Virgil: Eclogues (Cambridge Greek
and Latin Classics) by Virgil
Apology For The English Alexandrine
Pastoral poetry was probably the creation of the Hellenistic poet
Theocritus, and he was certainly its most distinguished exponent in Greek.
Vergil not only transposed the spirit of Greek pastoral into an Italian
setting, blending details from the life of his native countryside into the
subsequent history of the genre. On publication the Eclogues won
immediate acclaim and Vergils reputation as a major poet was established.
In this edition Robert Coleman describes the earlier pastoral tradition, sets
Vergils poems in historical perspective and evaluates the poets distinctive
contribution to the genre. In the commentary difficulties of interpretation
are elucidated. Theocritean influences are examined in detail and points of
interest in the language, style and subject-matter discussed. This is the
fullest edition of the Eclogues to have appeared in any language and the
first in English since the end of the nineteenth century. It is intended
primarily for university students and sixth-formers but will be valuable to
anyone interested in Latin poetry and the development of the pastoral
genre.

Personal Review: Virgil: Eclogues (Cambridge Greek and Latin
Classics) by Virgil
No reading of the Eclogues is complete without a reading of the Idylls of
Theocritus.
Having said that, and having (re-)read that, I find myself commenting on
the other review, which was excellent (though it was written for a different
edition). I disagree that Virgil "slavishly imitated" Theocritus. My impression
is that the Eclogues are more of an artful (and extensive) adaptation. The
fear of plagiarism and insistence on originality is a modern phenomenon.
Ancient literature depended upon the recasting of existing works to suit the
poet's purpose and taste. Appropriation provided a cultural continuum that
preserved and transmitted the beauty, values, and ideas of one's
predecessors. In Virgil's case, poetic license would not have referred to a
deviation from form or tradition as it does today; it would have meant
knowing the rules and biding by them.
If anything was slavishly imitated by Virgil, it would have been the
characters created by Theocritus. Daphnis, Thyrsis, Amaryllis, Tityrus,
Corydon, Damoetas and Menalcas all make somewhat more than cameo
appearances in the Eclogues. They have in fact re-emerged as Virgil's
main cast of characters. In some cases they appear as the poet himself!
The Idylls as an art form only superficially affected Virgil. Of course he
adapted the singing contests to his own settings and themes. The prizes
still included cups, heifers, girls, banes and boons. While the Idylls were a
collection of poems written at various times and for various purposes, the
Eclogues appear to be (and there is ample evidence to support this)
composed as a coherent set. They are the equivalent of a modern-day
popular music album. Cohesive devices link one poem to another;
matching numbers of lines provide internal balance; there is an
introduction and a conclusion.
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