:
399:
395:
391:
387:
382:
374:
372:
369:
364:
356:
354:
349:
341:
339:
337:
333:
329:
325:
321:
316:
310:
302:
300:
296:
290:
287:
284:
281:
278:
277:
273:
270:
267:
264:
261:
260:
259:
256:
252:
248:
242:
239:
236:
235:
229:
226:
223:
222:
221:
220:
216:
214:2 – Love song
213:
210:
209:
208:
202:
197:
190:
188:
186:
182:
177:
174:
164:
159:
157:
153:
149:
141:
139:
137:
134:
130:
129:
107:
103:
99:
93:
63:
62:
54:
50:
45:
41:
37:
33:
19:
1576:LGBTQ poetry
1543:
1531:
1519:
1497:
1489:
1481:
1473:
1465:
1432:
1385:
1378:
1371:
1324:
1323:
1267:
1266:
1250:
1249:
1234:
1224:
1216:
1215:
1208:
1202:(in English)
1191:
1181:The Eclogues
1180:
1164:The Eclogues
1163:
1156:
1155:
1132:
1128:
1109:
1090:
1069:
1056:
1024:
1015:
999:The Eclogues
998:
993:
982:
974:
969:
962:
954:
946:
921:
917:
907:
899:
894:
885:
877:
868:
859:
844:
839:
831:
826:
817:
808:
800:
791:
775:
770:
762:
754:
744:
739:
724:
721:Introduction
715:
694:
687:
675:
673:
654:
639:
623:
621:
604:
597:
523:
500:
496:
471:
459:
457:
438:
417:
389:
384:
370:
366:
351:
312:
297:
294:
279:6 – 86 lines
262:1 – 83 lines
257:
253:
249:
246:
205:
200:
180:
178:
160:
145:
127:
126:
60:
59:
57:
48:
40:
1398:Manuscripts
1268:Other links
759:Rudd, Niall
449:Mark Antony
320:Mark Antony
1560:Categories
1459:Portrayals
1390:(spurious)
1245:(in Latin)
1157:In English
900:Philologus
708:References
651:Eclogue 10
645:Eclogue 10
528:persuaded
473:Purgatorio
152:Theocritus
150:poetry of
142:Background
133:Latin poet
120:selections
1532:Wikiquote
1129:Virgil's
957:. p. 137.
930:0002-9475
636:Eclogue 9
630:Eclogue 9
618:Eclogue 8
612:Eclogue 8
594:Eclogue 7
588:Eclogue 7
574:Philomela
520:Eclogue 6
514:Eclogue 6
493:Eclogue 5
487:Eclogue 5
398:metabasis
386:Eclogue 4
381:Eclogue 4
375:Eclogue 4
363:Eclogue 3
357:Eclogue 3
348:Eclogue 2
342:Eclogue 2
309:Eclogue 1
303:Eclogue 1
1373:Georgics
1325:Eclogues
1225:Eclogues
1217:In Latin
1209:Eclogues
1186:LibriVox
1045:(1911).
938:20616169
878:Arethusa
761:(1976).
725:Virgil's
696:Georgics
682:See also
546:Phaëthon
542:Atalanta
538:Pasiphaë
441:Octavian
426:Calliope
201:Bucolics
181:Eclogues
128:Bucolics
61:Eclogues
49:Eclogues
1520:Commons
1433:Eclogue
1055:(ed.).
953:(1920)
669:Arcadia
661:Daphnis
601:Daphnis
582:Eurotas
530:Silenus
508:Lycidas
434:Arcadia
422:Orpheus
406:bucolic
332:Cassius
291:10 – 77
285:8 – 108
268:3 – 111
163:eclogue
148:bucolic
114:
102:Eclogae
32:Eclogue
1380:Aeneid
1310:Virgil
1139:
1116:
1097:
1078:
1031:
936:
928:
851:
782:
748:έκλογή
731:
689:Aeneid
657:Sicily
578:Apollo
570:Tereus
562:Scylla
558:Hesiod
554:Gallus
504:Milton
478:Isaiah
418:Aeneid
410:heroic
336:Caesar
328:Brutus
288:9 – 67
282:7 – 70
274:5 – 90
271:4 – 63
265:2 – 73
168:ἐκλογή
156:idylls
136:Virgil
1317:Works
1051:. In
934:JSTOR
799:. In
605:Idyll
566:Nisos
552:gave
550:Muses
534:Hylas
526:Naiad
468:Dante
414:Homer
98:Latin
1223:The
1207:The
1137:ISBN
1114:ISBN
1095:ISBN
1076:ISBN
1029:ISBN
926:ISSN
849:ISBN
780:ISBN
729:ISBN
572:and
544:and
506:'s "
481:11:6
402:epos
394:Jove
330:and
315:Rome
111:lit.
58:The
1239:at
1196:at
1168:at
922:130
723:".
510:".
430:Pan
1562::
1366:10
1364:,
1360:,
1356:,
1352:,
1348:,
1344:,
1340:,
1336:,
1332:,
973:.
932:.
920:.
916:.
876:.
584:.
540:,
536:,
443:,
187:.
138:.
109:,
100::
96:;
1435:4
1368:)
1362:9
1358:8
1354:7
1350:6
1346:5
1342:4
1338:3
1334:2
1330:1
1328:(
1302:e
1295:t
1288:v
1147:|
1145:.
1122:.
1103:.
1084:.
1037:.
940:.
786:.
123:'
117:'
92:/
89:z
86:ɡ
83:ɒ
80:l
77:k
74:ɛ
71:ˈ
68:/
64:(
38:.
20:)
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