Pastoral

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Pastoral drama
)
Alvan Fisher, Pastoral Landscape, 1854

The pastoral genre of literature, art, or music depicts an idealised form of the shepherd's lifestyle – herding livestock around open areas of land according to the seasons and the changing availability of water and pasture. The target audience is typically an urban one. A pastoral is a work of this genre. A piece of music in the genre is usually referred to as a pastorale.

The genre is also known as bucolic, from the

cowherd.[1][2]

Literature

Pastoral literature in general

Roman camei. 1. Bacchanalian group, reclining upon a lion's hide, spread under the shade of a fig-tree. A youthful Faun is sounding the double pipes; a Nymph, holding a goblet in her left hand, pours out a libation to the god from a patera; a drowsy Cupid in the background expresses the protraction of the festivities. 2. The same subject as the first; but here the Faun is singing, the Nymph beats time with her hands, whilst Pan supplies the music with his syrinx.[3]

Pastoral is a mode of literature in which the author employs various techniques to place the complex life into a simple one. Paul Alpers distinguishes pastoral as a mode rather than a genre, and he bases this distinction on the recurring attitude of power; that is to say that pastoral literature holds a humble perspective toward nature. Thus, pastoral as a mode occurs in many types of literature (poetry, drama, etc.) as well as genres (most notably the pastoral elegy).

Terry Gifford, a prominent literary theorist, defines pastoral in three ways in his critical book Pastoral. The first way emphasizes the historical literary perspective of the pastoral in which authors recognize and discuss life in the country and in particular the life of a shepherd.

man and nature is evident in the encounter of a shepherd and a goatherd who meet in the pastures in Theocritus
' poem Idylls 1.

Traditionally, pastoral refers to the lives of herdsmen in a romanticized, exaggerated, but representative way. In

cowherds and other farm workers that are often romanticized and depicted in a highly unrealistic manner. The pastoral life is usually characterized as being closer to the golden age than the rest of human life. The setting is a locus amoenus, or a beautiful place in nature, sometimes connected with images of the Garden of Eden.[5] An example of the use of the genre is the short poem by the 15th-century Scottish makar Robert Henryson Robene and Makyne which also contains the conflicted emotions often present in the genre. A more tranquil mood is set by Christopher Marlowe's well known lines from his 1588 The Passionate Shepherd to His Love
:

Come live with me and be my Love,
And we will all the pleasures prove
That hills and valleys, dale and field,
And all the craggy mountains yield.

There will we sit upon the rocks
And see the shepherds feed their flocks,
By shallow rivers, to whose falls
Melodious birds sing madrigals.

"The Passionate Shepherd to His Love" exhibits the concept of Gifford's second definition of 'pastoral'. The speaker of the poem, who is the titled shepherd, draws on the idealization of urban material pleasures to win over his love rather than resorting to the simplified pleasures of pastoral ideology. This can be seen in the listed items: "lined slippers", "purest gold", "silver dishes", and "ivory table" (lines 13, 15, 16, 21, 23). The speaker takes on a voyeuristic point of view with his love, and they are not directly interacting with the other true shepherds and nature.

Pastoral shepherds and maidens usually have

Pastoral poetry

)

Pastoral literature continued after Hesiod with the

Hellenistic Greek Theocritus, several of whose Idylls are set in the countryside (probably reflecting the landscape of the island of Cos where the poet lived) and involve dialogues between herdsmen.[7] Theocritus may have drawn on authentic folk traditions of Sicilian shepherds. He wrote in the Doric dialect but the metre he chose was the dactylic hexameter associated with the most prestigious form of Greek poetry, epic. This blend of simplicity and sophistication would play a major part in later pastoral verse. Theocritus was imitated by the Greek poets Bion and Moschus
.

The Roman poet Virgil adapted pastoral into Latin with his highly influential Eclogues. Virgil introduces two very important uses of pastoral, the contrast between urban and rural lifestyles and political allegory[8] most notably in Eclogues 1 and 4 respectively. In doing so, Virgil presents a more idealized portrayal of the lives of shepherds while still employing the traditional pastoral conventions of Theocritus. He was the first to set his poems in Arcadia, an idealized location to which much later pastoral literature will refer.

usurer to leave it behind for the country.[9]

Later

Silver Latin poets who wrote pastoral poetry, modeled principally upon Virgil's Eclogues, include Calpurnius Siculus and Nemesianus and the author(s) of the Einsiedeln Eclogues
.

Italian poets revived the pastoral from the 14th century onwards, first in Latin (examples include works by

Pontano and Mantuan) then in the Italian vernacular (Sannazaro, Boiardo
). The fashion for pastoral spread throughout Renaissance Europe.

Leading French pastoral poets include

Pierre de Ronsard, once called the "prince of poets" in his day.[11][12]

Romantic artist, illustrator and poet William Blake's hand painted print illustrating his pastoral poem "The Shepherd" depicts the pastoral scene of a shepherd watching his flock with a shepherd's crook. This image represents copy B, printed and painted in 1789 and currently held by the Library of Congress.[13]

The first pastorals in English were the

Sir Walter Raleigh also comments on the anti-pastoral as the nymph responds realistically to the idealizing shepherd of The Passionate Shepherd to His Love by embracing and explaining the true course of nature and its incompatibility with the love that the Shepherd yearns for with the nymph. Terry Gifford defined the anti-pastoral in his 2012 essay "Pastoral, Anti-Pastoral and Post-Pastoral as Reading Strategies" as an often explicit correction of pastoral, emphasizing "realism" over romance, highlighting problematic elements (showing tensions, disorder and inequalities), challenging literary constructs as false distortions and demythologizing mythical locations such as Arcadia and Shangri-La.[15]

In the 17th century came the

Bacchus
was the god of wine, intoxication and ritual madness. This reference to Pan and Bacchus in a pastoral view demonstrates how prestigious Penshurst was, to be worthy in the company with gods.

"A Country Life", another 17th-century work by Katherine Philips, was also a country house poem. Philips focuses on the joys of the countryside and looks upon the lifestyle that accompanies it as being "the first and happiest life, when man enjoyed himself." She writes about maintaining this lifestyle by living detached from material things, and by not over-concerning herself with the world around her. Andrew Marvell's "Upon Appleton House" was written when Marvell was working as a tutor for Lord Fairfax's daughter Mary, in 1651. The poem is very rich with metaphors that relate to religion, politics and history. Similar to Jonson's "To Penshurst", Marvell's poem is describing a pastoral estate. It moves through the house itself, its history, the gardens, the meadows and other grounds, the woods, the river, his Pupil Mary, and the future. Marvell used nature as a thread to weave together a poem centered around man. We once again see nature fully providing for man. Marvell also continuously compares nature to art and seems to point out that art can never accomplish on purpose what nature can achieve accidentally or spontaneously.

Chamberlain's factory, Worcester, c. 1805. Two-handled cup with cover, so a caudle cup type, with pastoral scene.

Robert Herrick's The Hock-cart, or Harvest Home was also written in the 17th century. In this pastoral work, he paints the reader a colorful picture of the benefits reaped from hard work. This is an atypical interpretation of the pastoral, given that there is a celebration of labor involved as opposed to central figures living in leisure and nature just taking its course independently. This poem was mentioned in Raymond Williams', The Country and the City. This acknowledgment of Herrick's work is appropriate, as both Williams and Herrick accentuate the importance of labor in the pastoral lifestyle.

The pastoral elegy is a subgenre that uses pastoral elements to lament a death or loss. The most famous pastoral elegy in English is John Milton's "Lycidas" (1637), written on the death of Edward King, a fellow student at Cambridge University. Milton used the form both to explore his vocation as a writer and to attack what he saw as the abuses of the Church. Also included is Thomas Gray's, "Elegy In a Country Churchyard" (1750).

The formal English pastoral continued to flourish during the 18th century, eventually dying out at the end. One notable example of an 18th-century work is Alexander Pope's Pastorals (1709). In this work Pope imitates Edmund Spenser's Shepheardes Calendar, while utilizing classical names and allusions aligning him with Virgil. In 1717, Pope's Discourse on Pastoral Poetry was published as a preface to Pastorals. In this work Pope sets standards for pastoral literature and critiques many popular poets, one of whom is Spenser, along with his contemporary opponent Ambrose Philips. During this time period Ambrose Philips, who is often overlooked because of Pope, modeled his poetry after the native English form of Pastoral, employing it as a medium to express the true nature and longing of Man. He strove to write in this fashion to conform to what he thought was the original intent of Pastoral literature. As such, he centered his themes around the simplistic life of the Shepherd, and, personified the relationship that humans once had with nature. John Gay, who came a little later was criticized for his poem's artificiality by Doctor Johnson and attacked for their lack of realism by George Crabbe, who attempted to give a true picture of rural life in his poem The Village.

In 1590, Edmund Spenser also composed the famous pastoral epic

Queen Elizabeth. William Cowper addressed the artificiality of the fast-paced city life in his poems Retirement (1782) and The Winter Nosegay (1782). Pastoral nevertheless survived as a mood rather than a genre, as can be seen from such works as Matthew Arnold's Thyrsis (1867), a lament on the death of his fellow poet Arthur Hugh Clough. Robert Burns can be read as a Pastoral poet for his nostalgic portrayals of rural Scotland and simple farm life in To A Mouse and The Cotter's Saturday Night. Burns explicitly addresses the Pastoral form in his Poem on Pastoral Poetry. In this he champions his fellow Scot Allan Ramsey as the best Pastoral poet since Theocritus
.

Another subgenre is the Edenic Pastoral, which alludes to the perfect relationship between God, man, and nature in the

Mirth personified, who is the child of love and revelry. It was originally composed to be a companion poem to, Il Penseroso, which celebrates a life of melancholy and solitude. Milton's, On the Morning of Christ's Nativity
(1629) blends Christian and pastoral imagery.

Pastoral epic

Milton is perhaps best known for his epic Paradise Lost, one of the few Pastoral epics ever written. A notable part of Paradise Lost is book IV where he chronicles Satan's trespass into paradise. Milton's iconic descriptions of the garden are shadowed by the fact that we see it from Satan's perspective and are thus led to commiserate with him. Milton elegantly works through a presentation of Adam and Eve’s pastorally idyllic, eternally fertile living conditions and focuses upon their stewardship of the garden. He gives much focus to the fruit bearing trees and Adam and Eve's care of them, sculpting an image of pastoral harmony. However, Milton in turn continually comes back to Satan, constructing him as a character the audience can easily identify with and perhaps even like. Milton creates Satan as character meant to destabilize the audience’s understanding of themselves and the world around them. Through this mode, Milton is able to create a working dialogue between the text and his audience about the ‘truths’ they hold for themselves.

Pastoral romances

Italian writers invented a new genre, the pastoral romance, which mixed pastoral poems with a fictional narrative in prose. Although there was no classical precedent for the form, it drew some inspiration from ancient Greek novels set in the countryside, such as

Sir Philip Sidney's Arcadia (1590) in England, and Honoré d'Urfé
's Astrée (1607–27) in France.

Pastoral plays

A Pastoral (watercolour, 1905) by John Reinhard Weguelin

Pastoral drama also emerged in Renaissance Italy. Again, there was little Classical precedent, with the possible exception of Greek

Shakespeare's plays contain pastoral elements, most notably As You Like It (whose plot was derived from Thomas Lodge's pastoral romance Rosalynde) and The Winter's Tale
, of which Act 4 Scene 4 is a lengthy pastoral digression.

The forest in As You Like It can be seen as a place of pastoral idealization, where life is simpler and purer, and its inhabitants live more closely to each other, nature and God than their urban counterparts. However, Shakespeare plays with the bounds of pastoral idealization. Throughout the play, Shakespeare employs various characters to illustrate pastoralism. His protagonists Rosalind and Orlando metaphorically depict the importance of the coexistence of realism and idealism, or urban and rural life. While Orlando is absorbed in the ideal, Rosalind serves as a mediator, bringing Orlando back down to reality and embracing the simplicity of pastoral love. She is the only character throughout the play who embraces and appreciates both the real and idealized life and manages to make the two ideas coexist. Therefore, Shakespeare explores city and country life as being appreciated through the coexistence of the two.

Pastoral science fiction

A gouache painting depicting an imaginary scene on a watery moon of a ringed exoplanet (painting by Dmytro Ivashchenko).

extraterrestrial beings who hide their alien identity.[17]

Pastoral science fiction stories typically show a reverence for the land, its life-giving food harvests, the cycle of the seasons, and the role of the community. While fertile agrarian environments on Earth or Earth-like planets are common settings, some works may be set in ocean or desert planets or habitable moons. The rural dwellers, such as farmers and small-townspeople, are depicted sympathetically, albeit with the tendency to portray them as

industrialization and showing the ills of urbanization
and over-reliance on advanced technologies.

Post-pastoral, urban pastoral and other variants

In 1994, British literature professor Terry Gifford proposed the concept of a "post-pastoral" subgenre. By appending the prefix "post-", Gifford does not intend this to refer to “after” but rather to the sense of “reaching beyond” the contraints of the pastoral genre, but while continuing the core conceptual elements that have defined the pastoral tradition. Gifford states that the post-pastoral is "best used to describe works that successfully suggest a collapse of the human/nature divide whilst being aware of the problematics involved", noting that it is "more about connection than the disconnections essential to the pastoral".[18] He gives examples of post-pastoral works, including Cormac McCarthy’s The Road (2006), Margaret Atwood’s The Year of the Flood (2009) and Maggie Gee’s The Ice People (1999), and he points out that these works "raise questions of ethics, sustenance and sustainability that might exemplify [Leo] Marx’s vision of the pastoral needing to find new forms in the face of new conditions".[18]

Gifford states that British eco-critics such as Greg Garrard have used the "post-pastoral" concept, as well as two other variants: "gay pastoral", the seemingly contradictory "urban pastoral"

postmodern pastoral,...hard pastoral, soft pastoral, Buell’s revolutionary lesbian feminist pastoral, black pastoral, ghetto pastoral, frontier pastoral, militarized pastoral, domestic pastoral and, most recently, a specifically ‘Irish pastoral'".[18]

In 2014, The Cambridge Companion to the City in Literature had a chapter on the urban pastoral subgenre.[20] Charles Siebert's Wickerby: An Urban Pastoral describes a man who splits his time between a gritty Brooklyn apartment, where the night is filled with the sounds of pigeons, starlings, and youth gangs shouting, and driving to rural Quebec to squat in an abandoned, tumbledown cabin in rural Quebec.[21]

Pastoral music

Theocritus's Idylls include strophic songs and musical laments, and, as in Homer, his shepherds often play the syrinx, or Pan flute, considered a quintessentially pastoral instrument. Virgil's Eclogues were performed as sung mime in the 1st century, and there is evidence of the pastoral song as a legitimate genre of classical times.

The pastoral genre was a significant influence in the development of

Comus (not to mention John Blow's Venus and Adonis), and Spanish zarzuela
. At the same time, Italian and German composers developed a genre of vocal and instrumental pastorals, distinguished by certain stylistic features, associated with Christmas Eve.

The pastoral, and parodies of the pastoral, continued to play an important role in musical history throughout the 18th and 19th centuries.

The Pastorale is a form of Italian folk song still played in the regions of Southern Italy where the zampogna continues to thrive. They generally sound like a slowed down version of a tarantella, as they encompass many of the same melodic phrases. The pastorale on the zampogna can be played by a solo zampogna player, or in some regions can be accompanied by the piffero (also commonly called a ciaramella, 'pipita', or bifora), which is a primitive key-less double reed oboe type instrument.

Pastoral art

Idealised pastoral landscapes appear in Hellenistic and Roman wall paintings. Interest in the pastoral as a subject for art revived in Renaissance Italy, partly inspired by the descriptions of pictures

Watteau (in his Fêtes galantes).[25] The Fête champêtre, with scenes of country people dancing was a popular subject in Flemish painting. Thomas Cole has a series of paintings titled The Course of Empire
, and the second of these paintings (shown on the right) depicts the perfect pastoral setting.

Religious usage

In Christianity

Christ depicted as the "Good Shepherd"

Pastoral imagery and symbolism feature heavily in Christianity and the Bible.[27] Jesus calls himself the "Good Shepherd" in John 10:11, contrasting his role as the Lamb of God.[28]

Many Christian denominations use the title "Pastor",[29] a word rooted in the Biblical metaphor of shepherding. (Pastor in Latin means "shepherd"). The Hebrew Bible (or Old Testament) uses the Hebrew word רעה (roʿeh), which is used as a noun as in "shepherd", and as a verb as in "to tend a flock."[30] It occurs 173 times in 144 Old Testament verses and relates to the literal feeding of sheep, as in Genesis 29:7. In Jeremiah 23:4, both meanings are used (ro'im is used for "shepherds" and yir'um for "shall feed them"), "And I will set up shepherds over them which shall feed them: and they shall fear no more, nor be dismayed, neither shall they be lacking, saith the LORD." (KJV).

A pastoral economic system had great cultural significance for the Jewish people from earliest recorded times:

Children of Israel, a pastoral lifestyle in the harsh hinterland of the Levant related to the ideal of a society obedient to Yahweh, in contrast to the corruption and idolatry encountered in the "fleshpots of Egypt" (Exodus 16:3), in the lush Canaanite lowlands "flowing with milk and honey" (Exodus 3:8), or in Babylon, the "great city" of Israelite exile. David, a righteous shepherd-boy associated with the arid hill-country, contrasts with Goliath and Saul
, representatives of luxurious urban élites. Thus New Testament imagery of shepherds and their sheep builds on established cultural and economic distinctions familiar, directly or indirectly, to the Jewish world at the time of the origins of Christianity in the first century CE.

A pastoral letter, often called simply a pastoral, is an open letter addressed by a bishop to the clergy or laity of a diocese or to both, containing general admonition, instruction or consolation, or directions for behavior in particular circumstances. In most episcopal church bodies, clerics are often required to read out pastoral letters of superior bishops to their congregations.

The

Titus. They are generally discussed as a group (sometimes with the addition of the Epistle to Philemon) and are given the title "pastoral" because they are addressed to individuals with pastoral oversight of churches and discuss issues of Christian living, doctrine and leadership
.

Pastoral theory

In the past four hundred years, a range of writers have worked on theorizing the nature of pastoral. These include Friedrich Schiller,[31] George Puttenham,[32] William Empson,[33] Frank Kermode,[34] Raymond Williams,[35] Renato Poggioli,[36] Annabel Patterson,[37] Paul Alpers,[38] and Ken Hiltner.[39] George Puttenham was one of the first Pastoral theorists. He did not see the form as merely a recording of a prior rustic way of life but a guise for political discourse, which other forms had previously neglected. The Pastoral, he writes, has a didactic duty to “contain and enforme morall discipline for the amendment of mans behaviour”.[32]

Sir William Empson
spoke of the ideal of Pastoral as being embedded in varying degrees of ambivalence, and yet, for all the apparent dichotomies, and contradicting elements found within it, he felt there was a unified harmony within it. He refers to the pastoral process as 'putting the complex into the simple.' Empson argues that "... good proletarian art is usually Covert Pastoral", and uses Soviet Russia's propaganda about the working class as evidence. Empson also emphasizes the importance of the double plot as a tool for writers to discuss a controversial topic without repercussions.

Raymond Williams argues that the foundation of the pastoral lies in the idea that the city is a highly urban, industrialized center that has removed us from the peaceful life we once had in the countryside. However, he states that this is really a "myth functioning as a memory" that literature has created in its representations of the past. As a result, when society evolves and looks back to these representations, it considers its own present as the decline of the simple life of the past. He then discusses how the city's relationship with the country affected the economic and social aspects of the countryside. As the economy became a bigger part of society, many country newcomers quickly realized the potential and monetary value that lay in the untouched land. Furthermore, this new system encouraged a social stratification in the countryside. With the implementation of paper money came a hierarchy in the working system, as well as the "inheritance of titles and making of family names".

Poggioli was concerned with how death reconciled itself with the pastoral, and thus came up with a loose categorization of death in the pastoral as 'funeral elegy', the most important tropes of which he cites as religion (embodied by Pan); friendship; allegory;and poetic and musical calling. He concedes though that such a categorization is open to much misinterpretation. As well, Poggioli focused on the idea that Pastoral was a nostalgic and childish way of seeing the world. In The Oaten Flue, he claims that the shepherd was looked up to was because they were “an ideal kind of leisure class."

Frank Kermode discusses the pastoral within the historical context of the English Renaissance. His first condition of pastoral poetry is that it is an urban product. Kermode establishes that the pastoral is derived as an opposition between two modes of living, in the country and in the city. London was becoming a modern metropolis before the eyes of its citizens. The result of this large-scale urban sprawl left the people with a sense of nostalgia for their country way of living. His next argument focuses on the artificiality of poetry, drawing upon fellow theorist, Puttenham.

Kermode elaborates on this and says, "the cultivated, in their artificial way, reflect upon and describe, for their own ends, the natural life". Kermode wants us to understand that the recreation or reproduction of the natural is in itself artificial. Kermode elaborates on this in terms of imitation, describing it as "one of the fundamental laws of literary history" because it "gives literary history a meaning in terms of itself, and provides the channels of literary tradition". Kermode goes on to explain about the works of Virgil and Theocritus as progenitors of the pastoral. Later poets would draw on these earlier forms of pastoral, elaborating on them to fit their own social context. As the pastoral was becoming more modern, it shifted into the form of Pastourelle. This is the first time that the pastoral really deals with the subject of love.

Annabel Patterson emphasizes many important ideas in her work, Pastoral and Ideology. One of these is that the pastoral mode, especially in the later 18th century, was interpreted in vastly different ways by different groups of people. As a result, distinctive illustrations emerged from these groups which were all variations of the understanding of Virgil's Eclogues. Patterson explains that Servius' Commentary is essential to understanding the reception of Virgil's Eclogues. The commentary discusses how poets used analogy in their writings to indirectly express the corruption within the church and government to the public. When speaking of post-Romanticism, it is imperative to take into consideration the influence and effect of Robert Frost on pastoral ideology. His poem, Build Soil is a critique of war and also a suggestion that pastoral, as a literary mode, should not place emphasis on social and political issues, but should rather, as Patterson says, "turn in upon itself, and replace reformist instincts with personal growth and regeneration". William Wordsworth was a highly respected poet in the 1800s and his poem, Prelude, published in 1805, was an excellent example of what a dream of a new golden age might materialize as or look like.

Paul Alpers, in his 1996 book, What is Pastoral?, describes the recurring plot of pastoral literature as the lives of shepherds. With William Empson's notion of placing the complex into the simple, Alpers thus critically defines pastoral as a means of allegory. Alpers also classifies pastoral as a mode of literature, as opposed to a genre, and he defines the attitude of pastoral works maintaining a humble relationship with nature. Alpers also defines pastoral convention as the act of bringing together, and authors use this to discuss loss. He says the speakers in pastoral works are simple herdsmen dramatized in pastoral encounters.

However, authors like Herrick changed the herdsmen to nymphs, maidens, and flowers. Thus, achieving a mode of simplicity but also giving objects voice. This is done by personifying objects like flowers. Moreover, authors that do this in their works are giving importance to the unimportant. Alpers talks about pastoral lyrics and love poems in particular. He says "a lyric allows its speaker to slip in and out of pastoral guise and reveal directly the sophistication which prompted him to assume it in the first place″. In other words, he claims pastorals lyrics have both pastoral and not pastoral characteristics, perhaps like in the comparisons between urban and rural, but they always give importance to and enhance on the pastoral. Alpers talks about love poems and how they can be turned into pastoral poems simply by changing words like lover to shepherd. And he mentions Shakespeare as one of the authors who did this in his works. Furthermore, Alpers says the pastoral is not only about praise for the rural and the country side. For instance, Sidney dispraises the country life in The Garden. Pastoral can also include the urban, the court, and the social like in L’Allegro.

Alpers says that pastoral narration contradicts “normal” narrative motives and that there is a double aspect of pastoral narration: heroic poetry and worldly realities with narrative motives and conventions. And in respect to pastoral novels, Alpers says pastoral novels have different definitions and examples depending on the reader. Also, the pastoral novel differs from Theocritus and Virgil's works. He says there are pastoral novels of the country life, of the longing for the simple, and with nature as the protagonist. And says the literary category of pastoral novels is realistic and post-realistic fiction with a rural theme or subject based on traditional pastoral.

In What Else Is Pastoral?, Ken Hiltner argues that Renaissance pastoral poetry is more often a form of nature writing than critics like Paul Alpers and Annabel Patterson give it credit for. He explains that even though there is a general lack of lavish description in Renaissance pastoral, this is because they were beginning to use gestural strategies, and artists begin to develop an environmental consciousness as nature around them becomes endangered. Another argument presented in the book is that our current environmental crisis clearly has its roots in the Renaissance. To do this we are shown examples in Renaissance pastoral poetry that show a keen awareness of the urban sprawl of London contrasted to the countryside and historical records showing that many at the time were aware of the issue of urban growth and attempted to stop it.

See also

References

  1. Perseus Project
    .
  2. ^ Harper, Douglas. "bucolic". Online Etymology Dictionary.
  3. ^ King, Charles William (1885). Handbook of Engraved Gems (2nd ed.). London: George Bell and Sons. p. 215.
  4. ^ .
  5. .
  6. ^ Introduction (p.14) to Virgil: The Eclogues trans. Guy Lee (Penguin Classics)
  7. ^ Article on "Bucolic poetry" in The Oxford Companion to Classical Literature (1989)
  8. ^ Horace's Delights of the Country Epode ii Retrieved October 14, 2011
  9. S2CID 145192804
    .
  10. .
  11. .
  12. ^ Morris Eaves; Robert N. Essick; Joseph Viscomi (eds.). "Songs of Innocence, copy B, object 4 (Bentley 5, Erdman 5, Keynes 5) "The Shepherd"". William Blake Archive. Retrieved January 17, 2014.
  13. , retrieved 2020-10-15
  14. ^ Gifford, T. and Slovic, S. (Ed.) (2012) “Pastoral, Anti-Pastoral and Post-Pastoral as Reading Strategies”, Critical Insights: Nature and Environment, pp. 42-61, Ipswich: Salam Press.
  15. .
  16. . Retrieved 2023-11-15.
  17. ^ a b c d Gifford, Terry. The Cambridge Companion to Literature and the Environment, p. 17. DOI: https://doi.org/10.1017/CCO9781139342728.003. Cambridge University Press, 2013
  18. ^ Garrard, Greg. "Radical Pastoral?" Studies in Romanticism. Vol. 35, No. 3, Green Romanticism (Fall, 1996), pp. 449-465 (17 pages). The Johns Hopkins University Press.
  19. ^ McNamara, K., & Gray, T. (2014). Some Versions of Urban Pastoral. In K. McNamara (Ed.), The Cambridge Companion to the City in Literature (Cambridge Companions to Literature, pp. 245-260). Cambridge: Cambridge University Press. doi:10.1017/CCO9781139235617.020
  20. ^ Seibert, Charles. Wickerby: An Urban Pastoral. Crown Publishers, Inc., 1998
  21. ^ Saylor, Eric. English Pastoral Music: From Arcadia to Utopia, 1900-1955 (2017), Chapter 2
  22. ^ See Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work, particularly p.377 ff.
  23. .
  24. ^ Article on "Pastoral" in The Oxford Companion to Art (ed. H. Osborne)
  25. ^ From the Louvre Museum Official Website Archived 2009-06-28 at the Wayback Machine It is often called the Fête Champêtre (meaning "Picnic") in older works.
  26. ^ ""THE LITERARY STUDY OF THE BIBLE AN ACCOUNT OF THE LEADING FORMS OF LITERATURE REPRESENTED IN THE SACRED WRITINGS INTENDED FOR ENGLISH READERS" By RICHARD G. MOULTON" (PDF).
  27. ^ "AHA". Christ as the Good Shepherd. 2020-07-01. Retrieved 2021-09-15.
  28. ^ "pastor | Definition of pastor in English by Oxford Dictionaries". Oxford Dictionary English. Archived from the original on September 26, 2016. Retrieved 2018-06-10.
  29. ^ "Genesis 1:1 (KJV)". Blue Letter Bible. Retrieved 2018-06-10.
  30. ^ Friedrich Schiller, On Naive and Sentimental Poetry (1795).
  31. ^ a b George Puttenham, Arte of English Poesie (1589).
  32. ^ William Empson, Some Versions of Pastoral. (1935).
  33. ^ Frank Kermode, English Pastoral Poetry: From the Beginnings to Marvell. (1952).
  34. ^ Raymond Williams, The Country and the City. Oxford U P, 1973.
  35. ^ Renato Poggioli, The Oaten Flute: Essays on Pastoral Poetry and the Pastoral Ideal. Harvard U P, 1975.
  36. ^ Annabel Patterson. Pastoral and ideology : Virgil to Valéry. U of California P, 1987.
  37. ^ Paul Alpers, What is Pastoral? U of Chicago P, 1996.
  38. ^ Ken Hiltner, What Else is Pastoral?: Renaissance Literature and the Environment. Cornell U P, 2011.
  39. ^ Schiller, Friedrich. "On Naïve and Sentimental Poetry". The Schiller Institute. Translated by William F. Wertz, Jr. Retrieved March 14, 2016.

Further reading

External links