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Latin Pastoral Poetry of the Italian Renaissance (1480-1530)

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Latin Pastoral Poetry of the Italian Renaissance (1480-1530) Latin pastoral poetry of the Italian Renaissance (1480-1530) Item Type text; Thesis-Reproduction (electronic) Authors White, Paloma, 1901- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 12:09:55 Link to Item http://hdl.handle.net/10150/553245 Latin Pastoral Poetry of the Italian Renaissance (1480-1530) by Paloma White Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate College University of Arizona 1 9 3 5 Approved: V /fs-r 2- ACKNOWLEDGMENT It is my wish to here express my sincere appreciation of the patience and fortitude shown by my professor Dr. F. H. Fowler, in examining and criticising this work. B&loma White. 99505 CONTENTS Chapter Page I. THE DEVELOPMENT OF ALLEGORY IN PASTORAL POETRY FROM THE TIME OF THEOCRITUS UNTIL THE RENAISSANCE 1 II. A COMPARISON OF RENAISSANCE LATIN ECLOGUES WITH THE ECLOGUES OF VIRGIL . 45 1. Faustus AndreiInus 48 2. loannes Arnolletus 91 3. Jacopo Sannazaro 97 4. Henrlquo Cayado 144 5. Antonio GeraldIni 180 6. Baptlsta Mantuanua 198 III. SUMMARY- - 258 BIBLIOGRAPHY ' , 267 ' APPENDIX 272 INTRODUCTION In the past, little or no effort has been made to explain the sources of the numerous changes that have taken place in pastoral poetry of Renaissance Europe. The super- artificiality, the allegorical portraiture of court life, the introduction of extraneous subject-matter, the moral­ izing tendency, the "patron-flattery” element, the exagger­ ation of the erotic side of pastoral life, the melodramatic treatment of the languishing lover's complaint, and the "assumption of poverty" or the "complaint of an empty purse", are all predominant characteristics of the Renais­ sance Eclogue, as distinguished from the ancient picturesque idyll, and most of them are generally assumed to have taken ' . their rise in the "Bucolics" of Virgil. This thesis, by means of a comparison between the pastoral poems of Virgil and the Latin Eclogues of the Ital­ ian Renaissance humanists, is an attempt to place the re­ sponsibility for such radical changes where it rightfully belongs. The first division which comprises a study of pastoral allegory from Theocritus to the Renaissance is an endeavor to prove that the common supposition concerning hidden allusion in the Virgilian pastorals is overestimated. In this study I have been particularly indebted to Hamblin's nDevelopment of Allegory In Classical Pastoral*. In the second division, 'oy an examination of the Latin Eclogues of the Renaissance humanists (Mantuanus, Sarniazaro, Andre- linus, Cayado, and Geraldini) and their comparison with Virgil’s Pastorals in respect to allegory, subject matter and its treatment, pastoral scenery, etc,, I have made an effort to show what pastoral traditions have survived " through the years in this type of poetry, those that have originated in the ancient Eclogues and those that have sprung up because of a misinterpretation of the Virgillan poems, and finally those new elements, products of Renais­ sance thought, that have crept into the Eclogue and have become an acceptable part of it. Wherever possible, I have pointed out the actual influence of these Italian writers upon later European pastoral poetry. In this I have relied largely upon the generous Introductions of Dr. Wilfred P. Mustard’s Editions of these men’s works. P. V/. I. THE DEVELOPMENT OF ALLEGOHT IN PASTORAL POETRY FROM THE TIME OF THEOCRITUS UNTIL THE RENAISSANCE 1 - > Allegory, as an element in pastoral poetry, which during the Middle Ages came to be looked upon as an essential to the mode and which in the Renaissance reached its fullest extent, was in a minor degree evident even in the earliest known Ec­ logues. In the latter, however, it is so faint as to be scar­ cely recognizable. Certainly it was most unimportant and in no way interfered with or detracted from the poetical qualities of the poem; The earliest known allegory in a pastoral setting is found in the dithyramb "Galatea" by Philoxenus which-was written as a revenge upon Dionysus I for the author*s banishment. It was supposed to have been an allegorical representation of the ty­ rant Dionysus I in the person of Cyclops (Dionysus was afflic­ ted with poor vision) who makes love to Galatea, a concubine (1 ) of his, and because of whom Philoxenus was banished. Following this, among the mimes of Herondas was found one poem laid in a pastoral scene which, in spite of its fragmentary condition, has, because of certain riddle-like passages, been said to have contained allegory. Herondas is said to have rep­ resented his rivals and critics and probably himself as herds- (2 ) men and their rivalry in poetry as a contest in rustic sport. (1) Hamblin, "The Development~of Allegory in the Classical Pastoral," pp..4-5. v . ■ . -2- That the poet-herdsman allegorj'' may also be found in Theocritus seems evident from the Seventh Eclogue in which a herdsman, Simichidas, is represented as Journeying in com­ pany with a friend to a feast in honor of Demeter. On the way they meet a goatherd, Lycidas, of great poetic talent. Simic­ hidas suggests that they sing pastorals, so Lycidas sings of his love for the boy Ageanax, and Simichidas of the love of Aratus for the boy Fhilinus. Then Lycidas presents Simichidas with a shepherd’s crook.and they part. The poem ends with the shepherds arrived at their destination. That Simichidas is Theocritus may be deduced from the fact (3) that (1) the scene of the poem is laid at Cos , where the poet (^) is known to have studied under Philetas, (2) that Simichidas attests to his fame as a bard though (modestly) he does not equal either Sicelidas from Samos or Philetas ( w . 27-45) , the famous Goan bard, and (3) that Theocritus is said to have been a son of Sinichus or Simichidas and to have called himself Simichidas (5) patronymieally. Philetas is mentioned in his own name. Siceli­ das is generally conceded to be Asclepiades, a poet of Samos, and Lycidas is variously Identified but the context of the poem gives nothing which might indicate his Identity. Since he, like (2) .Ibid.pp.10-11. (3) Hales was a river of the island. Banks, J., Trans, of Theoc­ ritus, Bohn Library Edition, p.37,n.l. ; (4) This is the basis of the Scoliast’s view that the scene is laid in Cos. (5) Banks, Trans, of Theocritus , p.38,n.9. —15— Slmichidas, is a herdsman-singer of renown it would naturally be assumed that he too woe a poet. Theocritus* seeming humor­ ous description of him would incline one to think he had a friendly rival in mind, for he says: "He was a goatherd, nor could anyone that looked upon him have mistaken him, for he was exceedingly like a goatherd". Although the rest of Theocritus* poems have been allegor­ ically analyzed in various ways by Imaginative scholars, yet they are all purely pastoral with no reference to contemporary events or to other poets, nor have the characters definite and unmistakable characteristics which might belong to Theocritus or any other poet. ' In the latter part of the second century B.C. or in the beginning of the first century B.C. there appeared a pastoral by I'oschus, commemorating the death of Bion. In this poem Bion is represented as a herdsman, renowned in singing surpas­ sing even Pan, and at his death music itself passed away. The Muses are called upon to mourn his death, for now he sings no longer while tending his herds but is a bard for Pluto. His own herds refuse to eat and the mountains mourn for him. It has all the earmarks of later elegaio poetry, except that it lacks the traditional apotheosis of the lamented bard, and Bion is clearly represented as a singing shepherd. The fact that Bion in the poem is represented as a lover of Galatea led scholars to believe that Bion must have allegor ically depicted himself in a poem of his own, as the lover of ■ -4- (6) Galatea. However, Hamblin oonvlnoIngly confutes this, and suggests that it probably means that Blon in one of his poems had portrayed Galatea’s lover as he is here presented. Greek pastoral allegory, as we see, was, with the excep­ tion of the poem by Philoxenus, strictly of a literary nature; tli?it is, the identification of poets with shepherd singers, and their relationships with one another. As for the allegory in Virgil’s Eclogues, there have been almost as many different interpretations as there are commentators. Virgilian commentators may in the main be classed in two divisions: the conservatives, who see little or no allegorical allusion in the Bucolics; and those whose imaginations have led them to discover hidden facts in the roost insignificant statements. The latter have been largely influenced by the ancient lives and commentaries of Virgil, which themselves are so varied in their viewpoints as to be wholly untrustworthy. Furthermore, the facts which they of­ fer concerning the life of Virgil and of his time seem to be largely based not upon historical fact but upon an allegoric­ al interpretation of the Eclogues themselves. *-,ince there is no way of knowing how much error and how much truth may be found in these early critics, the conservatives have declared that the safest way is to regard the Eclogues primarily as (6) Hamblin,pp.22-23.
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