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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-3227 WINTER, David Robert, 1946- THEOCRITUS1 THALYSIA. The Ohio State University, Ph.D., 1974 Language and Literature, classical

Xerox University Microfilms, Ann Arbor, Michigan 48106

© Copyright "by David Robert V/inter

19?^

THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THEOCRITUS' THALYSIA

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

By

David Robert Winter, . M.A.

The Ohio State University

197^

Reading Committee: Approved By

Mark P. 0. Morford John T. Davis David E . Hahm

t j J b . "'A'dvTsar Department of Classics PREFACE

This dissertation is a study of Theocritus' major work, the Thalysla . It was originally inspired by a personal pleasure in reading Theocritus, a pleasure that has only multiplied with close intimacy with this idyll.

Theocritus' talents are so manifold that no critic can expect to cover even this one poem exhaustively. But if somehow I can convey even a part of the enjoyment I have found in it, then the dissertation will have been worthwhile.

All translations within the dissertation are my own.

All abbreviations of journal titles are those found in

J. Marouzeau, L'AnntSe Phllologique (Paris: Societe' d'Edition "Les Belles Lettres11).

I want to express my heavy debt to previous critics of

Theocritus, especially A. S. F. Gow, without whose efforts this work would have been impossible. Closer at hand, I wish to thank ray adviser Professor Mark P. 0. Morford for first introducing me to the beauties of Theocritus' poetry and for copious advice and encouragement during the composition of this dissertation. Many thanks are also due to Professors Davis and Hahm for their constructive criticism and helpful suggestions. Finally, I would like

-11- to express my great thanks to my wife Jane for her generous help and understanding.

-ill- VITA

November 26, 19^6 .... Born--Evanston, Illinois

196 8...... H.A.B., Xavier University, Cincinnati, Ohio

1 9 6 8 -1 9 6 9...... University Fellow, Department of Classics, The Ohio State University, Columbus, Ohio

196 9...... M.A., The Ohio State University, Columbus, Ohio

1969-197 1 ...... The United States Array

1971-1973...... Teaching Associate, Department of Classics, The Ohio State University, Columbus, Ohio

1973-197^...... Dissertation Year Fellow, Department of Classics, The Ohio State University, Columbus, Ohio

FIELDS OF STUDY

Major Field: Greek Literature

Greek Language and Literature: Professors Bernard C. Barmann, Angeliki Drachmann, Clarence A. Forbes, Robert J. Lenardon, Mark P. 0. Morford, and Jane M. Snyder

Latin Language and Literature: Professors Kenneth M. Abbott, Charles L. Babcock, John T. Davis, 0. A. W. Dilke, Mark P. 0. Morford, and Carl C. Schlam

Greek History: Professor Jack M. Balcer

-iv- TABLE OF CONTENTS

Page

PREFACE...... ii

VITA...... iv

INTRODUCTION...... 1

TRANSLATION...... 4-

Chapter

1 11 2 50

3 ...... 89 BIBLIOGRAPHY...... 123 INTRODUCTION

Of all Theocritus' bucolic poems the most popular and at the same time most mysterious has been Idyll 7, titled the Thalysia. Interpretations of it have abounded; none has gained even majority acceptance. And, given the com­ plex, highly personal nature of the poem, it is unlikely that one ever will. The goal of this dissertation is a more satisfactory, more aesthetically pleasing solution, and still one that squares with the text as closely as possible. From this viill follow new insights into

Theocritus' artistry and a greater appreciation of the intricate beauty of the idyll. To accomplish these ends the Thalysla will be analyzed for its meaning, its struc­ ture , its motifs, and its other artistic qualities.

Biography has been strictly avoided. Too many of the

"facts" about Theocritus' life have been culled from his poems, particularly Idyll 7, and hence this type of argu­ mentation becomes circular. Besides, it is my belief that this idyll is largely fictional.

In large part this dissertation is aimed at dispelling

Thomas Rosenmeyer's overstated notions of the "artlessness" and lack of unity of Theocritean pastoral, which he formu­ lates most concisely in the following sentences:

-1- -2-

In Theocritus and Virgil the net effect of the structure, however complex, runs counter to Aristotle's recommendations. There is no single curve, no anticipation of a dramatic development. Ring composition and other structural devices designed to induce a sensation of unity by formal means are absent in the pastoral, where symmetri- zation absorbs all structural instincts. One analogy that might throw some light on what Theocritus does is that of the suite or a similar musical form of successive units. Idylls 1 and 7 are the most ambitious achievements along these lines; but almost every Theocrltean or Virgilian pastoral is best analyzed as a loose combination of independent elements. It is left to the listener to weld the parts together in his imag­ ination if he so wishes; the poet provides few if any clues for such an act of consol id ation. 1

To support this claim, Rosenmeyer adduces two passages,

Polyphemus' song in Idyll 11 and a segment of Daphnis'

address to Polyphemus, Idyll 6 , 15-19* But with the first

his analysis of the text is too superficial and disregards

the probability that any discontinuity is intentional,

designed to typify the thought progressions of a simple

Cyclops. With the second Rosenmeyer himself distorts the

logical sequence by mistranslation.^ The Thalysla will be

seen to be a counterexample to Rosenmeyer's contentions.

Its various parts function interdependently and progress to

a meaningful conclusion. The two contest songs do not

1Thomas G. Rosenmeyer, The Green Cabinet: Theocritus and the European Pastoral Lyric (Berkeley: University of California Press, 1969)» P* ^7*

^Gilbert Lawail, review of Thomas G. Rosenmeyer's The Green~Cablnet: Theocritus and the European Pastoral Lyric, in CJ 69 ("1973-7^), P- 161. -3- appear as a '’loose combination," but as thematic and par- odistic complements; and they, In turn, lead thematically

Into the final description. Recurrent themes, scenes, and words link all elements together into a unified whole.

Frequent allusions made to the proem of Hesiod’s Theogony further reinforce the coherence of the idyll. Two rings even occur to bolster the unity "by formal m e a n s . " 3 Thus to subscribe to Rosenmeyer’s viewpoint is to restrict too drastically one’s lines of interpretation and to attribute to the poem a structural naivete that is just not there.

The interpretation will begin with my own translation of the poem. Chapter 1 will treat the overall struct\;re of the idyll, the prologue, and the meeting and dialogue between the two poets, Including Slmichidas* introduction of his song (v. 90-95)• Chapter 2 will consist of an analysis of each of the contest songs, followed by a com­ parison and contrast of the two. Chapter 3 will deal with the awarding of the staff and the festival description and end with an elucidation of the poem as a whole.

3see below, p. 12 and 81. TRANSLATION

THALXSIA

There was a time when Eucrltus and I were walking to the Haleis from town, and Amyntas was a third with us. For an offering of the firstfruits of the harvest was being made to Dexeter by Phrasidamus and Antigenes, the two sons of Lycopeus, good men, if any there be, from the noble lineage of Clytia and Chalcon, who thrust his knee against the rock and caused the spring

Burlna to gush up at his foot. Eeside it poplars and elms wove a shady bower, arching up their green foliage.

And not yet had we reached halfway, nor had the 10 tomb of Brasilas come into view, when, thanks to the

Muses, we met a certain traveler, a good man from

Cydonia named Lycidas. He was a goatherd, nor could anyone who saw him have mistaken him, since he looked especially like a goatherd. For on his shoulders he wore the tawny skin of a shaggy, thick-haired he-goat, smelling of fresh rennet, round his chest an old cloak was strapped with a broad belt, and in his right hand he held a crooked wild-olive branch. And with a gentle smile and a twinkling eye he spoke to m e , and 20 -5- laughter hung on his lip: "Simichidas, where are you off to at midday, when even the lizard sleeps In the stone wall and the crested larks do not flutter about?

Do you hasten to a banquet without an invitation, or do you attack some townsman’s wine vat? For every stone struck by your boots sings under your feet as you go. 11

I replied to him: ’’Friend Lycidas, all say that you are by far the best piper among the herdsmen and reapers. That warms my heart very much; and yet, in 30 my opinion, I think I can equal you. This journey is to a harvest festival; friends are holding a feast for fair-robed Demeter, offering the firstfruits of their abundance; for with a rich bounty of barley has the goddess filled up their threshing-floor. But come, since we share the road and the day, let us sing country songs; perhaps each of us will benefit the other. For I too am a clear mouthpiece of the Muses, and all call me the best singer; but I am not easily persuaded, no, by Zeus; for not yet, in my opinion, can I defeat the good Sicelidas of Samos or Philetas 40 in singing, but like a frog against grasshoppers I vie with them.”

So I said with a purpose. The goatherd laughed pleasantly and said, "I will give you this branch, because you are a sapling fashioned, by Zeus entirely for truth. Just as I loathe the builder who tries to construct a house as high as the peak of Mount Oromedon, so also I loathe the birds of the Muses who toil in vain with their crowing in rivalry against the bard of

Chios. But come, let us quickly begin our country song, Simichidas, and I— see, friend, if this pleases you, this short song I recently labored over in the hills.

There will be good sailing to Kitylene for Ageanax, even when the Kids stand in the western sky and the south wind drives on the wet waves, even when Orion sets his feet upon the Ocean, if he rescues Lycidas, who is scorched by Aphrodite's fire; for a hot love for him consumes me. And the halcyons will calin the waves and the sea, the south wind and the east, which churns the deepest seaweed, the halcyons, most beloved of birds to the sea-green Nereids and to those whose livelihood is from the sea. May everything be favor­ able to Ageanax as he seeks to sail to Mltylene, and may a fair voyage bring him to port. And on that day

I will set on my head a garland of dill or roses or white violets, and draw off Ptelean wine from the bowl as I lie by the fire; and someone will roast me beans on the fire. And my couch will be piled elbow deep with fleabane and asphodel and curly celery, and I will drink gently, remembering Ageanax in the very cups and pressing my lips to the dregs. Two shepherds will pipe to m e , one from Acharnae and one from

Lycope; and close by Tityrus will sing how once the cowherd Daphnis loved Xenea, and how the oaks which grow along the banks of the river Himeras mourned for him, when he wasted away like snow under lofty Haemus or Athos or Rhodope or distant Caucasus. And he will sing how once a wide chest enclosed the goatherd, still alive, because of the evil malice of a king, and how the snub-nosed bees came from the meadows to the fragrant cedar chest and fed him on tender flowers because the Muse had poured sweet nectar on his mouth. 0 most fortunate Comatas, these were the delights you suffered; you too ’were shut up in a chest, you too, fed on honeycomb, labored through the springtime of the year. Would that you had been counted among the living in my time, that I might have grazed your fine goats on the hills, listening to your voice as you lay under the oaks or pines and sang sweetly, divine Comatas."

So much he said and stopped. And after him I said this: "Friend Lycidas, many other things the

Nymphs taught me while I pastured the herd on the hills, good things, whose fame perhaps has reached even the throne of Zeus. But of all this is by far the best, with which I will begin to honor you. But -8-

listen, since you are dear to the Muses.

For Simichidas the Loves sneezed; for the poor man

loves Myrto as much as goats love the spring, Eut

Aratus, dearest of all to that man, has a passion for a boy deep inside himself. Aristis knows, a good man, by far the best, whom Apollo himself would not prevent 100

from singing, lyre in hand, beside his tripods— knows how Aratus is burned to the bone by love for the boy.

0 Pan, whose domain is the lovely plain of Homole, put him unbidden in my friend's loving arms, whether he be

the delicate Phillnus or some other. And if you do

this, 0 dear Pan, may the Arcadian boys never whip you with squills about the sides and shoulders when their meat is scanty. But if you decide otherwise, may you be bitten and scratch your skin all over with your nails, and may you sleep in nettles; in midwinter may 110 you be in the mountains of the Edonians, facing the river Hebrus near the Arctic Bear, but in summer may you graze your flocks among the far-off Ethiopians under the Blemyan rock, where the Nile no longer can be seen. But you, leaving the sweet stream of Hyetis and Byblis, and Oecus, the lofty home of golden-haired

Dione, you Loves as ruddy as apples, shoot the hand­ some Philinus with your bows for me, shoot him, since the wretch has no pity on my friend. And yet he is 120 riper than a pear, and the women cry, 'Alas, Philinus, -9-

your beautiful bloom is fading away. 1 No longer let

us keep a watch at his door, nor wear out our feet;

but let the cock crowing at dawn give others over to

that numbing chill. Let Molon alone, friend, be

pinned in that wrestling-school. For us let leisure

be the concern, and let an old hag be at hand to spit

on us and ward off evils."

So much I said; and Lycidas, laughing pleasantly

as before, presented me with his staff as a token of

our friendship in the Muses. And he turned tov/ard 130

the left, taking the road to Pyxa. But I and Eucritus

and the handsome Amyntas turned to Phrasidamus* and

laid ourselves down joyfully on deep couches of sweet

rush and newly-cut vlne-leaves. Many poplars and

elms rustled over our heads; nearby the sacred water

flowed babbling from the cave of the Nymphs, Among

the shady boughs the brown cicadas labored at their

chirping; far off the tree-frog croaked amid the dense 1^0

thorns of the brambles; larks and finches sang, the turtledove moaned, bees flew buzzing about the

springs. Everything smelled of the rich harvest,

smelled of the ripe fruit. Pears rolled plentifully at our feet, apples at our sides, and the branches drooped dovm to the ground, burdened with vrild plums.

The four-year-old seal was loosened from the mouth of the wine-Jars. Castalian Nymphs who live on the crest of Parnassus, did old Chiron set such a bowl before

Heracles in Pholus* rocky cave? Did such nectar beguile the shepherd of the Anapus, the mighty

Polyphemus, who pelted ships with mountains, to dance among his sheepfolds— such a drink as you mixed then,

Nymphs, beside the altar of Demeter of the Threshing- floor? Into her grain heap may I again stick the great winnowing-fan, while she stands smiling, with sheaves and poppies in either hand. CHAPTER 1

The idyll falls into two main structural units, verses 1-9. and 1 3 1-157 forming one and verses 1 0-131 the other. The two sections can be termed “Frame" and "Enclo­ sure, " 1 or "I-part" and "Simichidas-part, " 2 but the basic distinction between them remains the same: the first treats the experience of the harvest festi\^al and the second treats the encounter on the road. Several other factors besides the actual experiences described, however, strengthen the division between the tv:o parts. Simichidas is referred to by name only in the central section, while elsewhere he is "I". Lycidas appears only in the enclo­ sure, Simichidas' two companions only in the frame.3 The

1So Josef-Hans Kuhn, "Die Thalysien Theokrlts (id. 7)," Hermes 86 (1958). P* ^2ff.; Mario Puelma, "Die Dichterbegegnung in Theolcrits 'Thalysien*," MH 1? (19^0), p. l^ff.j Gilbert Lawall, Theocritus' Coan Pastorals. A Poetry Book (Cambridge, Mass.: Harvard University Press, 1967), p. 75; Ulrich Ott, Die Kunst des Gegensatzes in Theokrlts Hlrtengedlchten (Spudasmata, 22 ; Kildesheim: Geoi'g Olms Verlag, 1 9 6 9), p . 1^6-^7.

2Margrit Sanchez-Wildberger, Theokrlt-Interoreta- tlonen (Diss., Ziirich, 1955). P» 62-6 3 • She, however, divides the segments into verses 1 -9 and 1 2 8-157 for the "I-part" and 10-127 for the "Simlchldas-part".

3Puelma, p. 1^5. wants to consider the companions as joining together the two events and putting them on the same level of reality. But the fact that they are only

-11- surrounding scenes are cool, shady, and placid, whereas the internal one is marked by haste, exertion, and the heat of the blazing sun. Moreover, repetition in words and scene sets off the breaks between the sections. Lines

13 1 -3 2 closely recall lines 1 -2 and designate the return to the frame. Both sets of verses also lead directly into a refreshing picture of a cool spring, the very same spring.** Thus verses 1-9 and 131-37 are a balanced pair, ringing the appearance and disappearance of Iycldas and separating the on-the-road experience from the festival.^

For Theocritus to place such a frame around two songs is nothing unusual. His other contest poems are similarly structured.^ The difference here is that there are actually two frames, an inner frame consisting of lines

1 0 -5 1 and 128-1 31 and an outer frame formed by lines 1 -9 and 131-157*^ The inner frame presents the two partic-

really mentioned in the frame and even there are totally undeveloped weighs against this. Lawall, Theocritus1,Goan Pastorals, p. 76ff., goes too far in the opposite direction considering the enclosure as subjective and private, the frame as objective and public.

^See below, p. 17-1 8.

^Puelma, p. 156; Lawall, Theocritus' Coan Pastorals, p. 76ff.; Rosenmeyer, p. 1 8 7.

^The framing lines of the other contest poems are: Idyll 1, v. 1-23 and 146-52; Idyll 5. v. 1-79 and 138-50; Idyll 6 , v. 1-5 and 42-46; Idyll S, v. 1-32 and 81-93; Idyll 9 , v. 1-6 and 22-36.

7ott, p. 144. -13- 1pants and normal pre- and post-contest motifs. The outer frame relates an experience of just one of the contestants, and that makes the Thalysla quite unique.

All this discussion of the two parts of the poem remains constructive as long as it does not create the impression that the poem is a diptych. For it is not.

Simichidas functions as a central, unifying character extending through both parts of the idyll. That one day he happened to experience two major poetic events of his life, and their proximity in time and theme is sufficient to unify the poem. Nor are the two sections developed separately. The enclosure refers to the events of the frame (v. 31-35)- And, more importantly, it is the frame which occasions the whole enclosure. For some special occurrence is needed to bring the city poet out of his own environment so that the two protagonists can come face to face. Without the festival Lycidas and Simichidas never would have met and held their competition. Beyond that, it will be seen that the two internal songs prepare thematically for the poem's conclusion. To declare that one part out of the two is primary, the other secondary in g importance, as some commentators have done, is also

®Among others, Kuhn, p. b2; B. A. Van Groningen, "Quelques Problemes de la Poesle Bucolique Grecque," Mnemosyne 12 (1959). p. 25; Francois Lasserre, "Aux Orlgines de 1'Anthologie: II. Les Thalysies de Theocrite," RhM 102 (1959). p. 307; puelma, p. lMf. -14-

counterproductive. To say that one is more significant

because It comes last, or the other is because it contains

the greater number of verses shows a disregard for the

coherence of the poem as a whole. Both parts together harmonize into one artistic unity that would fail with the

loss of either one.

More fruitful have been the attempts to find a general model for the Thalysla. Certainly the similarities between

it and Plato*s Phaedrus (an encounter during a midday

journey from city to country, a setting in a shady spot beside a spring amidst the singing of the cicadas, a contest based upon the theme of boy-love, preliminary, banter, and even a prize offering) are due to more than the similar dramatic nature of the two.^ Theocritus has borrowed much from Plato. If Ott is correct (and, indeed, the encounter between Odysseus and I-lelanthius does bear more than just superficial resemblances to that of Lycidas and Simichidas), he is also indebted to Homer.But, despite these borrowings, Theocritus has composed a work both fashioned to his own bucolic patterns and singular unto itself.

^For a complete presentation of the parallels between the two, see Clyde hurley, "Plato's Phaedrus and Theo- critean Pastoral," TAPhA 71 (1940), pi. 2Sl-95, and Ott, p. 139-1*0.

100tt, p. 138-40, and Ulrich Ott, "Theokrits 'Thalysien' und Hire llterarischen Vorbilaer," RhM 115 (1972), p. 11*3-49. -15- * * *

The introductory sentences of the Thalysla provide the essential data of the experience: time, characters, goal, and purpose. The inspiration for this form comes from the beginning of Plato's Republic: KaT£0T|V d s Iletpaia

r\cn3xcovos Tou *Ap£oTO)voq rtpooev^op-evdg te Tfj 0£

Hal a^a Tf]v feopT^v 0ou\6[i£vos 6£doaoGcu TCva tportov noif|aouoiv aie uuu rtpwTou ayovTeg, "Yesterday I went down to the Peiraeus with Glaucon, son of Ariston, to worship the goddess, and at the same time wanting to see how they would manage the festival, since this was the first time they held it." Here, in almost identical fashion to Idyll

7 , the unnamed narrator has told the time, goal, companion, and purpose of the trip. 11 And, as with the Thalysla, this journey to a religious festival will lead to a fortuitous, productive on-the-road encounter. But two notable differ­ ences distinguish the passages. Whereas Glaucon, Socrates' companion, takes an active part in the remainder of the

Republic, Eucrltus and Amyntas are simply walk-ons, whose sole function appears to be to reinforce the frame around the central contest scene. 12 Their mute presence gives an

11G\inter Weingarth, Zu Theokrlts 7. Idyll (Dlss., Freiburg lm Breisgau, 1967). P* 5$-59. 77ff*

12See above, p. 12. -16- air of imaginariness to what happens en route. Secondly, in place of the precise X8£S . Theocritus has substituted rHq XPovoS dutK*, a statement of time that is no real statement of time at all. Despite the several examples that Gow has mustered to prove that this phrase does not necessitate a reference to the distant past or to the mythical,*3 the majority of similar cases,^ especially of those in the opening line of a story, do refer to such a far-off past and are closely equivalent to the “Once upon a time" of fairy tales. In the Thalysia, of course, the first-person narrative precludes any implication of the remote past. But the legendary, artificial quality of the expression still lingers, as Wilamowitz sensed long ago.

The poet has Introduced the occurrence just as one begins a myth, separating it from any definite point in time.

Whatever realism this experience will attain in the rest of

13a . S. P. Go w , "The Seventh Idyll of Theocritus," CO 3^ (19*10), p. 52ff. , and A. S. P. Gow (ed.), Theocritus T2nd ed.; Cambridge: Cambridge University Press,1952). Vol. II, p. 131, n. 1. 1 U- Callimachus, fg. 192 (Pf.); Critias, fg. 25 Diels; Cyprla. fg. 1; a quotation from Linus in Diogenes Laertius, Proem.. 4; Moschion, fg. 6.3; a quotation from Orpheus in Sextus Empiricus, Adv. Math., 9*15; Plato, Protagoras, 320C.

15uirlch von Wilamowitz-Moellendorff, Hellenlstlsche Dlchtung in der Zelt des Kalllmachos (Berlin: Weidmannsche Buchhandlung, 192*0 , Vol. II, p. 142. Welngarth's theory, p. 81-82, that the phrase Is meant humorously, provides no convincing justification for such humor and would make these words discordant with the serious tone elsewhere in the introduction. -17- the poem will be counteracted by this initial impression of

fantasy.

The legend of Burina^ creation and the description of

its surroundings prolong the unreal atmosphere. Unexpect­

edly one is thrust deeper into the imaginary past, to the

age of heroes and their miraculous feats (v. 5-7 )♦ Then,

just as quickly, a romantic spring-grove picture restores

the present. Ostensibly these two brief scenes verify the

noble ancestry of Phrasidamus and Antigenes. But is their

significance that limited? Before answering that question,

another spring-grove scene in the poem must be considered:

tcoK\cl\ 6* cxiajiiv UTt£p0e kcctHpcrrfcg 6 o v£ o v to a i'y e tp o i ttteX& h t e * t o 6* e'Y'yvBev le p o v vSwp N u p cp av ££ arnpoio «ateipop,euov Ke\dpu£e. (v. 135-37)

The obvious general resemblance between these two passages

has been intentionally heightened by the repetition of aiYEtpot 7tTe\6ai t e , a word combination occurring only here in all Hellenistic poetry.This is a strong sign

that the springs are identical. The likelihood that

Chalcon produced Burina on his own property, a spring that

Phrasidamus and Antigenes would have Inherited with their

16 The fullest and best defense of the sameness of these two springs is by Puelma, p. 162-63. See also Ott, "Theokrlts •Thalysien*," p. 147, n. 44, and Gunter Wojaczek, Daohnis: Untersuchungen zur grlechlschen Bukollk (Beitrage zur Klassischen Philologie, 34; Meisenheim am Gian: Verlag Anton Hain, 1969). p. 50. In support of this theory and Welngarth, p. 96-9 8. against it. -18-

estate , makes the identity of the springs even surer.

Only naturally would the site of the festival, the goal of

the journey, come to the poet's mind with the mention of

the festival and its hosts. Objections based upon Coan

topography cannot stand. For locations such as the Haleis,

Pyxa, Burina, and Phrasidamus' farm cannot be fixed with

anything close to certainty, in spite of the many attempts

to do so.

Equating these two springs helps to reveal Theocritus' multiple purposes here. On a primary level it makes the

frame around the encounter with Lycidas that much trimmer— the very same spring encircles it rather than unrelated ones.*® Moreover, the brief scene anticipates both the exact setting and the relaxed mood of the closing harvest feast. With it the poet sets the atmosphere and theme for the whole poem,*9 as he will do with several other short thalysla-soenes scattered through the poem.2® Thus the

!7w. R. Paton and E. L. Hicks, The Inscriptions of Cos (Oxford: Clarendon Press, 1891), p. 212ff.; Rudolf Herzog, Kolsche Forschungen und Funde (Leipzig: Dieterich'- sche Verlags-Buchhandlung, 1899) . P- Gow, Theo­ critus . p. 1 3 1 , n. 1 , p. 1 3 3 , n. 6f., and p. 1 6 3 . n. 1 3 0 . Identifying Burina with the modern Vourina is especially dangerous, since Herzog admits, p. 159. n. b, that the name Vourina is not due to tradition, but to a scholarly revival.

!8see above, p. 1 2 .

l9Sanchez-Wildberger, p. 63 -6^.

20v. 6 3 ff., 87-89, and 126-2?. -19-

nine-line introduction acts as a brief summation of the

whole idyll, moving from the start of the Journey at the

city right to the goal and the peace found there. In

addition, the cool, shady, calm grove provides a sharp

contrast to the heat, sun, and haste of the road scene O 1 immediately following it. x With this as a basis of

comparison the conditions on the road appear even more

oppressive and the shade of the harvest festival will be

appreciated so much the more.

On a higher level the two tableaux have a further

significance. Homer too paired the story of a spring*s creation with a description of its beautiful surroundings

(Odyssey, 17,205-11) and used this as a prelude to an 011-

the-road encounter of a wholly different tone from that Op between Lycidas and Simichidas. This passage was at least one of Theocritus' models for his description. The creation myth of Burina, however, also reflects that of a far more famous spring, one that will yield a clue to understanding not only this section, but the entire poem.^3

Hippocrene ("imtov Hpfjuri, also called liT],yaaCs), on the slopes of Mount Helicon, like Burina, sprang from a sharp blow to a rock, in this case from the hoof of the legendary

21Sanchez-Wildberger, p. 6^; Weingarth, p. 9^-96*

22see above, p. 1^, and also Weingarth, p. 91-93*

^Lawall, Theocritus' Coan Pastorals, p. 78-79* -20- winged horse Pegasus. Hippocrene, moreover, was sacred to the Muses. It is there that they appeared to Hesiod, taught him to sing, and gave him a staff, the token of his calling (Theogony, 22ff.). The spring's origin and

Hesiod's encounter with the Muses there became a popular motif among Hellenistic poets. For them the spring, or more specifically its waters, was a source of poetic inspiration, and a drink from it elicited sweet song. The most complete statement of the motif is in the following epigram from the Palatine Anthology, by either Ascleplades or Archias (AP 9*6*4-):

Aural rtoiiacuvovTa p.ear|(j,§p t,v& p.fj\& oc Mouoai c6panov £u npavaofg oupeaiv, 'HoCo6e, nal ooi KaA\trt£T,nX.ov dpuoo&nevai rtepl rtaoai wpc£av Sdcpvag lep&v dnpepova 6(5nav 6e xpdvag *E\ikcovC6o £ evBeou u6a>p t6 rcravou n&Xou rcpooQev eKo^ev ovvf; ou at Kopeaodjievos iicu-cdptov y^vog spya ts (jtoXnaTg nal •yduog dpxcucov e^pacpeg fpi06(ou.

The Muses themselves saw you, Hesiod, tending your sheep at midday in the rocky hills, and all gathering around you offered you a branch of holy laurel with beautiful leaves. They also gave you the inspiring water of the Heliconian spring, which the hoof of the winged horse once struck, and having drunk your fill of it you wrote in song the Birth of the gods and the Works, and the Race of the ancient demigods.

^Alcaeus (of Mitylene or Kessene), AP 7.55; Antipater of Sidon, A? 11.2*4-; Aratus, Phaen. , 216-23; Ascleplades or Archias, A? 9.6*4-; CallimAchus, Aetla, fgs. 2 and 112 (Pf.), Hymn 5* 71; Honestus, AP 9*225 and 9*230; pseudo-Moschus, 3.77. The creation legend is also told by Strabo, 8.6.21, and Pausanias, 9*31*3- -21-

With Burina Theocritus has created a Hippocrene for

himself. It sprang only from the foot of a heroic mortal,

not a divine horse, but it still is the home of the Nymphs

(v. 137. 1^8. and 15*0. Theocritus' personal Muses,^ who

taught him song Just as the Muses did Hesiod (v. 92),

Structurally, therefore, Burina frames the work, a tech­

nique which would seen to find a parallel in Callimachus'

Aetla, where references to the Muses' appearance to,

Hesiod at Hippocrene probably opened and closed the poem

(fgs. 2 and 112). The Hesiodic aura established with the

spring digression is maintained through the body of the

Thalysla by several other references to the Theogon.y:

the encounter with Bycidas arranged by the Muses (v. 12),

Simichidas' profession of his own poetic instruction

(v. 9 2), and the offering of the staff (v. and

128-29). All this builds up to the final scene, where

Theocritus, like Hesiod, drinks the water from his own

fount of poetic inspiration, though in this Instance mixed with wine.2**

With line 10 the poem begins anew, returning in

thought and in first person plural to the opening two

lines. Simichidas and his friends have neared the midpoint of their walk and unexpectedly run into the

25see below, p. 103 -10^.

2^See below, p. 104ff. -22- herdsman Lycldas. The meeting itself commences along conventional lines. It reminds the reader not only of another such encounter in Theocritus, that between

Slmaetha and Delphis in Idyll 2, ?6ff., likewise on a trip to a religious festival, but also of various meeting scenes in Homer.Such stylization even appears to carry into the figure of Lycidas himself. For his appearance resembles Athena's disguise as a young shepherd in the Odyssey. 13.221-25. and the phrase atrc6\4) ££ox*

£(p>cei recalls similar phrases in four of these Homeric meeting scenes.29 More than just this, however, must be taken into account for a proper understanding of lycidas as a character.

Just who Lycidas is meant to be has been long argued, and hardly any two solutions are the same. For the sake of simplicity and clarity, however, the various expla­ nations can be divided up into four general categories.

In the first group belong those interpretations which

2 ?Puelma, p. 146, n. 1 0 , details the similarities well for the first three sentences, but then enters into an unconvincing and rather odd parallel between Delphis and Apollo and Lycidas and the Muses. See also Weingarth, p. 104, and Lawall, Theocritus* Coan Pastorals, p. 114.

2®See Ott, "Theokrits 'Thalysien'," p. l43ff.; Weingarth, p. 104; Archibald Cameron, "The Form of the Thalysla," Miscellanea dl Studl Alessandrlni in memorla dl Augusto Rostagnl (Turin: Bottega d'Erasmo, 1963)» p. 293ff.

2 9lliad, 24.347-48; Odyssey, 7.19-20, 10.277-78, and 13.221-22. -23- accept the literal truth of Simichidas1 description and

believe in a factual model for it.^® Thus an actual

goatherd-poet Lycidas is supposed to have lived on Cos,

and Theocritus met him just as the poem relates. The

second category comprises those who consider Lycidas not

a goatherd at all, but a poet in disguise.31 The idyll

30so Ph.-E. Legrand, "THE A ’ AII10A0S... (Theocrite, Id. VII, v. 13)." HEA 47 (1945), P. 214-18, who understands Lycidas as "un po&te qui s'est fait chevrier," an eccentric poet whose dislike of luxury and pleasure led him to withdraw to the life of a herdsman. Quintino Cataudella, "Lycidas,” Studl in onore dl Ugo Enrico Paoli (Florence: Le Monnier, 1955)* P* 159-69. calls Lycidas ,run capraio- poeta, un capraio clofe dotato dl naturali quality poetiche, e non del tutto privo di qualche infarinatura di conoscenze letterarle." Daniel Gershenson, Studies in Theocritus' Pastoral Idylls (Diss., Columbia University, 1 9 6 1) , p . 86-8 6, states his agreement with Cataudella's view, but goes on to see in Lycidas an ideal goatherd, closely resembling Pan. Gow, Theocritus, p. 127-30, falls into this category, as does Albin Lesley, A History of Greek Literature. trans. James Willis and Cornells de Heer ’(New York: Thomas Y. Crowell Company, 1966), p. 721-22. For these four groups I have noted only the more recent articles and books. References to earlier explanations can be found in these articles, especially in Gow's commentary.

31b. A. Van Groningen, p. 49ff.. defends the thesis that Lycidas is really Leonidas of Tarentum, as does Lasserre, p. 322, n. 23. Puelma envisions Lycidas as a rather odd mixture of the real and the unreal. For him (p. 1 6 3 ) the goatherd is the poet who revealed to Theocritus the gateway to the bucolic circle. Yet he also (p. 147-50) treats him as a master or ideal herdsman, a 6109 ctt7t6X.09, an almost mythical goatherd. T. B. L. Webster, Hellenistic Poetry and Art (New York: Barnes and Noble, 1964), p. 8 5, accepts Puelma's theory. Cameron, p. 3 0 6 , likewise avoids naming the poet behind Lycidas, saying only that- he was "a real person, a writer of bucolic poetry who had described himself as goatherd or shepherd." Most recently Wojaczek, p. 38ff». has sought to revive the outmoded and disproven theory of the "Mascarade bucolique." -24-

depicts some bucolic masquerade, and the name lycidas is a

pseudonym for one of Theocritus' contemporaries. Those

explanations which see Lycidas as a divine, imaginary

figure, an immortal disguised by Theocritus as a herdsman-

poet, constitute a third g r o u p . And the final class

contains interpretations which accept Lycidas as a purely

fictional character, a product of Theocritus' fancy with no basis in reality or the divine.33 Each category can nov; be examined individually to determine the most reason­ able interpretation.

32oeorg "Zur Deutung von Theokrits Thalysien," MP 23 (1 9 6 6), p. 186-89, takes Lycidas to be an unnamed supernatural being, a god or daimon. Lawall, Theocritus' Coan Pastorals, p. 80-82, suggests that Lycidas is a fictional character modeled on a satyr. Frederick Williams, "A Theophany in Theocritus," 21 (1971), p. 137-45. analyzes the name lycidas and the places he is associated with and discovers in him the god of poetry, Apollo. William.Beck, Theocritus' Use of Literary Symbolism (Diss., Stanford University, 1973). P* 38-39. accepts Williams' identification. Gregorio Serrao, Problemldl Poesla Alessandrlna: I. Studl su Teocrlto (Rome: Edlzlonl dell'Ateneo, 1971), p. l6ff., straddles the issue, seeing lycidas both as a realistic and as an unreal and super­ natural figure.

33sanchez-Wildberger, p. 63ff.. understands the whole subject of the poem as an invention, and consequently the character lycidas as a fiction also. Kuhn, p. 67-74, explains Lycidas as one side of Theocritus himself, while Simichidas is the other. These two forms of his poetic existence, the one dreamed and wished by him, the other lived by him, meet and greet each other, express their opinions of each other, and then depart again. These are the city and country halves of his existence. Gerhard Lohse, "Die Kunstauffassung im VII. Idyll Theokrits und das Programm des Kallimachos," Hermes 94 (1 9 6 6), p. 424, Ott, Kunst des Gegensatzes, p. 160-7 0 , and Weingarth, p. 46-75 and 104-107, all view the goatherd-poet as one of Theocritus' fictional characters. To assume that Theocritus’ Lycidas is based upon a

real goatherd-poet whom he once met on Cos results in

several difficulties. A primary one is the great improb­

ability that such a person could exist. An educated herdsman, one who combines a knowledge of Alexandrian

literary principles with that of making cheese, one who

stands low in the ranks of herdsmen yet can compose some

of the best poetry in all of the Idylls, would be a rare

Individual Indeed. Cataudella can cite Corydon as a

Theocritean example of a herdsman with artistic awareness

(Idyll U, 31 ff*).^ but that only increases the impression that Lycidas is fictional. Not a line from such a poet is extant, nor do the scholiasts offer the slightest comment about him. He would seem to have disappeared from the face of the earth after this one encounter. That would be quite strange for a man who had the reputation of a great poet on Cos, with sufficient prestige to award Theocritus his staff. Moreover, all the literary conventionalities of the meeting argue against its reality, as does the unreal tone of the p r o l o g u e . 35 The site of the encounter, the description of the goatherd, the odd phrasing of lines 13 -1^» even lycidas' first words, can all be traced

3^Cataudella, p. 1 6 9.

35see above, p. 1 5 -1 7 and 2 2 . -26-

back to Homer.3^ The contest motif itself is stylized in

Theocritus, and the Thalysla follows the basic schema.37

This would imply that it shares the fancifulness of his

other contest poems. The first verses of the idyll have

set the mythical tone and it has not been counteracted.

The close correspondence between the two contest poems

also suggests that the experience is fictional.38 The two

songs are a well-matched pair in both subject and

structure.39 The second song could not have attained such resemblance if it were simply composed on the spot, nor

could Simichidas' repertoire possibly have been extensive

enough to justify this extended parallelism on the basis

of the selection of a previously written work.**0 The

3^lycidas' opening lines are a noontime parody of Hermes' first words to Priam, Iliad 24.362-63: rtft* ^d/rep, u>6’ I'mtouq te Mat fuitoyoug iGuveig / vtinTa 6t* dp-ppoaCTiv, o t s 0* euSouoi ppotol a U o i , "Where, father, do you guide horses and mules through the Immortal night, when other mortals sleep?"

37ott, Kunst des Gegensatzes, p. 144-45.

38Kuhn, p. 67; Ott, Kunst des Gegensatzes. p. 164, n. 451.

39See below, p. 84ff. The contention of Reinhold Merkelbach, "B0YK0AIA2TAI (Der Wettgesang der Hirten)," RhM 99 (1956), p. 116, that the similarity of the two poems Is limited to the fact that both treat a handsome boy, ignores these other correspondences.

^OThis is Simichidas' explanation (v. 91ff.) and Lavra11, Theocritus 1 Coan.Pastorals. p. 99. and Serrao, p. 5 9i have accepted it on faith, without considering the fundamental structural and thematic symmetry of the two songs. -27- songs had. to have been constructed by the author of the

Thalysia himself. The encounter, the contest, and the songs all approximate literary convention too closely for the experience to have actually happened as it is told, and

Lycidas1 doubtful occupational duality makes the factu- ality of the event just that much more impossible to believe.

The main objection to the masquerade theory was laid by Gow:

...there has been a marked tendency to forget that Theocritus says not only that Lycidas vras conspicuously like ^ goatherd, but also that he was a goatherd (13 tis 5 ’ atrto^o?). A theory based upon the assumption that he means the reverse of what he says starts at some initial disadvantage

The Homeric phrasing and the heavy emphasis on Lycidas' likeness to a goatherd have provoked suspicion of

Simichidas' sincerity, even though he states very plainly that Lycidas was a goatherd. But this emphasis is needed. h p First of all, as Cataudella has aptly shown, ^ this insistence reflects the city man's amazement that a man so crude in appearance could be such a prominent poet.

His repetition indicates his Initial disbelief. Moreover, the stress falls on goatherd, as opposed to shepherd or

^iGow, Theocritus, p. 130.

^Cataudella, p. 163 -6^. -28-

cowherd, the lowest in the hierarchy of herdsmen.^ This marks an even greater disparity between Lycidas* social

status and his creative ability. A third reason for

emphasizing that he is a goatherd is that here he is out

of his usual Theocrltean milieu. A goatherd on a road

lacks the pasture and herd which distinguishes his

profession, and thus a fuller description is required.^

The exact effect sought with the phrasing will be con­ sidered subsequently.^5

If someone lurks behind the goatherd, then Theocritus

must have some means of revealing his true identity. The

normal assumption is that Lycidas' song imitates the

style and themes of the mystery poet. Yet that song is

typically Theocritean. It repeats the Daphnis myth from

Idyll 1, the name Comatas as in Idyll 5• the frequent

Theocritean motifs of the fire of love, sweetness of mouth,

and the locus amoenus. and contains verbal repetitions from 4-6 all the preceding idylls. It is much more represen­

tative of Theocritus than Simichidas* song. So this

approach tends to refute the theory. And again, the

^3b . A. Van Groningen, “Quelques Problfcmes de la Poesle Bucolique Grecque," Mnemosyne 11 (1958), p. 313-l^J C. Wendel (ed.), Scholia in Theocrltum Vetera (Leipzig: Teubner, 1914), p. 17, lines' 21-26.

^ O t t , Kunst des Gegensatzes, p. 144 and 167, n. 4-57.

^5see below, p. 2 9.

^Lawall, Theocritus * Coan Pastorals. p. 136-37* n. ^3* -29-

scholiasts’ silence about any sort of masquerade must be

noted.

Eecause of Theocritus' use of Homeric wording in verses 13 and 14, wording that is there reserved for the

appearance of divine beings, several critics have concluded

that Lycidas too is meant to be supernatural. The import

of the first of these phrases was summed up by Puelma:

"Die Formel ou6£ t£s vtv ttyvoCtiosv 1st bei Komer vorgepragt fur die Erscheinung gottlicher Wesen, deren

Sein oder Denken den ihnen Eegegnenden sofort an bestimmten untriiglichen Kerkmalen erkennbar ist."^? Those supporting the divinity theory have ignored all the rest of this statement for the one word "gottlicher." In emphasizing it they have forgotten the remainder, that the individual should be instantly recognizable by some external, appearance or voice, for who he really is. The true force of the phrase is not on divinity, but on immediate recog­ nition. Homer has used the expression only where gods are easily identifiable and unmistakable for who they are, jho gods. Consequently in Theocritus Lycidas should be immediately recognized for who he is, and that can only be a goatherd. The subsequent description confirms that fact.

The words alrcoktp £<*)K£i likewise have been raisunder-

^Puelma, p. 147.

^ Odyssey. 5.77; Iliad. 1.536, 2.807, 13-28. -30-

stood. As said b e f o r e , ^9 the stress here, just as in the

analogous phrase alrCoXtp av6pl eoiKag,^0 is on goatherd as

opposed to cowherd or shepherd, not on disguise. This

justifies the description and in turn is justified by it.

In Homeric theophanies it is clearly stated that it is a

god vrho becomes like a mortal. In the Thalysia it is

stated with equal clarity that lycidas is a goatherd (rjg

6 ’ atrtokos) who is a paragon of his class. Even his

recurrent smile has been alleged as a sign that he is a

god. Yet in Homer both jieifiido) and » as well

as d/rp£p,a<; (oaCpco does not occur) , are applied to gods

and men alike. Elsewhere in Theocritus p,ei6tdu) and dalpw (&Tpenag only occurs this once) are used only of men, and ycX6w of both gods and men. So there is no Indication that in either author these terms connote divinity. In

addition, certain lines in the idyll suggest that lycidas

is a mortal. We are told that the meeting comes about

through the Muses (v. 12), that lycidas is dear to the

Muses (v. 95), and that the crook is presented as a gift

of friendship in the Muses (v. 129). All this implies

that the goatherd is subordinate to the Muses, a role

unlikely for another god. More important, lycidas has a widespread reputation among men (v. 27-29). He has sung

^9see above, p. 27-28.

50i ,86, and paraphrased at 6.7. In both cases it is intended to be an insult. -31- among them many times, is well known by them. He is also

one whom Simichidas can presume to equal (v. 30-31)*

None of this fits a god, nor is Lycidas one.

Eut who, then, is lycidas? One might as well ask

who is Daphnis, Lacon, Thyrsis, Battus, or any of the

other bucolic personae. For Lycidas is just one more in

the series of Theocritus' fictional herdsmen--a more

likeable one, a more developed one, but fictional

nonetheless. Luck has recognized this fact despite his belief that Lycidas is divine: "Dieser Ziegenhlrt ist wie

eine Gestalt aus Theokrits Kirtendlchtung: plotzlich lost

er sich aus ihr heraus und spricht den Dichter an,"

The aura of true remembrance, the lengthy description,

the animated dialogue with Simichidas allow Lycidas to

stand out a bit more than these other imaginary herdsmen.

The neutral meeting ground, between city and field, has

separated him from his flock and shady knoll, making him

less recognizable but for the description. But nothing

truly distinguishes him from the other herdsmen in the

Idylls. He is a typical actor in a little Theocritean rustic drama. He wears the customary animal skin, carries the traditional stick, is the usual piper. He can be mocking or cheerful as the other herdsmen, and he shares their love of the singing contest and their theme of

51Luck, p. I8 7. -32-

unhappy love. Like him, they are idealized, simple men

of the countryside, yet able to compose finished

Alexandrian poetry.52 Lawall can see a sptyr in Lycidas,

Gershenson a Pan because most of Theocritus' rustic characters show Pan-like, satyr-like qualities. They have

the same attire and paraphernalia, exhibit the same musical propensities, frequent the same territory, and possess the same amorous, lusty nature as Pan and the satyrs. For Lycidas to be like them is nothing distinctive.-

He is like his counterparts in Theocritus' other pastoral poems, an imaginary, ideal herdsman, no more based on a real person than they, no more divine than they.

A few words about Simichidas are in order. The names

LlluxiSo-S and AvnCSag are most likely purely fictional, perhaps chosen for a reversal of Idyll 14, where Auxog

Is the successful lover and 2Cn,0£ the unfortunate one.

Yet opinion is nearly unanimous, from the scholiasts on, that Simichidas represents Theocritus, and I do not find any compelling reason to disagree. Weingarth has rejected the equation Simichidas equals Theocritus because he feels

52i would disagree with Sanchez-Wildberger. p. 64: "...1st einzlg in den Thalysia das Erstaunen uber das Lied, das der Ziegenhirte singt, berechtigt." The song of Thyrsis and the cup ecphrasls, the amoebean verse of Idyll 5. the paired songs of Idyll 6, and the Cyclops' lament, are all rather astonishing considering in whose mouths they are put. See also Auguste Couat, Alexandrian Poetry under the First Three Ptolemies (324-222 B." C.)” trans. James Loeb (London: William Heinemann Ltd., 1931)* p. 431, and Rosenmeyer, p. 50* -33- that such an overlapping of real and unreal is unlikely.33

But his objection is groundless. The author could easily

be projecting himself into one of his typical singing

contests, be fantasizing what a meeting between himself,

a poet of the city, and a master bucolic poet in the mold

of his own characters would be like.3** Who would be more

appropriate for him to encounter than the best poet among

all his fictional herdsmen? Who could better match his

style, test his ability? Moreover, only if Simichidas is

Theocritus can the poet really be saying something, in the

fashion of Hesiod, about his own investiture and inspi­

ration. With this there is no overlapping of real and

unreal. The itfhole experience takes place in Theocritus*

imagination and he simply conceives himself in one of the

5 3 w e ingarth, p. 49 and 74.

5^Lohse, P* 424, has already suggested that this might be a contest between Theocritus and one of his own ideal­ ized herdsmen figures. See also Lawall, Theocritus' Coan Pastorals, p. 84ff., and Gow, "The Seventh Idyll of Theocritus," p. 50, n. 1. Such poetic self-representation would not be unparalleled in ancient literature. In the fragmentary Iambus 4 Callimachus seems to depict an agon between himself and a certain Simos. Herodas makes himself a character in his Mime 8, where he narrates an apparently symbolic dream. Critics have been inclined to view one or both speakers in Vergil's Eclogues 1 and 9 as symbols of the poet himself (See Herbert J. Rose, The Eclogues of Vergil (Sather Classical lectures, 16 ; Berkeley: University of California Press, 1942), p. 45ff.) Eclogue 9 is especially relevant, since its major source is the Thalysla and, though firmly localized In Mantua, It still presents fictional characters in a poetical-pastoral world. -3**- lead roles.

Kuhn’s thesis, that Simichidas and Lycidas represent

the city and country sides of Theocritus' existence,55

cannot be regarded lightly. Certainly the two protagonists

do appear to personify two halves of Theocritus' life.

Essentially he is, like Simichidas, a poet of the city,

caught up in its society and values. Yet at heart he

longs to be a country poet like Lycidas, who can truly

enjoy the life style that he has portrayed in his pastoral

idylls. The harmony that these two poets reach says

something for the close melding of- the two natures, within

Theocritus' soul. But that such an ego-splitting was

conscious on Theocritus' part is to be doubted. For the

reciprocal words of admiration spoken by Simichidas and

Lycidas then become self-glorification and the awarding

of the staff turns into self-investiture, a totally meaningless act.

The goatherd's facial expression, by indirectly

revealing his attitude, provides a natural introduction

to his first words. Three times we are told that Lycidas

is smiling (aeoapios, p,£t6t,6covT i, , smiling both with mouth and eyes. The participle oeaapcig is particularly definitive, since it normally denotes "malice, contempt,

55K\ihn, p. 6 7 See also Ott, Kunst des Gegensatzes, p. 1 6 8. -35- or mockery.“56 Lycidas is being playful, teasing, and is even mocking Simichidas. yet to stretch these words as far as Giangrande has done and to see malice and hostility in them is to misunderstand the whole atmosphere here.57

Both Lycidas* expression and his speech are intended to be provoking, but not out of ill will. Rather this argumen­ tative, Joking tone is necessary to Inspire the spirit of competition.58 For, although Simichidas is the first to offer a formal invitation to the contest, Lycidas*

5^Gow, Theocritus. p. 137, n. 19.

5?Giuseppe Giangrande, “Theocrite, Simichidas et les Thalysies,“ AC 37 (1968), p. 505ff» His whole analysis of the idyll starts from the unsupported premise that Simichidas is intentionally late for the harvest festival to avoid all the labor preceding the celebration, hence Lycidas is accusing him of being like a lazy parasite. The whole poem then becomes an ironic mock investiture. Sirnichidas/'Theocritus and his companions, however, are men of the city, are in no way country laborers. There is not the slightest hint that they were expected to share in the work. The aristocratic Phrasidamus and Antigenes have not summoned their city friends to work, but only to partake in the Joyous festivities. At Idyll 16, 1C6-10£, signif­ icant also for the repetition of the adjective dK?ayro9» Theocritus/Simichidas has stated^his reason for traveling to another's house: ctKMyros p£v ’iywye. p,€voip£ MEV* E9 xakeuuTtov / Gapcrfioas MoCoaiai abv &p,eT£patoiv ioip/ av, “If no one summons me I will remain at home, but to the house of those that call I will go confidently, along with our Ruses.“ Thus he goes not to work, but to perform and celebrate. Moreover, if, as Giangrande supposes (p. 526-27), this is the first meeting between the two, then at the time of his opening lines Lycidas would have no way of knowing Simichidas' destination or his supposed avoidance of work. Beck, p. 36-37» levels a similar criticism against Giangrande's analysis here. His argu­ ments based on the poem's conclusion, p. 4-7-48, are also quite valid. 5®Merkelbach, p. 116. -36- questions have previously set the mood of challenge. As

with Idylls 1 and 5. the contest really begins before the

singing starts. Thus his smile and quips are exhibitive

only of "friendly mockery," as Gow terms it,59 mockery

between two competing singers, not of scorn for a citified,

pseudopastoral Simichidas.

Haste and calm form the antitheses of Lycidas' first

speech. He characterizes all of Simichidas1 movements

with rapidity: Simichidas rushes, hastens to a banquet,

"attacks" the winepress, and the stones sing before his

speeding feet.^® But nestled within this haste is a

delightful glance at nature at rest, lizards asleep and

larks motionless.^1 Only the pebbles break the relaxed 62 silence of the world around. Only man, only the city

59gow, Theocritus. p. 137, n. 19.^ Similarly Ph.-E. Legrand, Etude sur Theocrite (31bliotheque des Ecoles Franqaises d 'Athenes et de Rome, fasc. 79; Paris: A. Fontemolng, 1 8 9 8), p. 153. calls his intention "l6gerement railleuse," and Lohse, p. 4-15. speaks of his "lelcht spottischem Ton." For a different explanation, see Georges Roux, "Commentaires sur Theocrite, Apollonlos et quelques Epigrammes de 1 'Anthologie," RPh 37 (1963). p. 78-8 1, who feels that the twinkling smile In Lycidas* eyes betrays the friendly smile that he is trying to keep from his lips.

60as G o w notes, Theocritus, p. 139. n. 2 5 , the words itool moaon^voio are a reminiscence of the proem of the Theogony, v. 70-71. a section so often alluded to in the Thalysla.

^Iroux, p. 76-7 8, provides an inmressive elucidation of the significance of the adjective 6r(tTup,pC6ioi here.

^ S e e Emile Eloy, Le Pay sage dans les Idylles VII et I de Theocrite (These de lie., Univ. Louvain, 19^7). p. 44ff. -37- man , Lycidas is saying, is foolish enough to be rushing about at a time like this— and all for food and wine. 63

The animals know better. Such haste is contrary to the bucolic way of life. Still, it will find its appropriate contrast in the peace and calm of the final thalysla- scene. Swift motion marks the start of the poem just as stillness the close.

Simichidas' first lines completely disregard the goatherd's sarcastic questions. The arrangement reveals his priorities. Foremost in his mind is a desire for an exchange of songs, so he first makes a veiled challenge to

Lycidas. Only after that does he reply to the questions, straightforwardly, without retort. Friendly mockery does not require the verbal counterthrusts that malicious derision would. Then instantly he reverts to his immediate interest, a bucolic singing contest, this time with a direct invitation, and finally closes with a frank evalu­ ation of his own poetic merit. His attitude has been challenging, but not mocking.^ All in all, it is a very

^Lycidas does not mock Simichidas for walking about in the midday heat, as is frequently alleged, since he is doing that himself. Rather he laughs at his excessive haste and eagerness in spite of the oppressive heat.

6*^Weingarth, p. 115-21, takes Simichidas' speech in the opposite tone: taunting and insulting. He assumes that Simichidas must answer mockery with mockery to defend his honor to his audience; so he is forced to find hidden, sarcastic meaning In Simichidas* words, instead of taking them at their face value. lycidas' Joking, however, was in fun and without deep malice, Simichidas has recognized “38-

balance d , honest statement. Simichidas has praised the

goatherd (v. 2 7-3 0 ), yet not to excess (v. 30 -3 1 ), while

both praising and moderately humbling himself (v. 3?-4l).

The verbal structure reinforces this balance, since the

(pavi t tv rtavTes and kcit * £p,6v voov of the first section are offset by the KT|p,£ Kiyov’r 1 na.v'rcq and kcit ’ £(jlov voov of the second. Central to these two sections both in thought and in actual position is the idea of comradeship.

Simichidas stresses their common conditions and the mutual benefit that will accrue to them from the contest (v. 35 -

3 6 ),^ it is to be a friendly competition, one where both participants compete hard and profit, as in Idylls 1, 6 , and 9. ^ Lycidas is preeminent among the poets of the

it as such and realizes that it needs no compensatory response except the challenge to a singing contest. Nor would such a tone be in accord with the mutual benefit that Simichidas propounds, or with the overall congenial, gift-giving atmosphere of the whole contest. Hostile feelings would require a decisive competition. Moreover, Lycidas* subsequent laugh and favorable attitude show that he has been pleased, not insulted. See also Van Groningen, Mnemosyne 12, p. 26ff., who treats the sincere friendship between the two.

65The many other connections between this poem and the Phaedrus cause me to be reminded here of the end of that d i a l o g u e : Koivdt Y & p t & t C v cp£\tov.

^The absence of a referee and of the decision of a victor strengthens this feeling of friendliness. Serrao, p. 24 and 35, has denied that a true agon exists in Idyll 7 because a judge and a prize are lacking. But the crook serves as the prize; and-there is no necessity for a judge, as Idylls 1 and 6 prove. The other customary themes of the contest do occur here (See Ott, Kunst des Gegensatzes, p. 144-45). -39- country, Simichidas among the poets of the city. Each is a master in his own right and in his own domain.^ But these are separate domains, and consequently each has something to teach the other. Lycidas' acceptance of the Invitation is an acknowledgement of the truth of Simichidas' argu­ ments. Thus, no matter what their relative ages, it is not a question of a master-poem and a proof-poem.Both will be master-poems from equal masters. The city and country here come together harmoniously, as they will at the end of the idyll.

"So I said with a purpose." What purpose? Some commentators have asserted erctTadeg as evidence that

Simichidas' speech was contrived, that he really did not mean what he said. 69 But this need not be the case at all.

6?Ott, "Theokrits 'Thalysien*," p. 1 3 8 . ^®So Puelma, p. , adapted by Wojaczek, p. ^0-^1, 4 9 . Van Groningen, Mnemosyne 12, p. 27ff., argues for Simichidas' inferiority on the grounds that a gift is only given to an inferior by the master. But that is certainly not the case in Idyll 1. Weingarth, p. 118, because he interprets the whole speech as a mockery (see footnote 6b), thinks that Simichidas is putting himself on a much higher level than Lycidas. But verses 30-31 and 36 specifically emphasize equality, not superiority. Lawall, Theocritus' Coan Pastorals. p. 8 5, thinks Lycidas is put on a "superior plane" simply because he grins and laughs. It should be added that the popularity of Lycidas* song in comparison with Simichidas' (see below, p. 71) has much to do with his being selected the superior poet, although this is left unstated.

£9so Ettore Bignone, Teocrlto. Studio Crltlco (Bari: Gius. Laterza & Pigli, 193*0. p. ^8. Weingarth, p. 115ff.» and 13J . ejutti6££, who define the word here as "cunningly, deceitfully." See also Gow, Theocritus, p. ibZ, n. bZ, -/4 0 -

All the word denotes is that Simichidas1 statements had some definite purpose. That purpose has already been explained: to arouse the goatherd to accept his invitation.

To that end he began not with answers but with a claim of equality and soon openly proposed the contest. His assurance before lycidas, combined with honest words about Sicelidas and Philetas, also makes the speech enticing. But there is no reason to believe that this is false modesty or that he is being ironic. His purpose is simply to challenge.

Again the goatherd’s laugh prefaces his words. But no longer is the participle oeaapodg used, no longer is the laugh mocking. The light teasing abuse, the obviously sarcastic questions and comments have disappeared with it.

Noxtf we have a laugh of approval. Lycidas adopts

Simichidas’ more candid tone?®; the two have come to agree­ ment. As a sign of this agreement and friendship Lycidas promises the city poet his staff,?3- and then states his reason for the gift: ouvekcv £oot / Ttdu in’ tikadeCq.

Cataudella, p. 16 7 , and Gershenson, p. 9 1.

?°Weingarth, p. 121, being consistent with his previous interpretation (see footnote 6*0 , understands lycidas* speech as joking and ironic. But the whole analysis remains forced, relying on subjective impression rather than on the objective friendliness that the scene and dialogue present. Giangrande, p. 5l6ff., offers virtually the same interpretation as Weingarth.

?3-For more about the meaning and symbolism of the staff-offering, see below, p. 89-9^* rtErtkaapevov in A 169 Epuos, •'. . .because you are a sapling fashioned by Zeus entirely for truth." This reason reaches two levels. First, the connection between epvos and Kopuva explains why Lycidas gave this particular gift, as Gow has shown.72 But, if this is the only meaning, then the rest of the statement falls flat. Rather that explains why in general Simichidas is to receive a gift and further clarifies the choice of a staff. Several writers have spotted the Hesiodic allusion in these words, but none has grasped the true import of the word &\a0£

By saying that Simichidas is made entirely for truth the goatherd means that he is made to be a poet. For truth, d\d0sia, is the quality that distinguishes the great poet; truth is the primary gift of the Muses.This idea is an essential component of the very scene that Lycidas alludes to with his staff-offering, the appearance of the Muses before Hesiod and their presentation to him of a OKfjrtTpov.

?2g o w , Theocritus, p . 14-2, n . 44.

73Puelma, p. 160, n. 55; Luck, p. I8 9. Serrao, p. 47, thinks that the phrase means that Simichidas remains faithful to his own nature. Brooks Otis, Virgil, A Study in Civilized Poetry (Oxford: Clarendon Press, 19o4), p. 4-02-4-05. offers a different explanation of d\d0eia, that it alludes to his style in Idylls 13 and 22. But for Theocritus to do this through the single word d\ti6eia in Idyll 7 is much too obscure.

7^E. R. Dodds, The Greeks and the Irrational (Berkeley: University of California Press, 1 9 5 1), P- 80ff. -42-

Their words to the herdsman Hesiod tell of their associ­

ations with truth:

noi|i£v£s aypauXot, ndk ’ yaoTepES oiov, if>neu ^euSety nokkh \£yeiv £ti5|j,o t o i u op.oia, l'6|iev 6 ’, eut’ £0£\a>n£v, akT\B£a YT)puaaa0ai,.

Shepherds of the field, shameful disgraces, mere bellies, we know how to say many lies that are like truths, but we also know, when we wish, to speak true things. (Theogony. 26-28)

The same emphasis on truth occurs in the introduction to

his Works and Days, v. 10: dytb 6£ ke, Il£por|, ETT|Tup,a

[i.uQ'naaCp.riv, "And I, Perses, would tell of true things."

For Hesiod, therefore, truth is a gift of the Muses and

an essential quality of p o e t r y . 75 Even before his time it

was recognized as such, as Alcinous' commendation of Odysseus' truthfulness reveals (Odyssey. 11.363-69). Later poets also insist upon truth, most notably Pindar,

who even personifies the concept, making her a daughter

of Zeus and an associate of the Muses.7^ Callimachus' well-known dictum (fg. 612 P f .) , dp,dpTvpou oufifcv &e£6co,

"I sing of nothing unattested," is in the same vein.

Thus Lycidas * words are high praise if understood in the

75For more about Hesiod and the distinction between true and false, see Kurt Latte, "Hesiods Dichterweihe," A&A 2 (1946), p.

76Oly. 10.4 and fg. 205- Cf. Gilbert Norwood, Pindar Tsather Classical Lectures, 19; Berkeley: University of California Press, 1945). P- 166-6 7. -^3- Eesiodic context.77 He has recognised in Simichidas the

essential attribute of the superior Greek poet, dA&Geia,

and honors him for it. Simichidas has been created to be

a poet (that is, fashioned for truth), by Zeus no less,

just as Hesiod was inspired to truth by the Muses; and

hence the offering of a crook befits Simichidas as it did

Hesiod.

lycidas is also pleased with Simichidas' poetic

tastes, especially his naming of Slcelldas and Philetas.78

His compliment to Simichidas on this issue takes the form

of a comparison castigating those who strive to rival

Homer (v. ^5-^9)• The inference, of course, is that

Simichidas refrains from such presumption. These imitators

of Homer are likened to an architect who strives to build

a house as high as a mountain peak— neither will succeed.

77The fact that these words do offer a Judgment of Simichidas* poetic ability, something which Giangrande, p. 517-18, denies ("Toute mention de valeur poetique y est scrupuleusement evitee.") and uses to support the irony of lycidas* statements, makes his theory even weaker.

78l cannot agree with Lohse, p. *n6-2^, that Simichidas is rejecting these two poets as models. The word ourto) almost certainly means "not yet," and thus his eventual goal i_s to equal them. Nor does his citing them as models require that they be bucolic poets. As Lycidas phrases the comparison, it is a matter.of size, not theme. Simichidas need model only his scale and perhaps his style on these two. The songs presented in the Thalysla best demonstrate the poets' artistic views and their similarity shows the consensus between the poets. Serrao's forced correspondences between "proposal" and "response" and his tortuous proportions (p. il-Off.) provide no real defense of Lohse's theory. -*j4-

The comparison is one solely of size, not subject matter,

similar to the Calliraachean comparisons between the oak

and the ear of grain and between the mighty river and the

trickling spring.The rationale behind these verses

seems to be to align both Lycldas and Simichidas (and

therefore Theocritus) with Callimachus in his literary

quarrel with Apollonius. Common feelings on an impor­

tant artistic question enhance the rapport that has developed so quickly between them. lycidas now readily agrees to the contest, phrasing his acceptance like the refrain from Idyll 1. That he now seeks to please

Simichidas (v. 50) is one more indication of their comradeship.

After reading the description and the dialogue one can still only wonder whether the two protagonists have ever net before.®* Not only has this point been left in

^^Callimachus, fg. 1.9ff. (Pf.) and Hymn 2, 100-107. This is Lohse's error (see footnote 7 8). It is not a question of a false choice of model, but of attempting to compose a work as large as the Iliad or Odyssey. ®°Gow, Theocritus. p. lkj-kb, n. **7f. ®*Van Groningen, Mnemosyne 12, p. 28, states that they have met before, but offers little evidence for his assertion. Lawall, Theocritus* Coan Pastorals, p. 85-87, takes the same opinion, based on the fact that Simichidas instantly recognizes Lycidas (but he recognizes him only as belonging to a certain occupation, not as an individual or by name), that Lycidas immediately calls Simichidas by name, that they address each other as cp(X,oq, and that the nature of the dialogue suggests Intimacy. Gow, Theocritus, p. 1 2 7, assumes their acquaintance because of the way Lycidas greets and banters Simichidas. Puelma, p. 1^8, -45- doubt— different details in the poem even create opposite

impressions. One feels that Lycidas and Simichidas have

met previously because lycidas immediately addresses

Simichidas by name,®^ because his humor implies acquaint­

ance , and because of the ease and familiarity with which

the conversation develops. On the other hand, the vrords

t tv * 66itav (v. 11), the fact that Simichidas seems to

know of Lycidas by reputation and not by actual meeting

(v. 27-29). declarations of poetic convictions suggesting no knowledge of each other's views (v. 40-41 and 45-48),

and the whole aura of the contest situation (the lengthy buildup of the challenge, the great eagerness to Impress

one another, the offering of the prize of friendship) all give the impression that they have never before met face

to face. Ky personal feeling is that this is their first encounter, primarily because of the great significance that Simichidas attaches to the meeting. Yet a definitive

n. 13. and p. 1 5 0 , sees this as their first meeting because of the way in which Simichidas identifies Lycidas. Giangrande, p. 526-2?, agrees with Puelma, arguing mainly from the usage of the pronoun Tig. Serrao, p. 17, n. 10, suggests that they have never met and that their seemingly instanteous recognition is due to the way in which encounters occur in epic. Nowhere, however, is there any indication that the meeting is preplanned and that Lycidas* questions are part of some test, as Wojaczek, p. 42-43, conceives.

®^As Giangrande points out, p. 527. other unrecorded dialogue could have preceded this, in which Lycidas found out Simichidas' name. Still, the author's selectivity produces the impression of previous familiarity. -46-

Judgment on the natter is impossible. The two appear to

know each other at first glance and by name, enough to

Joke familiarly. But their subsequent dialogue makes them appear unacquainted. Perhaps the whole problem is due to an artistic oversight by Theocritus. Perhaps it results from a concern for conciseness. A conversation completely consistent with reality would have been much longer and unwieldy, much coarser and more approximate to everyday

speech, less unified, and in prose. It could not be rendered poetically. Theocritus presents an artistic dialogue perfectly suited to an artistic piece. A long

initial conversation in which the two poets learn about each other could become tedious and unproductive— hence it has been skipped. For the rest, Theocritus has managed to condense light humor and mockery, the notion of the poets1 equality, and two professions of artistic principles, all within the framework of a challenge, into a brief, limited space. This compression has made the dialogue what it is: effective, yet unreal and somewhat inconsistent. The other bucolic idylls exhibit the same artificial dialogue in varying degrees.

# #■

83couat, p. ^30 ff. The six-verse transition passage between the two songs

is Simichidas1 response to lycidas' last speech (v. ^3-

51). He takes his cue from the goatherd's allusions to the prologue of the Theogony (v. kj-kk) and carries the proposed similarity between himself and Hesiod one step

further. Not only will he possess the Heslodic staff and

the gift of truth, as Lycidas has suggested, but he also

has received the same poetic training as Hesiod: while

herding in the mountains he was taught to sing by the

Nymphs (v. 91-93).®^ His words are not meant to be taken

literally or in total seriousness. Simichidas is a poet of the city and cannot be expected to have grazed a flock on the hills. The expression is only a playful way of

saying that he has experienced bucolic inspiration in the

Hesiodic sense,a Way that ingeniously reinforces the literary allusion that Lycidas made previously. Simichidas continues to play with lycidas' words in his next claim, that the fame of his works has reached the throne of Zeus.

There is no need to understand the name Zeus as an obscure reference to Ptolemy, as previous commentators

®^0n the connection between the Nymphs and Muses, see below, p. 103- The words av’ copea, besides alluding to Hesiod's instruction on Mt. Helicon, also refer back to Lycidas' place of composition (v. 51) and to his bucolic utopia (v. 87). Simichidas has put himself in a class with both great poets. 85cf. Gow, Theocritus. p. 155. n. 92. and Giangrande, p. 508-11. -48- O/T have done, 00 Weingarth has presented the parallels for

the statement "the fame reaches to the gods," beginning

with the Homeric Tfjg vvv x\£os obpavdv ikei (Iliad 8.192),

and none of them covertly refers to a mortal.®'7 The

scholiast, always ready with a fanciful interpretation,

has imagined Zt|v6s Bpovov as no more than a poetic equiv- OO alent of oftpcxvou. In Idyll 1? Theocritus has tvrlce set

Zeus and Ptolemy on different planes. In verses 1-4 Zeus

is called the best of the immortals, while Ptolemy is

distinguished as the most excellent of men. At the

conclusion of the poem (v. 135-37) Ptolemy is referred to

as a demigod, but his inferiority to Zeus is still brought

to the fore by his need to pray to Zeus for virtue. Thus

it is highly unlikely that Theocritus would equate these

same two in Idyll 7 . Rather the phrase is merely a

reexpression in Homeric fashion of Lycidas' praise in

line 44. Following Lycidas' allusion to Hesiod Simichidas

is praised for being fashioned by Zeus. Simichidas, in

turn, after elaborating on the first part of the reference,

goes on to elaborate on his connections with Zeus. The

praise for being fashioned by Zeus for truth is matched

^^Wilamowitz, p. 139; Gow, Theocritus, p. 155. n. 93; Kuhn, p. ?2; Puelraa, p. 153. n. 2 9.

®7weingarth, p. 64-66.

®®Wendel, p. 102, 93a: £rct Gpovov ayayc

Simichidas' statements have a humorous intent, to joke with

Lycidas' compliments; but, like Lycidas* words, they have a serious side too. Simichidas had felt bucolic inspi­ ration and his poetry had become well-known. The symmetry between speeches concludes with Simichidas demonstrating the same desire to please that Lycidas had shown before reciting his song. He makes a special point of saying that Lycidas is dear to the Muses, just as he terms himself a "clear mouthpiece of the Muses" (v. 37). It is an expression of their brotherhood. CHAPTER 2

Lycidas1 song has been as baffling a puzzle as his

identity. Its genre, its structure, its allusions, even its

point have all been analyzed repeatedly without anything

close to general agreement. Yet despite their Inability to

understand it fully, critics have recognized it as some of

Theocritus' best verse.^ The mysteriousness of the song

has, not uncharacteristically, increased and not diminished

its beauty.

The unity and organization of the song of Lycidas has

been studied many times. Because the reasoning behind the

arrangement of ideas is somewhat obscure, scholars have

tended to criticize the song for its loose structure.2

Luck goes so far as to find two distinct poems in it, with

the break coming between lines 77 and 78.3 others, such as

•1-Gow, Theocritus, p. 152, n. 78; Van Groningen, Mnemosyne 12, p. 34';’"Weingarth, p. 149.

2Wilamowitz, p. 140, sees the unity of the poem only in the person of the singer, while Sanchez-VJildberger, p. 6 6, in considering the Comatas section of Lycidas' song, speaks of "die Sinnlosigkelt dleser zusammengestellten Motive." Van Groningen, Mnemosyne 12, p. 33-34, terms the connection of ideas "curious" and "associative" and then calls the loose structure perhaps a fault. But he also finds great charm in it.

^Luck, p. 187. Similarly, Bignone, p. 52ff.

-50- -51- Brooke, Lawall, Ott, and We inearth, have divided the poem

up into two, three, or even four parts, x^hile still

asserting the overall unity of the whole.^ Yet a much

neater construction has been overlooked. The first five

lines of the poem function as an expository prologue,

giving a quick but sufficient statement of the basic

situation.^ This is ingeniously accomplished by a. condi­

tional sentence, which is in fact two wishes, that Ageanax

have a safe voyage to Mitylene and that he save lycidas

from the love that is inflaming him. With line 57 the

sense virtually reverts back to the start.^ In this way

the transition to the body of the song is effected more

smoothly, since there is no real change in thought. The

remainder of the poem is devoted to the author's desires

for the future and the past, first for his lover and then

for himself. Thus the two segments have a parallel

^Anne Calvert Brooke, The Pastoral Idylls of Theocritus (Diss., Brown University, 1969). p. 101-102, splits the poem into "the account of the goatherd's passion for Ageanax (52-70) and the songs of the feast (71-89)." Lawall, Theocritus' Coan Pastorals, p. 88, and Ott, Kunst des Gegensatzes, p . l46.have the same tripartite division: 5 2 - 6 2 , 63 -8 2, and 83-8 9. Weingarth, p. 127, divides their middle section into two between lines ?Z and 73* See also Legrand, fstude sur Theocrlte. p. 391*

^Lawall advocates an 11-llne expository introduction, but nothing new is really added in the last six lines.

^Welngarth, p. 1 2 9,-notes this reversion, but consid­ ers it secondary to the repetition in lines 61-62. The fact that the sentence begins with xaC causes no problem. Theocritus occasionally introduces a new section with xaC, as in v. 10 and 9 0. development (wish for the beloved leads to wish for self),

although Lycidas' wishes for himself differ between the two

sections. In the prologue he asks for fulfillment of his

love, while in the lengthier second segment his requests

progress from the boy's safety, to a joyous celebration, to

consoling wine and music, to an unattainable idyllic life

with Comatas, as his awareness of the truth slowly

develops. It must be granted to Van Groningen that the

structure here is somewhat associative, following Lycidas*

thoughts as they move from expectations of happiness to despair.? But the progression is neither jerky nor awkward, once one appreciates the connections between the myths of Daphnis and Comatas and Lycidas' own situation.

Nor can this method of composition rightly be faulted.

For the poet is attempting to convey a state of high emotional anxiety. A tightly organized work would be out of character. The lover's mind does not operate analyti­ cally, but rambles from thought to thought. Such an arrangement, in which the poem develops according to the poet’s emotions rather than strict logic, more accurately represents the manner in which an anguished man would

?Weingarth, p. 1^ 8, however, denies that the devel­ opment is associative, unless one takes "associative" to mean only a continuous process of thoughts, which are joined to one another so that one grows forth from the other. But that is how I understand the term. -53- compose.® And., by being allowed to glimpse the development of his emotional state, the reader can better feel his bewilderment and understand how he arrives at his final wish. For an emotionally charged poem this type of structure is highly superior to a polished, artificial one and provides a large measure of the poem's allure. The unity of the poem, therefore, is centered about Lycidas' multiple wishes, for Ageanax first of all, and afterwards for himself.9

The temporal Interrelations between past, present, and future complicate the song. Most of the song (v. 52-55 and 57-7 2) is a projection into the future— this feature is a consequence of all the wishes. The myths of Daphnis and Comatas (v. 73-82) extend the poem into the past. And line 56 is strongly fixed in the present, which increases its force. But in what dimension do lines 83 -8 9, the concluding lines of the song, stand? The options are the future or the present: either this wish for a blissful

^Rudolph Stark, "Theocritea," Mala 15 (19&3) • P* 37^. uses a similar argument to explain the metrical problems in the Cyclops' song. Just as confusion in meter befits an illiterate Cyclops, so a loose structure befits an impas­ sioned man. Theocritus is adept at adapting the style to the character. Other poems in Theocritus from lover to beloved (Idylls 2 , 3 , 1 1 , 1 2 , 2 9, and 3 0 ) have an analogous associative structure.

9The unifying theme of Lycidas' song cannot be, as Beck states, p. 31». "to persuade Ageanax to oblige him [Lycidas] ," since Lycidas has abandoned that effort by the end of the song. -5**- life with Comatas occurs at the time of Lycidas' future celebration, or else the realities of the Comatas legend have Jogged his mind back into the present, where he addresses Comatas and makes his new wish. The latter explanation seems far superior. For to imagine an unrealizable wish that one will make in the future is equivalent to making that same wish in the present. The shift to direct address is used to mark the change from i*hat lycidas longs for in the future to what he longs for right now. By switching back to the present with altered hopes the whole wishful, futile nature of Lycidas' expec­ tations is intensified. Even though there exists a possibility of future love fulfillment with Ageanax, the grief to come after that (another level of the future) dominates the present. The whole poem, moreover, is a clever use of the future to reveal and to attempt to influence the present. For Lycidas petitions the boy not with a straightforward declaration of his feelings, but by foreshadowing their effects in the near future.

The poem is certainly a propemptlkon, for three lines.

Then Lycidas places a stipulation on his previous request:

lOKuhn is confusing on this point. He speaks of a return from the vision of the future to the present here (p. 5l)i yet also states that the present appears in the poem only one single time, line $6 (p. 52). For other treatments of the temporal connections, see Weingarth, p. 1^5 and 148, Sanchez-Wildberger, p. 65-6 6, and Rosenmeyer, p. 86. -55- Age anax must yield his love to Lycidas if he wants a

favorable voyage.11 V/ith this the poem becomes rather a

paldlka. in the fashion of Idylls 12, 29, and 30. For

Lycidas' main concern is not the boy's welfare, but simply

his own satisfaction.1^

Erotic connotations appear in the very first line with

the mention of Kitylene.13 This city of love is intended

to call to mind the Lesbian love lyrics of Sappho and

Alcaeus, of which many reminiscences are to be found in 1 ii Lycidas' song. ^ Then the nakoq rr\oo9 is immediately contrasted with a two-line storm scene, symbolic of the

poet's profound inner turmoil.15 The next two lines

Hott, Kunst des Gegensatzes. p. 150, offers two explanations of these lines. Either the risk of the trip planned for the stormy season will decline in the fulfill­ ment of the love, or Lycidas wants fulfillment in love, hence the trip must be postponed, while Lycidas' promise eliminates a reason that could stand in the way of this delay. But Lycidas' wish requires neither that the trip have been planned for the winter, nor that it be put off until the winter, but only that nature be favorable to Ageanax' voyage no matter what season he might sail in, even the worst, if only he will satisfy Lycidas' love. See also Gow, Theocritus, p. 145. n. 52-8 9, and Kuhn, p. 49. 12por other discussions of the genre of this poem, see Gow, Theocritus, p. 145; Kuhn, p. 48-49; Van Groningen, Mnemosyne 12, p. 32; Lawall, Theocritus' Coan Pastorals, p. 8?; Weingarth, p. 12 8ff.; Ott, Kunst des Gegensatzes, p. 149-50. *3see Legrand, Etude sur Theocrlte, p. 124, n. 3, and Lawall, Theocritus' Coan-Pastorals, p. 8 9.

1^'See below, p. 5 6, n. 1 6 , and p. 5 8. n. 2 3 .

^The parallels from the Anthology that Lasserre finds -56-

express the turmoil more directly, this time with a

different image, the burning fire of love, one common in

Theocritus, but especially effective here because it is

surrounded on both sides by w a t e r . ^ The one verb,

£>0o t |T(U , although applied to Lycidas, better suits Ageanax1

circumstances: the poet must be rescued from love for

Ageanax to be rescued from the stormy winter weather. The

implication of this Initial wish, namely that Eros has the power to control the \*rinds and the ocean, makes its power over this one man, lycidas, loom that much stronger.1?

Added emphasis is placed on line 56, the poet's ardent passion, both because of its position as the last line of the prologue and because it is in the present tense, in contrast to the futures around it.1® All the thematic and

for these and several other passages from the two songs (p, 3i2ff.) are illuminating and indicate Theocritus' reliance on common motifs. But his thesis that the songs are a parodistic composite of various epigrams is weakly supported. For Lasserre can supply definite epigrams for only 6 out of the 70 lines in the two poems, and is compelled to posit the existence of other epigrams for the remaining 6k lines. Nor can he even prove that the epigram models for these 6 lines antedate the Thalysla.

i^For this motif in Theocritus and other classical pastoral poets, see James B. Pearce, Themes and Motifs in Classical Pastoral Poetry (Diss., University of Texas, 1972), p. 13*1— 35. To his list for Theocritus should be added ll.Slff. For this and other motifs in the first eleven lines as imitations of Sappho, see Weingarth, p. 130- 3i. ^Kiihn, p. 5 2 , considers the power of love in this poem as "die absolute Macht."

1®See above, p. 51 and 53. -57- structural stress, then, falls on the man in love, the

poet, and is aimed at the boy's pity. Line 56 completes

the exposition; we now know enough about the two characters

and their relationship.

The second section begins with quite a different tone.

Now everything is stillness and love rather than the preceding storms and sexual tension.*9 The waves and winds have been pacified, and harmony reigns between beasts and gods, between beasts and men. The powers of nature, like

Lycidas* heart, will grow calm with the boy's compliance.

Here again the choice of verbs is significant. Elsewhere in his poetry Theocritus uses OTop^vuupi exclusively in the p n context of spreading a bed or couch. u This meaning, besides being appropriate for the halcyons building their nests, also is suggestive of the poet's sexual intentions for Ageanax. The selection of

Nereids, as the scholiast does (Wendel, p. 92-93. 57a), then the birds are her agents for stilling the winds and sea, a variation on the notion of Eros* power over the natural elements found in the first five lines. The poet

*9v/e ingarth, p. 130 ff., wrongly treats this section as a further storm scene, instead of as a contrast to it. Lawall, Theocritus' Coan Pastorals, p. 8 9. and Ott, Kunst des Gegensatzes, p. 152-53. Interpret correctly.

206.33; 15.127; 17.133; 2 1 .7 ; 2 2 .33 . -58- balances off her evil effects on himself with a demonstra­ tion of the potential good (or harm) that she can do to

Ageanax. The two sea pictures are meant to be persuasive.

Lines 6l and 62 are a virtual repetition of the poem's first line, neatly rounding off Lycidas* promise to the boy and preparing the way for his wish for himself.2^ They in no way, however, Indicate that the condition set doi-m by Lycidas has been complied with. Here and in the following celebration scene Lycidas is merely imagining how it would be if his wish were fulfilled. The futility expressed at the end of the song shows his realization that fulfillment has not and will not come.

Up to now the poem has ranged over a broad panorama of constellations, winds, and seas, uncommon for Theocritean pastoral. But with line 63 the bucolic begins. Here the scene is narrowed to the more circumscribed rustic world and is adorned with conventional bucolic apparatus: lovers' garlands, wine, a warming fire, and a thick couch.23

2 lLawall, Theocritus' Coan Pastorals, p. 8 9, sees "the use of ships, voyage, and harbor as erotic metaphor....", which is certainly possible in view of the other erotic imagery in the song.

22So Gow, Theocritus, p. 14-8, n. 62, and Serrao, p. 6 0.

23This is not to say that either the scenery or the apparatus is exclusively bucolic. In fact, the scene is highly reminiscent of much in lyric poetry. V/eingarth, p. 13^-36, cites Alcaeus 38 L P , 338 LP, and 3^6 LP and Anacreon 362 L P , 396 Page (27 D), 356b Page (^3 D), and 96 D as illustrations of similar drinking banquets. In addition, Anacreon ^3^ LP provides an example from lyric -59- Suddenly Lycidas seems cut off from the exterior world, alone except for someone to roast his beans and the two pipers and a singer. Yet the previous scene is not abandoned entirely. Its whole atmosphere of peace and ease is carried over into the new setting. That calm has settled over Lycidas too. On the day on which the ship 2 h. arrives at Mitylene, the poet promises the boy, he will celebrate the successful voyage with all the customary pleasures of a rustic feast. Lycidas will be in a very happy mood then, because the boy has satisfied his desires.

All the symbolism of the feast bespeaks that fulfillment.

But the facts are different. The description has been so seductive, not only for Ageanax but for the reader as well, that one nearly forgets that it is only Lycidas'

of a rose garland. Certain fragments of Sappho, who also appears to be a model in earlier lines (see footnote 16), offer even closer parallels. Sappho 8lb LP, like Alcaeus 362 LP, speaks of wearing garlands of dill, while Sappho 94 LP depicts a festive day when one of Sappho's girls wore a garland of violets and roses (v. 12—1 3 ) and lay on a soft couch (v. 21). In Sappho 2 LP, after 12 lines of pastoral description, Sappho summons Aphrodite to appear, wearing a garland (if OTep.jjtaT’ may be read here), and to pour forth cups of nectar. Yet even more tantalizing Is Sappho 95 D, if we may accept the extremely tentative restoration of J. M. Edmonds, "The Berlin Sappho Again," CR 30 (1916), p. 131-32. In It Sappho is awakened and dressed, then garlands (otEcparov) are placed on her head, while someone roasts something (tppuooov), perhaps nuts. All the preparation is on the day of her return to Mitylene. Theocritus could easily be reversing some such scene, with the lover on Cos, instead of the beloved returning to Mitylene, going through the festive ceremony.

24j understand tt^vo kcit* ap,ap as Gow, Theocritus, p. 148, n. 6 3 . -60- dream, only his promise for the future. That fact must be

kept in mind at all times. With line 69 his happy mood,

in the future and consequently in the present, begins to

change. Lycidas will drink at his feast, and naturally

his thoughts will turn to Ageanax. Gow's rendition

probably best expresses the emotion of the two lines:

"remembering Ageanax in the very act of drinking, and draining the cup as passionately as if I were kissing him.,l25 The word |ie|j,vaiJ.evo<; forms the crucial link between past, present, and future, between hope and reality. Lycidas is in the present, imagining the future,

in which future time, while drinking, he will look back to a past time of pleasure between that time and the present.

But Lycidas now starts to realize that his future celebra­ tion may not be as joyous as he first expected, that all he will have then will be memories. A diagram should make this temporal relationship clearer:

— Present Burning Passion even with the boy at Cos

— Proximate Future Satisfaction of Passion at Cos

— More Remote Future Afterglow at feast even with the boy at Mitylene

-Most Remote Future Burning Passion because the boy is at Mitylene

2 5 g o w , Theocritus, p. 150, n. 70. -61-

Lycidas will be no better off after the feast (and actually

at the time of it) than he Is In the present. He starts to

comprehend that in that future time his longing for the boy

will not have ceased, but the boy will nolonger be there

to satisfy him. Only the cup will receive his kisses. The

fires of love will have returned. And the joy of the

previous lines begins to slip away.

No rustic ceremony would be complete without some

music and song, and Lycidas' festival will be no exception.

He wishes for two pipers and a singer Tityrus to accompany

them.2^ Because it is only an imagined celebration,

Lycidas is free to select the themes for Tityrus' songs.

His choice of subjects illustrates both his situation and his feelings, sad now because Ageanax does not respond to his urglngs and sad for the future because of Ageanax1 departure. Of the two pastoral songs he picks, the first,

the myth of Daphnis, has been much the easier for scholars

to explain.2? In this song Daphnis, a cowherd, is wasting away out of love for Xenea, a motif expanded on in

26 Whether this Tityrus is meant to be a man or, as Lawall contends, Theocritus' Coan Pastorals, p. 9 1, a satyr makes no difference for the sense of the poem.

2?Kuhn, p. 50ff.; Lawall, Theocritus' Coan Pastorals, p. 92ff.; Weingarth, p. 136ff.; Ott, Kunst des Gegensatzes, p. 150ff. Gow, Theocritus, p. 152, n. 78, misunderstands the relevance of the song of Daphnis, seeing it as a contrast to Lyclda?' happy celebration rather than as a parallel to Lycidas' present and future situations. -62- O Q Idyll 1. Even this 'brief allusion to Daphnis is

sufficient to evoke all the pathos of that poem. The use

of the pathetic fallacy here (v. 7^-75) is analogous to

the mourning of the animals in Idyll 1 (v. 71-75) and the verb, MaTETdKETo. reflects the image of melting away out of love (from the heat of the fire of love in v. 55-56?) also found in Idyll 1 (v. 66, 82, 88, and 91). Such links serve to bind the poems and their mood of grief closer together. Another emotional connective is the simile, v. 76-77* which is modeled after a simile in the Odyssey,

19.205ff.: kcitcitT|Ket * ev axportokotaiv opEaoiv,/

.../ &<; Tfjg TfjxETo na\& Ttapfji’a 6dxpu x Eotfcrns.... Penelope’s tear-strewn cheeks are compared to the melting snows in the mountains. Both pictures relate closely to

Lycidas1 circumstances. Penelope weeps because of her longing for her beloved Odysseus across the seas, just as lycidas vrlll do for his lover Ageanax, who has sailed away.

The herdsman-poet Daphnis pines away for the unattainable love of Xenea, just as the herdsman-poet Lycidas does and will do for Ageanax.^9 And, as the poet realizes, Daphnis'

28por the relation between the legend here and in Idyll 1, see R. M. Ogilvie, "The Song of Thyrsls," JHS 82 (1962), p. 106-10. I assume that Idyll 1 preceded, or was at least contemporaneous with, Idyll 7 .

^^jjawall, Theocritus1 Coan Pastorals, p. 93. however, denies that this is the relevance of the Daphnis myth and Insists that it is rather to demonstrate "the grandeur of a herdsman's passion." Here, as elsewhere, Lawall*s interpretation is colored by his assumption that Ageanax -63- grief found no solution. The selection of the legend is

designed to elicit the boy's sympathy, but even more to

amplify lycidas1 future fate. The sombre mood that began

with line 69 grows even stronger with this myth. Moreover,

the scope has again become expansive (emphasized by the

adjective ^oxciTowvTa) , though this time over land instead

of the sea.

The second myth is more allusive. A goatherd,

Comatas, is locked up alive in a chest because of the

"evil malice" of a king, but is saved by bees, who feed him with their honey because the Muse had put nectar on his

lips. Then Lycidas, leaping from his plans for the future

into the present, addresses Comatas directly:

0 most fortunate Comatas, these were the delights you suffered; you too were shut up in a chest, you too, fed on honeycomb, labored through the springtime of the year. (v. 83-85)

How is this myth appropriate for Lycidas' situation? The first really perceptive answer to this question came from

Van Groningen:

A moins que les vers 8^ s. Hat tv (savoir Comatas) xaTeH\q.a0Tig £g \dpvana, nal Tfo pe\iaaav / nrjpta qpeppoiievog eTog oipiov £|ert6vaaag.

is an aristocrat. For examples refuting his contention that all Greek names ending in -aval; belonged to aristo­ crats, see Giuseppe Giangrande, review of Gilbert Lawall's Theocritus' Coan Pastorals. A Poetry Book, in JHS 88 (1966), p. 170. -64-

n'expriment pas une comparalson (incomprehensible d'ailleurs, cf. Gow II p. 153) avec Daphnis, mais avec Lykidas lui-meme. L'un et 1*autre sont poetes; l'un et 1 'autre sont alrtoKot; l'un et 1 'autre sont dans une passe difficile; Comatas est durant une saison (topiov srog) mort pour le monde, prive de son travail et de ses plaisirs, emprisonne; lykidas sera durant la saison hivernale (coptov stos?) prive de la presence d'Ageanax, qui est toute sa joie. Kais tout comroe Comatas reste en vie grsice A son service des Muses qui lui envoient les abeilles, Lykidas sera reconforte par la poesie durant 1 *absence de son jeune ami. 30

Productive interpretations since Van Groningen's have all

been modifications or elaborations of his basic explanation,

as mine will be.Yet Van Groningen omitted another

important correspondence between the misfortunes of

Comatas and Lycidas. Just as Comatas suffered due to the wickedness of a king (aval), so too Lycidas is suffering because of the harshness of Ageanax (’Ay £ aval) , a king at least in name.32 ^he word connection is not coincidental.

30van Groningen, Mnemosyne 12, p. 3 3 , n. 1.

31Weingarth, p. 138ff.; Lawall, Theocritus1 Coan Pastorals. p. 93ff.; Ott, Kunst des Gegensatzes, p. 150ff. S. L. Radt, "Theocritea," Mnemosyne 24 (*1971) . P • 2 54-55» labors under the misconception that in line 83 Comatas is being compared with the airtoX.og of line 7 8, not Lycidas, and consequently his explanation fails. Serrao, p. 6l, totally misses the connection and denies that the story of Comatas has anything to do with the love of Ageanax. Beck, p. 3 1 , denies the relevance of both myths to lycidas' situation at the feast.

32The verbal parallel still holds even if ava| merely means "master," as the scholiast suggests (Wendel, p. 99-100, 78/79b-c). -65- Thus the story of the herdsman being shut up in the chest

is presented as an analogy to Lycidas* fate, being shut

off from the boy’s love.33

Comatas* misfortune, unlike Daphnis1, found a solu­

tion. The exact means of his deliverance deserves some detailing. The bees brought their life-giving honey to

Comatas* mouth because it was already sweet. The Muse, as Lycidas tells it, had poured sweet nectar on his lips, a symbolic way of saying that Comatas was a poet. For

sweetness of mouth is a common attribute of accomplished singers in Theocritus and elsewhere.3^ Yet lycidas*

33interestingly enough, two other "Imprisonments" in Theocritus involve singers and songs. At 1.52ff. the boy is weaving a cage for crickets, known for their singing ability, and at l6.10ff. the Charites, Theocritus' lauda­ tory poems, return to the chest where they are stored.

3^sweetness is first attributed to speech and song in the Iliad (1.249) and the Odyssey (8.6^, 12.187, 23.145), and more frequently later in the Homeric Hymns (3*169. 3.518-19. 7.59. 19.18, 21.4, 2 5 .5 , 32.2). But the proem of Hesiod's Theogony, a work already alluded to throughout the Thalysla, provides the fullest detailing of the relation between the Muses and sweetness: t<3 v 6 * &nd|iaT09 fSdEi a66ti / ek otoii&tcdv r|8Eia (v. 39-40), "Sweet sound flows inexhaustably from their [the Muses 0 mouths."; gvTtva Tip,f|Oouoi M 0 9 Koupai ^£76X019 / *yei.v6hev6v te i'6coai 5 lotpEcpecou paat\f|u>v, J Tip p,£v en l •yXtfoa'n •yXuKEpfiv X E io u a tu iiootju, / t o p 6* erte* £ k C TojiaTos (5>eT p.eCXixa (v. 81-84), "VJhomsoever of the princes cherished by Zeus the daughters of great Zeus [the MusesJ honor and see at his birth, they pour sweet dew on his tongue, and gentle words flow from his mouth."; 6 6 ’ 6\{3l09, o u t 1 vet Mouoat / (pCXcovTai* •yXuKepri ot drto aToiiaTog auBli (v. 96-97). "Happy is he whom the Muses love; sweet sound flows from his mouth." Pindar is reputed to have had his mouth filled with honey by bees when a young man (Paus. 9.2 3 .2 ), a legend perhaps generated by his own references to his honeyed songs (Oly. 7*7. 10.3; Nem. 3>77; Paean 6.59; -66-

apostrophe seems to speak of this imprisonment in contra­

dictions. For on one hand he proclaims how Comatas

suffered (rcertouBetg) and toiled (££ert6vaoag) , and on the

other hand he calls his experience a delight (TSprtvd) .

The clue to the problem lies in the vrord iljertovaoag, of

which Gow says, "The verb however is somewhat oddly used,

since Comatas1 experience was strictly passive."35 Yet

was his experience passive? The concept of rtovos appears

at two other places in the idyll. At line 51 Lycidas tells

how he tvorked (e^ETtovaoa) on his tune in the mountains and

in line 139 the chirping cicadas labor (exov rtovov). that

is they sing, since that is what they excel a t. 3^ Thus in

frg. 152). In addition, Bacchylides (10(9).10), Aristophanes (Birds ?48ff.), and Leonidas of Tarentum (AP 7.13) all employ this same theme; and Plato even applies it to poets in general (Ion 53 ^A) : X^yovai *Y&,p 6f|rcou0ev rtpos ^ ^ 9 ol rtoir|TaC, ot t and nprjwSu jieXippuTajv in Mouauv^KiVtow TtvcSv nai varaSv Spertonevoi T& |i£\ri

35gow, Theocritus, p. 15^, n. 8 5.

3^The singing talents of the t£tti(; were renowned in ancient times, as is demonstrated by 1.1A8 and 5 *2 9 . Callimachus, Aetia, f g . 1.29-30, and Anacreontea. 3^- More important is Plato, Phaedrus, 259A-D, where the close relationship between the cicadas and the Muses is detailed. -67- bo th instances toil is equivalent to musical-artistic

effort.3? Such a meaning fits line 85 equally well. The verb E^ertouaoag signifies neither suffering nor physical

labor, but Comatas' musical endeavors. He used the time of his confinement to compose and sing, a natural diversion

given his interests. This would preserve the sweetness of his lips and attract the bees. Time spent in this way might fairly be termed Tsprttd. Even the adjectives used in the description (&6eiav, naAaxoTg, y?u>ku) give a soft, sensuous aura to the whole imprisonment and make it seem an enviable experience.

Tityrus* second song is evocative to lycidas on two different temporal levels. At first he is still thinking in terms of the celebration. Over the previous nine lines he has come to realize how much he will be missing the boy then. The love affair will be complete, just a happy memory.39 Tityrus' song will help to soothe Lycidas*

See also Rosenmeyer, p. 13^-35* 3?For more on rtovos as an artistic labor, especially in the Callimachean period, see Mario Puelma (Piwonka), Luolllus und Kalllmachos (Frankfurt am Main: Vittorio klostermann, 19^9), p. Il6ff., and Lohse, p. M 8ff.

3®Weingarth, p. 13 $. however, feels that these adjectives are only ornamental.

39van Groningen, Mnemosyne 12, p. 33. n. 1, and Gershenson, p. 9 2, assume that Ageanax' departure is only* temporary and that he will return to Cos. Yet the poem nowhere even intimates at this and the-conclusion of the poem is certainly more striking without it. If the separation is only to be temporary, then music is only a -68-

sorrow. Lycidas, as a fellow goatherd and poet, can take

consolation from the myth's happy ending and expect the

Muse to treat him similarly.**® But much more important

than this is how the song pertains to Lycidas' immediate

situation. He has slowly become aware of the transito­

riness of any pleasure he might achieve with Ageanax and

longs for a means out of his love frenzy. His disenchant­

ment with Ageanax is obvious, since the rnyth equates the boy's attitude toward him with KaKCUCUv &Tao0a\Caioiv.

The same myth applies to the present. Just as the goat- hera-poet Comatas was rescued from grave danger by the

Muse (that this danger did not involve love is immaterial),

so the goatherd-poet Lycidas can have his love fires quenched by the Muse. Music can be a cpapticiKov for lycidas' lovesickness, not at the time of the celebration, but in the immediate present.^ Music will be much more

stopgap measure and his desire to live with Comatas only a passing fancy. But if the separation is permanent, then music and Comatas are more lasting values.

**°Weingarth, p. 1**3 . limits his interpretation to this level of the poem, treating the specific case of Tityrus* music curing Lycidas' sadness at the celebration and not the general application of all music as a remedy for love.

^Music's curative powers over love seems to have been a fashionable theme at the time, especially in conjunction with the legend of Polyphemus and Galatea. Theocritus uses it in Idyll 11, 1-3. for which the scholiast to this passage (V/endel, p. 2^1, l-3b) cites counterparts from Philoxenus and Callimachus, and also in 10.21-23. Yet other characters in Theocritus find different remedies: I4.52ff. and 2 3 .23 -2*1. For the use of the motif in -69- valuable , more lasting than Agjeanax could be. Full

realization of this solution suddenly comes to the poet

with line 82 and is the impulse behind his return to the

present and his unexpected apostrophe to the "most

fortunate Cornatas."^ This is no dream, but rather an

expression of Lycidas' new wish, to get totally free from

l o v e . He now yearns for a different type of pastoral

enjoyment, one that would be more permanent if it were not

equally impossible. Verbal repetition (keh\ijjievos—

xcx.tex£k\icro) links the two rustic scenes in the song, but

their very nature is their strongest bond. For each scene

is the poet’s visualization of his ideal situation, given

pastoral poetry, see Pearce, p. 136-37, who omits this example from-Idyll 7* Like many others, this motif would seem to have a source in the proem of the Theogony, 98-IO3 : el «ydp Tig xal Tt£v0og exo>v u£oxt|66i 0up,ip / a^rjiai xpa6Cr|v dxax'fip.evos, auTap &oi6og / Mouoacou GeQdrtcov xXeia^npoTepGdv auGpcortwv / tyivfjasi pdxapdg te Geoug^oi O\v[inov e x o u a iv ,/ a i\|r’ o Ye 6uocppoavv£a>v ^rtiXrjGeTaiov5£ t i xr|6£a)p / |idp,ur)Tai* Taxeiog hi nap^Tpartc 6d5pa Geawu, "For though someone has sorrow in his newly-troubled soul and grieves, sick at heart, yet, when a singer, the servant of the Muses, sings of the glorious deeds of men of old and of the blessed gods who live on Olympus, quickly he forgets his cares, nor does he remember his sorrows at all; the gifts of the goddesses immediately divert his mind."

^The two vocatives (v. 83 and 89) serve as neat boundary markers for the apostrophe.

^3so Ott, Kunst des Gegensatzes, p. 151: "Die Rlchtung des Wunschdenkens andert sich von V. 83 ab radikal." But the radicalness of the change can be overemphasized. V/hile the shift to the present'and the new wish do occur here, the mood for the change has been building up since line 6 9. -70-

his life goal at that exact moment. Lycidas' new desire

for fellowship with Comatas under the patronage of the

Kuses also resembles the relationship he is then estab­

lishing with Simichidas. He wants to lie under the trees,

tending Comatas' goats and listening to his songs, songs

that will keep his thoughts from love. He seeks the

effortless life of Theocritean herdsmen as exemplified in

the other bucolic idylls. Leisure, music, and pleasant

company would comprise his paradise.

The whole song possesses an even balance which leads up to the decisive conclusion. The successive wide and narrow scenes correspond closely to the alternation of tension and calm, of sadness and joy in the poem and mirror

Lycidas' wavering feelings. The two sea pictures are in counterpoise. Even the two internal songs offset each other and thus act as precursors of the larger balanced pair, the songs of Lycidas and Simichidas.^ The repre­ sentation of the dying herdsman-poet Daphnis serves to amplify the happiness of his restored counterpart Comatas and renders Lycidas' final vrish that much more meaningful.

With the concise thalysia-scene of the closing (the preferred alternative to the other small thalysia-scene in lines 63 ff.) the poet glorifies the merits of his own art, of his music, and of the whole bucolic life, and provides

^Puelma, "Die Dichterbegegnung," p. 15^. n. 31. -71- one lead-in to the final harvest festival.

*

Simichidas' song is the less pleasing of the two

poems, so much so that it has even been suggested that it was purposely made inferior, in order to demonstrate Simichidas' poetic immaturity.^5 yet much of this disfavor results from the nature of the poem itself. In the spirit of the contest Simichidas has chosen a stance opposite to that of Lycidas, and consequently what was beautiful in the first poem has to be made ridiculous and even ugly in the second. The poet is by design coldly rational, a debunker who does not take Aratus seriously. His whole attitude compels him to stress the negative aspects of love. Emotion degenerates into physical satisfaction, true feeling into flippancy. He is mocking all that we found pleasing in Lycidas' song, and so it is natural that it disturbs. But the poem must be appreciated and judged in its own right, for its negative, comic art. In that light it is a worthy match for Lycidas' song.

Simichidas fashions his poem along the same structural lines as Lycidas. Previous commentators have tended to divide this second song into at least three or four

^ Van Groningen, Mnemosyne 12, p. 3 6 * units,^6 either because they ignored this correspondence or because they broke up the first song in the same way.

Yet the very same two-part structure is appropriate here as there. The first seven lines of the poem make up the expository prologue, telling Aratus' plight and the poet's relation to him. The closing line of this section, with its verbal allusion to the last line of Lycidas’ prologue

(cuGst’ spcoT i— spwg. . .KdTCH0e i) , is specifically designed to mark the similarity between the two arrangements. The remaining three-fourths of the poem is devoted to

Simichidas’ several wishes, primarily for Aratus, although he too shares in the final request. He first prays to Pan to give the boy to his friend, then asks the Erotes to punish the boy, and finally wishes for leisure in place of their nocturnal vigils. Again the similarity between the two songs stands out. The second section of Simichidas’ poem employs the same system of progressive wishes that we saw in the second part of Lycidas’ poem.^7 The poet uses this series of requests to reveal gradually what is in

Aratus’ (and also his own) best interests. This structure

46weingarth, p. 152, and Ott, Kunst des Gegensatzes, p. 148, present the same three-part structure, ^rhi^e Ph.-E. Legrand (ed.), Bucoliques Grecs (Paris: Societe d'Edition "Les Belles Lettres", 1946), Vol. 1, p. 12-13, and Beck, p. 24, have four. Van Groningen, Mnemosyne 12, p. 3^* splits the song up into an unwieldy six segments.

^?See above, p. 51-5 2. -73- also results in a greater persuasive effect on Aratus.

The joking prayers for divine help play up the absurdity

of Aratus' passion and hopefully will drive him to recon­

sider his persistence. Philinus' advanced age provides a

second rationale. Then Simichidas gets to his real point,

the evils of their present situation and the potential

solution to it. The plan is to persuade Aratus to forget about the boy, and the previous wishes add weight to his final arguments. The concluding apostrophe (v. 122-27)

is Just one additional structural parallel between the two

songs.

This symmetry gives the same type of unity to both poems.^ Both progress through a set of wishes that are linked associatively, although not clumsily, and both center on a man's love for a boy. More definitive breaks between the various wishes in this second song, however, make the progression of thought more recognizable.

^®Van Groningen, Mnemosyne 12, p. 35-36, however, feels that Simichidas' poem has a much stronger unity than Lycidas' because Aratus' love is always central. But Lycidas' love has the same central position in his song. He also criticizes the unity as superficial because of the useless elements in the poem. Weingarth, p. 151-52* takes the opposite stand, maintaining that Simichidas' poem advances unexpectedly, by jumps, unlike Lycidas* poem, which has an uninterrupted continuity. But, in my opinion, the associative transitions here are no more unexpected than those between the two myths and the apostrophe in Lycidas' poem, nor are the jumps in thought harder to follow. The first two lines fix the poet's situation, mood.,

and tone. The graphic, almost comic pictures here give a

glimpse behind Simichidas' attitude throughout the

remainder of the poem.**9 The Erotes have sneezed on

Simichidas, that is he has succeeded in his love affair with the girl Myrto. Next he likens his feelings for her to the goats' delight in the spring, a simile that stresses both the animalistic, physical nature of his desires and their ephemeral!ty,-5° just as a similar asser­ tion in Idyll 1, 87-88: ejmoX.og, okk* eaopfi Tag p.T|Kd6ag oTa paTsuvTai, / TaneTai 6

SYSUTOt "The goatherd, when he sees the nannies being mounted, weeps that he himself was not born a he-goat."

Simichidas can assume such a lighthearted attitude towards love because his love was requited, because he views it as merely something passing and lustful, because he has not felt deep passion. All this finds immediate opposition in

Aratus, who is in love with a boy, who has met only disappointment in this affair, and whose passion is very deep. Simichidas seems almost to be taunting Aratus with his boasts of success and his joviality, yet claims him as his best friend. Having experienced nothing similar to

^9sanchez-Wildberger, p. 6 6, rightly sees these verses as Simichidas' defense for not treating exactly the same theme as Lycidas.

50Rosenmeyer, p. 254-55, analyzes this particular simile in greater detail. -75- Aratus' passion, he finds it difficult to empathize.

Simichidas* mysterious reference to Arlstls and his

artistic abilities must mean that Aristis has written a

poem about Aratus' love for the b o y . 51 The point here

would then be the contrast between Aristis' dignified

treatment of the situation and Simichidas' present frivo­

lous handling of it. And the pun on his name is one more

proof of this playfulness. The last line of the prologue

reemphasizes the depth of Aratus' passion with words that

Lycidas applied to his own feelings, but also in terms

analogous to those of the comic goatherd-lover in

Idyll 3 , 1 7 : ["Epcog] 09 (jle KaTaap,ux(*n> Hal ootCov axpis idrtTet,, "[love] , who burns and wounds me to the very bones." The whole Introduction has been a similar mixture of serious and comic.

It is very appropriate that Simichidas* first wish be directed to Pan. For not only is he a god of herdsmen and pastoral poets, both of which Simichidas has at least pretended to be at line 92; he is also a very amorous, lascivious, even pederastlc god.52 More important, he is'

5lcf. Gow, Theocritus, p. 156, **• 99; Kuhn, p. 53; Lawall, Theocritus* Coan Pastorals, p. 95; V/eingarth, p. 153. I find this explanation, and translation, superior to Beck's, p. 28-29.

52Wendel, p. 103-104, 103a-b; Kuhn, p. 53; Weingarth, p. 156-57. who thinks that Pan was also chosen because he is "ein ungeistiger Gott." -76- Simichidas’ divine counterpart, half goat and half human,

just as Simichidas has made himself out to be in the

initial simile. His whole nature conforms to Simichidas'

conception of what love should b e , and thus he is the

natural god for him to invoke. Pan also provides a touch

of the pastoral, along with the simile, in an otherwise

rather unpastoral p o e m . 53 Simichidas' request is blunt

and simple: bring the boy to Aratus to gratify him, even if

the boy does not want to come. Such one-sided love would

be satisfying enough for Simichidas (and also for the comic

lover of the Komos, 3 -2 0 ), but is unlikely to fulfill

Aratus* higher desires. The verb here, £peCoatg, is an

allusion, in the same metrical position, back to £peC6cov

of Lycidas' song (v. 70). Yet Simichidas' phrasing has

turned the emotion of that scene into something cold.

Line 105 has occasioned much discussion. The general

interpretation is that Simichidas is coyly pretending doubt about who Aratus' lover really is.5^ But why profess

such doubt only to abandon it less than fifteen lines

later? Kuhn has a better explanation for the intentional vagueness of the line: "...nun unbekummert direkt der

53sanchez-Wlldberger, p. 6 7 .

^Ulrich von Wilaraowltz-Moellendorff, "Aratos von Kos," Klelne Schrlften (Berlin: Weidmannsche Buchhandlung, 19*1-1), Vol. 2, p. 7 6; Gow, Theocritus, p. 157. n. 105; Van Groningen, Mnemosyne 12, p. 35; Lawall, Theocritus' C'oan Pastorals, p. 95* -77- Name Philinos genannt wird und nlcht ohne Sarkasmus die

Moglichkeiten auch wieder offengelassen werden.“55

Simichidas is saying that Pan should present Aratus with

whatever boy he likes, Phillnus or anyone else. He knows

that at present he is in love with Philinus, but does not

conceive that, or any love, to be very lasting. Thus he

generalizes the prayer to apply to possible future lovers

and in so doing manages a sly nock of Aratus1 serious

love: if Aratus cannot sticceed with this boy, may he with

the next. His attitude here is quite in keeping with his

easygoing concept of love.

Once the prayer is made, Simichidas must promise Pan

something in return. Instead of the gifts normally made

to Pan, as in 1.123ff.« 5*58-59. and Eg. 2.2-^, the poet

offers only a negative promise and bold threats. If Pan

grants his wish, the Arcadian boys will no longer flog

his statue when they do not get enough meat. If he does not comply, may he be bitten, itch all over, and have to

sleep In nettles. ^ And may he be in the far North during the cold of the winter and far to the south near

^^Kuhn, p. 53* Weingarth, p. 156-57. offers a similar explanation.

^Lawaii, Theocritus' Coan Pastorals, p. 98, effec­ tively points out the sound effects of these lines. Such sleep is opposite to that of the lizards in v. 22. -78-

the equator during the heat of s u m m e r . 5? There is great

humor in imagining the god in such uncomfortable straits

and great humor in such idle, hyperbolic threats. The

exaggerated display of scholarship in the prayer (v. 1 0 3 .

107-108, and 114) multiplies the comical effect.The

ultimate butt of all this ridicule, of course, is the poor

lover Aratus. It is Intended to convince him of the

foolishness of his position, as a first step in getting

him to give up on Philinus.

The second prayer continues in the same mock-erudite

vein. The connection of all these locations with Aphrodite

and unhappy love, and therefore their appropriateness for

the circumstances, seems secondary in Importance to the

grandiloquent impression they c r e a t e . 59 Simichidas calls

on the Erotes, already his benefactors once (v. 9 6) and here compared to apples (presumably because apples were

symbols of fruitfulness and love^), asking them to wound

Philinus and make him suffer from an unrequited love,

57ott, Kunst des Gegensatzes, p. 155. n. 429, sees a contrast between the hardships threatened to Pan and the favorable conditions of v. 63ff.

5®Lawall, Theocritus* Coan Pastorals, p. 98; Welngarth, p. 157.

59por their connections with Aphrodite and unhappy love, see Wendel, p. 107, 115-H8a-f, and Gow, Theocritus, p. l 6 o - 6 l .

60gee B. 0. Foster, "The Symbolism of the Apple in Classical Antiquity," HSPh 10 (1899), p. 39-55. and Beck, p. 26-27. -79- because he has had no compassion for Aratus. Simichidas'

change in wish, like that of Lycidas in the previous poem,

is sudden, yet anticipated. For the mockery of the prayer

to Pan has already exposed the poet's low opinion of

Aratus' love and beloved. It only remains to convince

Aratus of the same, hence his more direct attempts at persuasion in lines 1 2 0 -2 1 , with their "somewhat incon­ sistent flower and fruit i m a g e r y . " ^

But the fact that Philinus is well past his prime is 62 not the only reason for quitting. The nightly watches before the boy's door have proven emotionally and physi­ cally exhausting, for Simichidas as well as Aratus. Self- interest therefore also plays a part in his u r g i n g s . ^ 3

The competitor in love, Molon, is mentioned as a further

63-Gow, Theocritus, p. l6l , n. 121.

^There is no miraculous change in Philinus' appear­ ance between v. 118 and v. 120, as Serrao (p. 65-6 6) would have it. Philinus is still as handsome as ever at v. 120. But Simichidas has now resorted to a "sour-grapes" attitude, disparaging the unattainable beloved and trying to persuade Aratus that he is not worth the trouble.

^3l cannot, however, accept Beck's statement, p. 2^, that self-interest is the "single paramount unifying emotion which pervades Simichidas' song." Self-interest does not even appear as a motive until line 1 2 2 , so it is difficult to see how it could "pervade" the whole song. Even there Simichidas believes that his own interests and Aratus' best interests coincide. So self-interest is certainly one reason for his advice, but cannot be singled out as the major one. Self-interest is more paramount in Lycidas' song. -80-

incentive for abandoning their attempts.Kuhn, and later

Lawall, have taken these lines in direct address as an

indication of the actual site and occasion of the p o e m . 65

In their opinion the complete song, in reality a paraklausithyron. is to be imagined as taking place before

Philinus* house, with Simichidas giving advice to Aratus face to face. Yet this interpretation puts the previous twenty-five lines, especially the first seven, in a rather peculiar position. For the narrative form and the third person references to Aratus would seem to deny his presence. And, as Weingarth has n o t e d , 66 this is a rather late stage in the poem to solidify the situation. Rather the apostrophe is inspired by Simichidas* desire to imitate the structure of his predecessor*s song. He does not have to be speaking directly to Aratus any more than lycidas was speaking directly to Comatas. Simichidas has now reached the real core of his advice and the use of the first person plural will create a much more personal, friendly, and hence receptive, atmosphere.

The two prayers had stressed the foolishness of

Aratus' situation, besides pointing out the boy's unwor-

6^0n the metaphor here of wrestling with love, see Gow, Theocritus. p. 162, n. 12^,

65Kiihn, p. 5^-55; Hawaii, Theocritus' Coan P a s to ra ls , p. 97* 66weingarth, p. 161-62. For a third, metaphorical interpretation, see Gow, Theocritus, p. 162, n. 122-27. -81-

thiness. To this has been added the disadvantages of the

pursuit. But all this is negative. It is no real means

to relieving the problem. Now Simichidas adopts an

affirmative approach. He and Aratus should enjoy some

leisure, with an old hag there to spit on them and so ward

off evils. Such 6.ouxici acts in immediate contrast to the

bodily discomforts of the paraklans1thyron setting— the

hardships of love can vanish just that quickly.^7 The

spitting rounds off the song with a physical, superstitious 68 picture resembling the opening sneeze. This ring

epitomizes Simichidas' spirit, attitude, and values. The

coarse, the comic both surround and dominate the song.

The last two lines have two additional, more signif­

icant connections. The first is to the last three lines

of Lycidas' song. Both passages present final advice, in

the form of a wish and in direct address, for similar

cases of unrequited pederastlc love. Both poets suggest

leisure as a remedy for such unhappy love, while lycidas adds to that the presence of an illustrious singer and

Simichidas the presence of an old witch. Here Simichidas

is toying with Lycidas' dignified scene. With napeCri he emphasizes that the witch will actually be there, although other characters in Theocritus perform this same

Kuhn, p . 5 6.

6®Weingarth, p. l6l, though, connects the vulgarity of this final scene with the opening goat comparison. -82-

apotropaic spitting for themselves (6 .39 -^0 ; 2 0 .1 1 ) and

so her presence is not really necessary.^? Presumably,

then, her presence is required for something more, some­

thing which the layman could not accomplish for himself.

This would be the full magic ritual, to include singing

Incantations (£rt4 6 eiv) and using magic drugs (cpdppana)

Thus Simichidas has cleverly burlesqued Lycidas’ solution

to the problem of unrequited love. For the victim of

lovesickness now shares his leisure with an old hag for a

singer instead of the divine Comatas and listens to magic chants and charms as a cpdppaKov instead of beautiful songs.

The comedy of the poem has carried down to its very last line .

The second association is with Idyll 6 , These final two lines are a composite of the last lines of the two contest songs of that poem, which is also directed to

^Daniel E. Gershenson, ’’Averting BaonavCa in Theocritus: A Compliment,” CSCA 2 (1969), p. 151ff., constructs an intricate argument to demonstrate that the spitting here is meant to prevent ugliness and so acts as a compliment to Aratus' beauty. But to show this he is forced to restrict the practice of spitting solely to averting the evil eye, when in fact it was used to ward off many kinds of evils (see Frank W. Nicolson, "The Saliva Superstition in Classical Literature," HSPh 8 (1897), p. 35-^0, and Gow, Theocritus, p. 125-26, n . 39). and to limit the phrase t& pf) na\d to one meaning, ugli­ ness, when it can have many. Gow's explanation (Theocritus, p. 1 6 3 , n. 1 2 7) is much more attractive.

7Osee Wendel, p. 109, 127a-b, and Idyll 2, especially verses 15-1 6 , 9 1, and l6l. -83- Aratus.71 There, at line 1 9, Polyphemus is advised that

to the lover many times bad (t& ko.XA) seems good; and,

in lines 39 -^0 . he spits on himself three times, as he was

taught by a witch, to avoid the evil eye. This repetition

seems designed to reinforce for Aratus all the recommen­

dations contained in the previous idyll, advice similar to

that in the paired songs here. The humor of the burlesque

should not negate the message included here, the great value of &ouxia. These lines, like the rest of the song,

interweave comic and serious, and both meanings are to be heeded.

The vrhole song has remained quite uniform. The time frame has been limited to the present and the immediate future, eliminating some of the mystery of the previous song but also some of the confusion. The comic has preponderated, but the serious always lurks just beneath the surface. Prom start to finish Simichidas * attitude and tone have varied very little. Love should be no more than sex, and Aratus is a fool for expecting more. Nor has he exhibited much compassion for his friend's emotions. He has laughed at him rather than trying to understand him.

One wonders what kind of friend he is. His wishes have progressed, but mainly for persuasive effect. Simichidas' final recommendations have been in his mind all along. But

71cf. Gow, Theocritus, p. 119-20, n. 39. and p. 1 6 3 . n. 1 2 7 . -84- the main invariable has been the emphasis on physical pain. From the longing under the guts, to the fire under the bones, through the whipping and scratching, the extremes of climate and shooting of arrows, down'to aching feet, sleepless nights, and stiffening cold, suffering has never left the forefrontAnd It is all a consequence of love. Yet the solution to this profusion of ills lies in a single word: aouxta. And it is towards this one word that the whole poem has been building. It is the second lead-in to the harvest festival.

*

"Simichidas1 song stands in sharp contrast with lycidas' in style, tone, structure, and t h e m e . "73 So

Lawall begins his analysis of the second contest song.

But are these two songs as opposing as he would have one believe? Certainly his first two contrasts are correct.

High style and tone predominate in the sedate atmosphere of the herdsman's song, whereas the city poet utilizes low expression to obtain the contrary m o o d . 74 The parody- poem takes a style opposite its model. With structure,

72Lawall, Theocritus* Coan Pastorals, p. 95-98*

73Lawall, Theocritus' Coan Pastorals, p. 95-

7^Kiihn, r>. 51 and 54: Ott, Kunst des Gegensatzes. p. 157. n. 435. however, Lawall's assertion breaks down. The prior examinations of both songs have clarified the distinct parallelism between the expository introduction, the

succession of wishes, and the concluding apostrophe of each song, not to mention the verbal and thematic links.75

Simichidas assimilates his structure to the pattern estab­

lished by Lycidas. Nor are the poems different in theme.

As with the majority of songs in Theocritus' bucolic idylls, the subject is unhappy love, here specifically comparable instances of unrequited boy-love. The contrast comes, instead, in the character and perspective assumed by their respective speakers. Lycidas and Simichidas represent antithetical types. The former is serious and emotional, yet also optimistic. He dreams of his future

joy in romantic vistas, but can quickly shift into despair.

The latter possesses an extremely rationalistic, prac­ tical outlook on life, but combines it with lightness and a cutting wit. In his remarks to Aratus he even approaches cruelty. But the poets' Inverted relations to the love situation are responsible for the strongest contrast.

Lycidas is the Insider, the one truly involved in the love affair. His decisions are formulated in his heart, not his head. Simichidas stays on the outside. His participation is limited to accompanying the lover and advising him.

75see above, p. 7 1-7 3 * -86- From this distance he can form reasoned conclusions

unswayed by emotion. And his success at sex reduces his

capacity to empathize. The two poets will naturally react

diametrically to the same situation. Their near counter­

parts, Bucaeus and Mllon in Idyll 10, have similar problems

relating to each other.

The poets' distinct characters are reflected in their

songs, which are juxtaposed into a dialectic on love.

Lycidas' poem is, most of the way through, an optimistic

expectation of his future happiness, while Simichidas' is

a negative statement of present ills. With the first poem

we experience the emotional pains of love and share in

swift fluctuations between tension and calm, between

sorrow and joy. Conversely, the second poem accents the

physical pains of love and maintains a steadfast antipathy

to passion. Lycidas senses nature's sympathy, but Aratus

wins sympathy neither from nature nor from his fellow man.

Characteristically, lycidas ends his song with a fanciful,

unrealizable wish, while Simichidas remains within the realm of possibility. Country and town also confront each

other in the two poems as well as poets. The goatherd envisions his fondest desires in a rustic setting, his

ideal world. That is where he would feel at ease. Likewise the city poet Simichidas fixes his poem to an urban back-

^Kiihn, p. 58ff., has amply demonstrated the parallels between Bucaeus and Kilon and Lycidas and Simichidas. -87-

drop with the GupauXCa. The city's cold, sterile environ­

ment accords with his negativism.

Despite all these differences the songs also function

as complements. Simichidas' advice is meant for lycidas

as much as for Aratus. Lycidas and Aratus, regardless of

their different life styles, share the same misery. Change

the names and setting in the second song and one has no

trouble picturing Simichidas counseling the anguished

Lycidas. The abundance of ridicule in the poem is even

more appropriate in this case, since the natural spirit of

rivalry inherent in the contest situation justifies insults

and derision between poets, whereas mockery towards a

suffering friend is rather strange. Simichidas has subtly mocked his competitor in the guise of Aratus. Then too, although the two singers start from totally opposite poles

of personality and ideals, they eventually look to an

identical solution— tranquillitylycidas' idyllic hillside refuge may be more elaborate and unattainable than

Simichidas' succinct douxCa, but it is motivated by the very same escapism. The freedom from care afforded by quiet and rest will enable a man to revive and restructure

^Lawall, Theocritus' Coan Pastorals, p. 101. Gershenson, Studies in Theocritus' Pastoral Idylls, p. 95- 9 6, contrasts the two songs on this point ("lycidas had sung of the fulfillment of love, but Simichidas advises Aratus to abandon his love affairs."), but only because he has misunderstood Lycidas' last wish. his life. Music, poetry, companionship, cool shade, wine, all these are pleasant details of the bucolic ideal. But the essence for Lycidas, Simichidas, and Theocritus is leisure. CHAPTER 3

After the twin songs the inner frame is resumed for a few lines. Here Lycidas bestows on Simichidas the staff he had promised him at verse *+3. with the same laugh as there.

It is common for some sort of prize to be presented at the conclusion of a Theocritean poetry contest. The prize is awarded as a sign of victory (as in Idylls 5 and 8), as an incentive to sing (Idyll 1), or in appreciation for a pleasing performance (Idyll 9). But none of these reasons is applicable to the situation in the Thalysia. The crook cannot signify Simichidas' victory, since it is pledged even before his song. Nor does he require any incentive; he Is only too eager to sing. To a certain extent the staff could be considered a reward for the performance.

But because this would involve no appraisal of the merit of Simichidas' poetry it would be a hollox* gift.

Recently the tendency has been to interpret the staff-offering as a mock investiture, in imitation of

Hesiod's encounter with the Muses (Theogony. 22ff.), in which lycidas makes an umfltting dupe out of Simichidas.*

*So Weingarth, p. 169-70, and Giangrande, "Theocrlte, Simichidas et les Thalyslesp. 5l8ff.

-89- He is laughing at him and makes such a gift because of

Simichidas* boasts to have been instructed by the Nymphs.

This interpretation is, of course, a natural continuation of the view that Lycidas is harsh, mocking, and malicious towards the city poet throughout the poem, a view whose defects have been shown previously.2 But here a further inconsistency results. For Lycidas promised Simichidas his crook before Simichidas ever made his claim to having been taught by the Nymphs. Lycidas himself began the comparison between Simichidas and Hesiod, and Simichidas* boast was only a clever extension of that comparison. His original offer was made in a playful, amicable spirit, as was Simichidas* response, and that spirit abides here, as the repeated smile Indicates. But that is nowhere near the maliciousness or contempt that Weingarth and Giangrande want to make of it. Both also belittle the Xayufio'kov as a meagre and insulting gift in comparison with Hesiod’s

OKfjrtxpov 6dq>v,n£ or the prizes offered in Theocritus' other contest poems.3 But, from a purely practical point of view, there is little else that lycidas could have given the city poet. He does not have with him the goat, lamb, or pipe that usually serve as gifts. He travels as

2See above, p. 3 5 , n. 57, P* 37-8, n. 6*f, and p. 4-0, n. 70.

^Weingarth, p. 16? and 1 6 9, and Giangrande, "Theocrlte, Simichidas et les Thalysles," p. 522-23, n. 72. -91- light as possible, with only a staff and the clothes on his back. Besides, a \a'Yu>f36\ov is presented as a prize in

Idyll 9, 2 3 , and it is certainly not meant to be mocking or insulting there. The crook has been selected here not for its Intrinsic value, but for its appropriateness as a symbol. Lycidas wants to liken the event to Hesiod's investiture, and the X.d'yoopoX.ov is the item from pastoral life most able to suggest the laurel staff that Hesiod received. A royal sceptre would be totally out of place in this scene. With the herdsman's staff, however, gift, giver, and poetry are all in accord. Such a modest offering best suits a lowly goatherd and also the humble pretensions cf bucolic poetry.^ Thus the staff is, rather than insulting, the fitting prize for the circumstances.

Other commentators have explained the presentation as a true poetic investiture of Simichidas by lycidas, based on that of Hesiod by the M u s e s , 5 The usual argument against this interpretation is that Lycidas promises his staff before he has even heard Simichidas' song and thus cannot judge his worthiness for such an a w a r d . ^ yet such

^Por the humble as suited to the bucolic genre, see the statement of Probus recorded in Wendel, p. 15t lines 23-2*1-. See also Rosenmeyer, p. 162-6 3 .

5van Groningen, Mnemosyne 12, p. 29-30; Puelma, "Die Dichterbegegnung," p. 15^1 Wojaczek, p. *J-0ff.; Serrao, p. 28-39. ^Giangrande, "Theocrite, Simichidas et les Thalysles," P. 51?. -92-

a presentation requires no on-the-spot proof. Neither

Hesiod nor Callimachus? had given any such evidence of

their poetic abilities prior to their initiations.

Besides, Simichidas' reputation is already widespread

enough (v. 37-38 and 93) for Lycidas to have obtained the

requisite knowledge of the city poet's talent.® This,

coupled with Simichidas' choice of pleasing artistic

models, is sufficient to motivate the judgment of &\d0eia

and the promise of the crook.

Simichidas' investiture, however, is quite different

from that of Hesiod or Callimachus. First of all, it does

not take place at the very start of his poetic career as

it did for those two poets. Simichidas has already

experienced an Initiation of sorts, for he was taught by

the Nymphs (v. 92). And people already say that he is a great poet. Secondly, his Investiture is not divine, but

comes at the hands of a preeminent herdsman-poet. Such peer recognition makes the giving of the staff as much a

sign of friendship as a symbol of Investiture: "lycidas and Simichidas, as a result of this exchange of songs, are £k Movoflv as Telemachus and Peisistratus are

£etvot.../ JtaTeptou cpiX.oT'qtog (Od. 15.196), and the

?0n Callimachus' poetic investiture, see Athanasios Kambylis, Die Dlchterwelhe und lhre Symbollk (Heidelberg: Carl Winter, UniversitStsverlag, l'9"6'5T, p. &9ff.

®Serrao, p. 32ff. -93- X.a'YwpoX.ov Is a token of the alliance.'*9 Friendship has arisen very quickly between the two poets, men of very different backgrounds yet with a common vocation and artistic principles. At first sight lycidas knew that he liked Simichidas. There was an instant rapport and no sense of uneasiness between them. lycidas immediately joked lightheartedly with Simichidas as one would do with a friend, without fear of offending. With Simichidas' first words that liking grows. Lycidas is pleased with his attitude, his frankness, and his poetic views, and his smile shows it. He takes the initiative and signals his friendliness, as well as his artistic approval, by promising his staff amidst words of praise. The contest furthers their closeness. Each strives energetically just to please the other; only their best is good enough. And their best is strikingly similar, indicating the unanimity of their poetical feelings. Even their solutions to the problem of love are ultimately the same. It is a friendly contest, in the fashion of Idylls 1 and 6 (v Ckti y£v ou6d\\os, av'naocxToi 6 ’ ^y ^v o v t o . 6.^6), and hence no winner need be named.*0 Each is satisfied just by the

9gow, Theocritus, p. 1 6 3 . n. 129.

10puelma*s distinction between Idylls 1 and ? (p. 15*0 is incorrect. The goatherd in Idyll 1 is no poetic inferior to Thyrsis, as his exquisite cup description proves. That ecphrasis is his contest piece just as the Daphnis song is Thyrsis'. Actually the contest has begun with the very first line, since the goatherd's first two -94- other's enjoyment.

The city and country exponents of the bucolic genre

have arrived at a swift kinship, and it is only to be

expected that they would. For the Muses have arranged

their meeting (v. 12). Eoth poets are dear to them (v. 37

and 95) and under their guidance. They are destined to

become friends--their love for the Muses and for pastoral

poetry is a strong common bond. The staff functions as a

simple, visible sign of this friendship, a friendship in

the Muses. Eesides that, it serves as a token of

Simichidas' acceptance and initiation by a true country

bucolic poet. Such recognition is the most valued for a

city poet. Now he has been admitted as a friend and equal

in the poetic country world that he has created. He has

reached harmony with the pastoral poet and now will reach

harmony with the pastoral world Itself.

With that gift the goatherd disappears just as

suddenly as he first entered. He goes off on his way to

Pyxa; and Simichidas, along with his two companions, turns

towards Phrasidamus' farm. Thus, after their exchange of

songs, the two protagonists also exchange domains--the

city dweller will relax in the country while the rustic

responses (v. 7-11 and 15-18) are artfully designed to cap Thyrsls' first two statements (v. 1-6 and 12-14). Idyll 1 presents a friendly contest, with no judge and just one prize, that has much in common with the Thalysla. See also Wilamowltz, Hellenistische Dlchtung, Vol. II, p. 135. Couat, p. 437, and Weingarth, p. 180. -95- heads for the town.

Equally as abrupt as Lycldas' departure is the

entrance into the harvest celebration. There is no mention of the rest of the walk, the arrival at the farm and the welcome by Phrasldamus and Antigenes, or the actual cult rites. All is abundant, sensuous landscape. Nature has become everything; the characters are there only as a reference point. The description falls into three main sections: plants (v. 133-37). animals (v. 138-42), and fruits (v. 144-46), with special emphasis on verse 143 as transition and summary.^ The vegetation envelops the new arrivals. They lie (note £KX,Cv0rj|j,eg, a verbal recall of v. 66 K£K\i|ievos and v. 89 xaTCK^KXiao, of the two utopias dreamed of by lycidas) on thick beds of rush and vine leaves, while the trees shake over their heads (a picture reminiscent of the shady bower depicted in verses 8-9 , above and beyond the repetition of the phrase atyeipoi rrre\£ai Te). Amidst all this greenery stands the spring that gives it life, the abode of the Nymphs and a source of divine, inspiring water. Then emphasis shifts to

H-Eloy, p. 5 6 , divides the description similarly, calling verse 143 "la transition reunissant tous les elements de la description (rcavT ’ ) dans une double evocation olfactive." In contrast, Adelmo Barigazzi, "II Vino di Frasidarao nelle Tallsle dl Teocrlto," SIFC 41 (1 9 6 9), p. 6 , splits the description in two, according to the senses affected. Thus lines 135-42 relate to hearing and the rest to smelling. His scheme, though, ignores lines 133 -3 4 . animals, specifically the songsters of the animal world.

Cicadas and frogs, larks, finches and doves, and the "bees

all utter their characteristic sounds, forming a natural

orchestra. Just as the luxuriant shade and cool spring here are counterposed to the stark sun and heat of the road, so the lively, tuneful animals of the grove balance the silent, inactive lizard and larks there. With verse

143 we move from the senses of touch, sight, and hearing to that of smell. In Homeric formulation^-2 Simichidas expresses the rich fragrance of the harvests of grain and fruit, elaborating slightly on his statements in lines

33-34. The sentence functions as a concise summary of the abundance and completeness both of the harvest itself and of the description of the surroundings.13 The placement of the word navT * at the start of the line gives extra stress to this idea of fullness, and orfwpa at the end of the line provides for a smooth transition into the section dealing with fruits. Here the poet subtly reemphasizes the reclining and relaxation of the guests by mentioning the pears and apples lying about their feet and sides.

In this paradise the celebrants are spared even the labor of picking the fruit. And, as with the description of the

12The combination of Qipos and omopa occurs at Odyssey 11.192, 12.76, and 14.384, and is repeated by Theocritus at 11.3 6 .

13see Kathleen Hartwell, "Nature in Theocritus," CJ 17 (1 9 2 2), p. 1 9 0. -97- vegetation, the feeling is one of being surrounded, of

complete immersion in the setting. This enhances the

atmosphere of profusion. The v;hole scene truly is a locus

uberrlmus, Theocritus' fullest pastoral description.1^

The full scene here differs from that of the other

bucolic settings in Theocritus primarily in its length and

elaboration. Descriptions of cool springs and their

surroundings, especially as places to relax and to pipe or

sing, occur frequently.1^ Several of these (5*31-3*H

5.45-49; Ep. 4.5-12) even combine animals and their tunes

with the spring and vegetation. But none goes so far as

to include such a cornucopia of fruits,1^ or even animals

and plants in such variety as here. And in length the

description of the festival site is nearly tv/ice that of

any of these other scenes. This extensiveness and elabo­

ration can only serve to call special attention to the

setting and mood. Both will be seen to be important for

the overall interpretation of the poem.

Two passages from Callimachus' Hymns exhibit definite

lf4losenmeyer, p. 190-9 1.

.7-8; 1 .2 1 -2 3 ; 5-31-3**; 5-^5-^9; 7.6-9; 11.44-48; 13-39-^2; 22.37-43; E£. 4.5-12.

1^Epigram 4, 8-9, however, does mention grapevines. The rustic description in this epigram approximates that of the Thalysia more than any other in Theocritus. For general similarities between Epigram 4 and Idyll 7. see Bignone, p. 63 -6 5 . similarities with this part of the Thalysla. In his Hymn to Demeter (6.25ff.) the poet tells of a grove at Dotium that was especially loved by the goddess. It contained trees in abundance, pines, elms, pears, and apples, and among them water gushed forth. There, too, was a special tree, a tall poplar (atVeipog). Demeter's holy tree, 1 8 around which the nymphs played at noon. Theocritus' grove of Demeter contains nearly the same greenery. It differs only in having the blackthorn and some thornbushes instead of the pine. Perhaps the resemblance is due to some common source, such as Philetas' Demeter, perhaps just to a general stereotype. Yet Theocritus' picture leaves a more lasting impression than Callimachus*. For it is more concentrated and calls all the senses into play.

Details like the thick couches, singing animals, and rolling fruits have been heaped up into a richness absent in the unadorned Callimachean setting. Besides, Theocritus' grove is more personal.*9 it imparts his own specific joy

^See Kurt Lembach, Die Pflanzen bet Theokrlt (Heidelberg: Carl Winter, Universitatsverlag, 1970), p. 116.

l^The aiVeipos also seems to be especially associated with springs. Cf. Odyssey 5*6^, 6.292, 9.11*1, 17.208. *9one cannot disagree with Weingarth, p. 173ff-» that the place description contains many traditional elements. But the combination of so many of them with such lushness into one total picture is unlike any of the examples he cites and is the poet's personal addition, his own means to express his own sentiments on the delights of nature.* -99- in nature's beauty.

The second relevant passage comes near the conclusion

of the Hymn to Apollo (2.110-12):

Ar^ot 6 ’ o u k drto navTog uficop cpop^ovai pe\iaacu 6 .W lyric KaOapfi te xal axpaavTog dvepnei 7tt8aKoq ioK£Y*n awpov aayrov. The Melissae do not carry water to Demeter from everywhere, but from the small trickle, the utterly finest, which wells up pure and undefiled from a holy spring.

The term "Melissae” here seems to refer directly to

priestesses of Demeter.20 Consequently the Theocritean

pictures of the bees around the spring and of the cave of

the Nymphs could bear a concrete, though now probably

irrecoverable, connotation in the particular context of the viorship of Demeter. Both passages from Callimachus suggest

that at least some of the descriptive details of the site

of the harvest festival were chosen as traditional to a

locale sacred to the goddess Demeter.

Lasserre, Puelma, and Lawall have sought to explain

the animals and fruits in the scene as poetic symbols.21

20Hesychius: ^le^Cooai* al xfjg ATprvrpos tiuaTiSeg; Porphyrius, De Ant. Nym.. 18: nal T&g Aii|j,r)Tpog lEipeiag &S Txfc X°ov£ag Beag p,uaTi6ag ^e\£ooag ol rtaXatoi exd\ovv auT'fiv Tc tt)v Kopr|u p.e>uTuj6T|. In addition, Porphyrius connects the Nymphs and their cave with Demeter's raising of Persephone (De Ant. Nym., 8) and with honey and water (De Ant. Nym., l?-l8).

2lLasserre, p. 32$ff.; Puelma, "Die Dichterbegegnung," p. 156; Lawall, Theocritus' Coan Pastorals, p. lO^ff. -100-

While such an interpretation can easily be overdone until

the whole description becomes little more than an allegory

(as it is for Lasserre and Lawall, whose analysis is

properly criticized by Giangrande22 ), several of the indi­

vidual components of the scene have poetic connotations

that cannot be overlooked. Within this idyll itself the

close affinity between the bees and the Muses has been

alluded to (v. 80-8 5). Poets commonly assume the sweetness

of bees and even, on occasion, are referred to with the

word |ieX.iaoa.^3 The cicada, too, is known as an assistant

of the Muses (cf. Plato, Phaedrus, 259A-D). Their efforts

at song are verbally likened to those of the poets Lycidas

and Comatas (v. 139 ’ exov rrotov; v. $1: e^ertouaoa; v. 85:

£££7Tovaaas) and elsewhere in the Idylls they are referred

to as the master singers of the animal world (cf. Idylls

1.14-8 and 5 * 2 9 ) . Moreover, both insects figure prominently

in Callimachus' professions of his artistic program of

\ertTOTris. We have just read of the bees that carry water

from the tiny stream, in contrast to the great Assyrian river. In the prologue to the Aetla (fg. 1.29-34-) the song of the cicada represents the kind of poetry favored by

Callimachus' style of poet, while his opponents' tastes are

^Giangrande, review of Lawall, p. 171-72.

^3on sweetness and the connection between bees and poets, see above, p. 6 5 , n. 34-. For the word p,£\ioaa used of a poet, see Aristophanes, Birds, 74-8; AP 7-13; Plato, Ion. 53^A. -101- described as running towards the braying of asses.2i* Bee and cicada, therefore, are really emblematic of both poets and poetry, especially poetry of the Callimachean school.2 5

The grove, as a setting, also has poetic associations— it is the haunt of poets.2^ This connection comes through most clearly, particularly in regard to the poets of

Theocritus' period, in the opening lines of one of

Propertius* elegies (3*1.1-2), where he implores Callimachus and Philetas to be allowed to enter their grove.2? And the presence of the sacred spring of the Nymphs, the poetic function of which will be covered subsequently, fixes

Theocritus' grove even more surely as a divine place, a locale for poetic inspiration.

At the unsealing of the wine jar Theocritus comes round again from the site to the participants. They mix the wine with water from the Nymphs' spring and so potent and pleasing is the result that the poet is reminded of

^ K a m b y l i s , p. 82 and 8 9.

2 ^Callimachus' use of these two insects to symbolize his mode of poetry invalidates Lawall's contention (Theocritus' Coan Pastorals, p. 105) that the "use of animals, birds, and insects implies an ideal of a natural or spontaneous poetry" as opposed to "artificial, bookish, or academic" poetry.

2^See Puelma, "Die Dichterbegegnung," p. 1 5 6, and Lawall, Theocritus' Coan Pastorals. p. 102-103.

27see also Propertius, Horace, Odes, 1.1.30, and Epistles, 2.2.77; Tacitus, Dlalogus,, 12.1-3; Ovid, Amore s. 3*1* two mythical events, Heracles being entertained with wine by the centaurs and Polyphemus getting drunk on Odysseus' wine. But why the choice of these particular myths?

Aside from the superficial parallel between the caves where

Heracles and Polyphemus drank and the grotto at which the festival occurs, what connects the three instances?

Certainly Heracles and Polyphemus are two of Theocritus' most favorite characters, as Idylls 6 , 11, 13, 2*f, and 25 testify. But no mention is made there of their drinking.

Weingarth correctly notes that there exists a discrepancy between the happy event in which Simichidas is taking part p Q and the threatening situation of the myths. For both

Pholus and Chiron die as a result of Heracles* opening of the wine jar, and Polyphemus’ drunken orgy provides

Odysseus with the opportunity to blind him. Any reader of the poem is expected to remember that. Weingarth has assumed that this discrepancy is to be taken humorously.

By doing so he has missed a moral common to both myths that also relates to Simichidas’ situation. For in both wine leads to disaster. And it is not just any wine, but strong, unmixed wine. In the first case it was the special wine given to the centaurs by Dionysus himself, whose age and strength was so great that its odor alone captivated

2 ®Weingarth, p. 173* -103- the centaurs living nearby and drove them mad.^9 indeed, because of a different incident (the battle of the centaurs and the Lapiths as related in the Odyssey. 21.295ff.) the combination of wine and centaurs became proverbial for death.30 in the second myth it "was the remarkable unmixed

(d.KT|p&aiov) wine that Maron had presented to Odysseus, just one cup of which added to twenty measures of vrater produced a divine drink.^ Thus the poet, in choosing these specific stories, alludes to the unfortunate effects of undiluted wine. The Nymphs * answer to his rhetorical question should be "no." For in the drink they prepared the four-year-old wine has been tempered with water from their spring. All this bears a particular symbolic meaning to be explained presently.

A second, more frequently posed question concerns the

Nymphs addressed in verses 1^8 and 15^. Who exactly are they? Most commentators since Gow have taken Nujxcpai

KaoTa\£6cg napudoiou airtog exoiacu as a reference to the

Muses and have felt that Simichidas is equating them with

2^Dlodorus Siculus, ^.12.3-8; Apollodorus, 2.5*^* In both versions, however, Pholus, and not Chiron, offers the wine. Perhaps Theocritus has altered the story to be able to allude to both victims. Gershenson's pederastic expla­ nation (Studies in Theocritus1 Pastoral Idylls, p. 9 8) has no point at this stage of the poem.

3 ° c f . AP 7*725 (which also mentions the Cyclops), 11.1, and 11.12.

3Ipdyssey, 9*196ff. - 1 0 ^ -

the Nymphs of Phrasidamus’•! spring (v. 137) • This is

nothing surprising, since he has already equated the two at line 9 2. Besides, verse 148 is a patent imitation of the first two lines of the Theogony: Movadtov *E\iho)v id6wv

&pX(6p,e0 ’ detBeiv, / ai 6 * ,E\ikc5vo9 e'xouatu opog te £d0£ou t e ,.,, "From the Heliconian Muses let us begin to sing, who live on the great and holy mount of Helicon."33

Simichidas has altered the formula slightly by referring to a less famous spring and mountain, but he still means the same Muses. Just how Simlchidas/Theocritus would, in the last analysis, differentiate between these Nymphs of

Burina and the true Muses cannot be stated with any surety. The best that can be suggested is that they are his personal Muses, performing roughly the same functions for him as the Muses did for Hesiod. More important, they inhabit his personal inspirational spring just as the Muses did Hesiod’s. But there is no certainty that he ever bothered to make more than a rudimentary distinction between them.

The main reason for equating the Nymphs of Burina with the Hesiodlc Muses is a symbolic one. For in that way

3 2 G o w , Theocritus, p. 155. n. 92; Sanchez-Wildberger, p. 69; Kuhn, p. 4?; Puelma, "Die Dichterbegegnung," p. 155; Weingarth, p. 150 and 172; Ott, Kunst des Gegensatzes. p. 171; Barlgazzi, p. 7ff. On the amalgamation of the Nymphs and the Muses, see Kambylis, p. ^8-^7. Only 1.14-1 would seem to preclude their complete equation.

33puelma, "Die Dichterbegegnung," p. 156. n. 37* -105- Burina becomes a spring of the Muses, and its water becomes

inspirational, a Castalian drink.3^ Before Hesiod relates his investiture in the proem of the Theogony. he tells how the Muses washed themselves in Permessus, or

Hippocrene, or Olmeius on Helicon and danced about the

spring (v. 3-8). Hippocrene became known as the spring of the Muses, and it became a tradition that Hesiod had gained his gift of sweet song by drinking from its pure waters.^5 The theme of Hippocrene's inspirational powers recurs often among the epigrammatists.3^ Besides simply associating this spring with Hesiod, however, poets, especially in the Hellenistic period, appropriated it and others to speak of their own poetic inspirations. Pindar talks of drinking from a spring while weaving his songs; and the very first words of his First Olympian. "ApiaTov

u6u)p, constitute a praise of water that was often quoted in ancient times.37 From the limited remnants of

Callimachus1 Aetia we can deduce that Hippocrene appeared

3Zf0 t t , Kunst des Gegensatzes, p. 172.

35Kambylis, p. 66-6?. See also above, p. 19-21. 3^Alcaeus (of Mitylene or Kessene), AP 7-55: Antipater of Sidon, AP 11.24; Asclepiades or Archias, AP 9.64; Honestus, AP 9.225 and 9.2 3 0 ; pseudo-Moschus, Bp. Blon, 76-77i Nestor of Laranda, AP 9*364. On Hippocrene, see also above, p. 19-2 0 .

3 7 p in d a r, Oly. 6.84ff. and Oly. 1.1. See a ls o Kambylls, p. 113-15 and 153* n. 93* both at the beginning and at the end of the work (fg. 2

and 112 (Pf.)), and that a second inspirational spring,

Aganippe, was also mentioned.3® The pure waters of the

spring at the conclusion of the Hymn to Apollo, too, act

as a symbol of Callimachus * purity of style. The metaphor

carries over into Epigram 28 (Pf.), 3**^. although in this

case he rejects the spring as being too vulgar and common— he has his own special fountain. A better estimate of the

importance of springs and water in the writings of

Callimachus and also of the more elusive Philetas, none of whose scanty fragments mentions springs, can be gathered from references to these poets in Propertius. The most valuable allusion for our purposes combines the motif of the pure spring with that of the drinking of water:

Callimachi Manes et Coi sacra Philitae, in uestrum, quaeso, me sinite ire nemus. primus ego ingredlor puro de fonte sacerdos Itala per Graios orgia ferre choros. dicite, quo pariter carmen tenuastis in antro? quoue pede ingressi? quamue biblstis aquam? (3.1 .1-6) Ghost of Callimachus and sacred rites of Coan Philetas, allow me, I beg, to enter into your grove. I am the first priest from the pure spring to enter and to lead the Italian mysteries in Greek choruses. Tell me, in what cave did you form your slender song together? With what meter did you enter? What water did you drink?

3^Rudolf Pfeiffer (ed.), Callimachus (Oxford: Clarendon Press, 19^9-53). Vol. 2, p. 102-103. On water as a symbol in Callimachus, see Kambylis, p. 98-102 and 110-22. - 107-

Then, two poems later (3*3). Propertius tells how he dreamed that he was lying in the shade of Helicon beside

Hippocrene.39 There he sipped some water from the springs where Ennius once drank and went on to sing of epic subjects. Apollo appears to dissuade him from such verse so as to turn him to that of more slender proportions.

Calliope then offers him advice of the same substance.

The poem concludes:

talla Calliope, lymphlsque a fonte petltis ora Philltea nostra rlgauit aqua.

So spoke Calliope, a nd, having drawn water from the spring, she moistened my lips with Philetas* water.

A reference to the waters of Callimachus (4-. 6 .4-) and one to his poetry not yet having knowledge of Hesiod's spring

(2 .1 0 .2 5 ) are further evidence for the symbolic signifi­ cance of water and springs for Propertius and, more importantly, for his models Callimachus and Philetas.

These examples suggest that the two major poetic contempo­ raries of Theocritus, one of whom is named as an object of emulation (v. 4-0) and the other of whom is praised indi­ rectly through the approval expressed for his artistic program (v. 4-5-4-8) , had depicted their poetic inspirations in terms of drinking water from a sacred spring of the

Muses. And Hesiod, to whom numerous allusions are made

39cf. Kambylls, p. 12?ff., especially 180-88. throughout the length of the Thalysta. makes a third.

The Greek epigrammatists and Homan poets such as Ennius and Propertius kept the motif alive long after them.

Theocritus has modified it somewhat by locating his spring on Cos instead of on Helicon. With this variation the motif and the spring become more personal. Rather than sharing the ordinary source of poetic inspiration, off in distant Boeotia, Theocritus enjoys a private one, in a place where he feels at home.**'0 This does not imply that his source is better, or even different, but just his own.

This change is analogous to his use of the more personal

Nymphs rather than the traditional Muses. But the analogy between Hippocrene and Eurina remains apparent because of the close similarity of their creation legends and the address to the Nymphs of the spring as the Muses. Burina is clearly intended to function in the familiar role of the inspiring fountain of the Muses.

A second traditional avenue to poetic inspiration was through wine.^1 The free, uninhibited state brought about by Dionysus was claimed to be the best for poetic compo­ sition. The classic expression of this theory is in two lines attributed to Cratinus and recorded in an epigram by

^Similarly Ovid (Amores. 3.1) apparently transports his spring and grove to near Rome.

^ S e e Kambylis, p. 100-101 and 118-22. -109-

• f Nicaenetus (AP i3 .2 9.l-2 ): Oivog tot xaPi£VT^ Jt£A.ei

Taxug tJtrtog aoi6

by drinking water you will give birth to nothing clever."^'2

In Hellenistic times poets came to argue the relative

merits of water and wine as a means to inspiration.

Callimachus and his followers, as their use of the motif

of the Inspirational spring would indicate, were on the

side of water.^3 For this they were labeled fcfiportOTCU ,

"water-drinkers," by those who favored wine's intoxicating powers, and were ridiculed in a number of witty epigrams,

such as the following one by Antipater of Thessalonica

(AP 11.20)^:

(peti-YeS* 0001 XoKwaq t] \ocpvC6ag r\ Kap,aofjuag aiSete, rtoir|T<3v cpu\ov a.KavSoko'yan;, ot t' tniuv hoohov KcKvy iap,£vovr aaxriaavTeg xp^VTK ii Ieprj^ n iveTs^iTov u§cop. ofj^Epor *Apx i\oxoto nal apaevoc rip-ap ' Op.r|pov art£v6op.£V* o Kprprtip oi> 6£x£0 i)6portoTp.g. Away with you who sing about "loccae" or "lophnides" or "camasenes,"^5 clan of thorny-

^2See also Aristophanes, Knights, $26ff.

^3a. S. F. G o w and D. L. Page, The Greek Anthology: The Garland of Philip (Cambridge: Cambridge University Press, 19£8), Vol. II, p. 17; Kambylis, p. Il8ff.

^ S e e also Antigonus of Carystus, AP 9*^06; Antipater (of Sidon or Thessalonica), AF 11.23, 11.2^; Antipater of Thessalonica, AP 9.305. 11.31* ij,5The se three words are meant to be examples of the pedantic vocabulary of the poets whom Antipater is crit­ icizing. -110- iforded poets, and you who, fashioning a con­ torted decoration of words, drink simple water from the holy spring. Today, the day of Archilochus and manly Homer, we pour a liba­ tion of wine; the bowl does not welcome water- drinkers .

As this epigram shows, Archilochus and Homer were regarded as archegetes of the wine-drinking school. This perhaps accounts for Callimachus* disparaging reference to

Archilochus as iieBurtX/nd . "wine-stricken.11 ^ ip^e debate seems to have continued, at least as a literary motif, down into the Augustan age. For Horace speaks of Cratinus,

Homer, and Ennius as confirmed wine-drinkers

Simichidas* drink is a combination of both wine and water.The Nymphs have added the sacred water from their own spring to the four-year-old wine that has been opened, creating a special source of inspiration for the poet.

Simichidas appears to be partaking of the advice of both schools and opting for neither one. To a certain degree this is true. He rejects neither one outright. But the particular mythological examples that Theocritus has. selected show that he inclines towards the water-drinkers.

For both stories illustrate the misfortune that can result from pure wine undiluted by water. Wine alone is not

^Pfeiffer, fg. 5^* See also Archilochus, fg. 77 D.

^ Epistles, 1.19,Iff. Ennius says of himself (Sat.. fg. 6^ V^): numquam poetor nisi si podager.

^®Lawall, Theocritus* Coan Pastorals, p. 105- - 1 1 1 -

enough. Worse than that, It can "be disastrous. Only with

the sacred water of the Muses mixed with it can it be

productive. The vrater is certainly the dominant ingredient

in this context.^9 Attention has been focused on the

spring Burina and its water right from the prologue of the

idyll. Set as it is round the parched road scene the

fountain acts as the element of vitality, providing a cool, refreshing atmosphere for the poem and also for the weary,

traveling poet. More than that, vjater is the vital element for the whole grove scene. The luxurious vegetation and abundant fruits, even the tuneful animals, all depend upon the spring's water to maintain life. They cluster about it for their survival. All this prefigures water's role as the life-giving factor for Simichidas' poetry. Wine,

in contrast, promotes only sad realizations (v. 65) and disasters (v. 149-53)* It sustains nothing. Its symbolism

^Barigazzl, p. 8ff., considers the water as the secon­ dary ingredient because it cannot enter into comparison with the \*ines of Pholus and Polyphemus. But the comparison is specious. It is designed to bring out the negative effects of the wine, not to praise it. Barigazzi mentions the violence of the centaurs because of their drinking of unmixed wine, but ignores the implications for the case in point. The fact that at true Greek banquets the wine held the major place is irrelevant here, since Simichidas' drink is more symbolic than real. Lawall, Theocritus' Coan Pastorals, p. 105-106, too, considers the wine the primary element of a "measured compromise": "the basic source of Theocritus' inspiration remains the wine." His reasoning seems based on his own personal feelings for Theocritus' relative proportions of artificiality and emotion rather than on any evidence cited from the text. -112-

ls negative, whereas water's has been positive. Water

also merits the adjective lepov (v. 1 3 6 ). It, not the

wine, is the divine and thus predominant force in the mixed

drink. Pinal evidence is provided by the poet's invocation

of the Castalian Nymphs. He does not call upon Dionysus,

god of wine, but the Muses, the goddesses of water,

springs, and poetry.5° They are his divine patronesses and

it is their element that he holds most dear. Simichidas

thus recognizes ’water as the major, necessary ingredient,

but does not take a narrow view of the matter. V/ine is a

part of his drink too. If kept from extremes it can

provide the poet with productive inspiration. This general

adherence by Simichidas/Theocritus to the side of the

water-drinkers is not unexpected in view of his already

expressed admiration for Callimachus and Philetas and of

the water-drinking bees and cicadas from Callimachus *

programmatic professions that he has fixed in his chorus

of animals.

Such a symbolic explanation of Simichidas’ drink is

50yet Wojaczek, p. *K)ff. , has managed to unearth a remarkable number of "Dlonyslac allusions" considering that the poem never once mentions Dionysus. It is pure contor­ tion, reading meanings into the text rather than dealing with it, until a festival to Demeter becomes instead one to Dionysus. And his attempts to draw conclusions about the Thalysla based upon parallels with Longus, remote from Theocritus by several centuries and outside of his tradition, are equally rash. -113- not. intended to deny another valuable interpretation,

that of Schmidt.51 Rather the two are compatible.

Certainly the references to wine, water, and the Castalian

Nymphs can convey the idea that poetry accompanied the

harvest festival as well as the poet's artistic preference

for water. Poetry is to be expected at such a banquet^

and that is Theocritus' avowed purpose for making such

visits (16.106-107): t<; 6b Ka\ei3vTtm> / Gaporjaag Motacuoi 1 ofov apsT^paiCiv i'otp.* au, "To the house of 'those that call

I will go confidently, along with our Muses." One expects

that this is at least one reason why Simichidas has been

invited in the first place. The idyll also offers a

cryptic hint that Phrasidamus and Antigenes are poets too.

The adjective £o9\os, used in line 4 of these two nobles,53

is employed frequently enough throughout the rest of the

poem, but is restricted to the poets Lycldas (v. 13)»

Sicelidas (v. 39). and Arlstis (v. 100) and to poetry

itself (v. 93)• This does not mean, however, that there existed a specific Coan literary circle in any form

51joh. Schmidt, "Zu Theocrit VII," RhM 45 (I89O), p. 149-51. Barigazzi's arguments against this explanation, p. 9-10, are based upon his misunderstanding of the purpose of the comparison and. hence are invalid.

52As in the imagined celebration of v. 63 ff. and a poem by Nicaenetus found in Athenaeus, 1 5 .673 b. See also Giangrande, "Theocrite, Simichidas et les Thalysles," p. 491-92, 494.

53Cf. Gov:, Theocritus, p . 132, n . 4 f . -114-

resembling that which Reitzenstein im a g i n e d.5^ on the

contrary, Simichidas* final wish suggests the Infrequency

of this kind of gathering. It was a quite uncommon, but

extremely pleasant meeting with some poet friends, one that

Theocritus found worth relating.

The idyll concludes, hymnlike, with Simichidas* wish

to be able to take part in this feast again. Obliquely

inserted into this prayer is a picture of the statue of

Demeter, her customary sheaves and poppies in h a n d , 55 surveying the whole festival and surroundings.56 she smiles do\m on Simichidas just as lycidas had done. Her benevolence and fruitfulness have rewarded the poet with the relaxation, wine, poetry, and friendship of this remarkable harvest experience as Lycidas rewarded him with the experience of the contest and with his staff and friendship. People, nature, gods, everything and everyone have smiled on Simichidas in producing this doubly reward­ ing day.

5^r . Reitzenstein, Eplgramm und Skollon (Giessen: J. Ricker'sche Buchhandlung, 1893) , p. 2Z6'ff. 55This is reminiscent of Callimachus, Hymn 6, 4-3, a hymn that has already come into consideration for the description of the festival setting (see above, p. 98)*

5&A serious oversight in Pearce’s compilation must be noted in passing. Of Demeter he states (p. 1 8 3 , and reit­ erated, p. 2 3 2 ) that she is used only once by each of the major pastoral poets and for Theocritus he cites 10.42-43 as that one instance. Her presence in Idyll 7 is totally ignored. -115- The time shift involved in the wish is akin to those

in Lycidas’ song.^ From pleasant reminiscences of the

past thought suddenly swings to the future and the reader

is jolted back into the realities of life. The whole

experience was extremely gratifying; but it was also a

very untypical day, occurring at best once a year, more

likely once or twice a lifetime. One can only hope and

pray for a recurrence. Life Is usually not this ideal.

In a like manner lycidas shifted from the unrealities of

his hopes for success with Ageanax to a realization of the

true circumstances by means of the wish to be with Comatas.

The dreamlike world established with the initial expression

of time has been shaken off by this closing temporal

transference.

This final wish corresponds not only to the wish at

the end of Lycidas* song (v. 86-8 9). as Weingarth has noted,5® but also to the one that concludes Simichidas* song (v. 126-27). Each poet closed his song by wishing

for what he considered his greatest desire, realizable or not. To a certain degree Simichidas has realized both of

these desires during the harvest festival. He experienced, at least temporarily, the douxCa that both sought when he stretched out on the soft couch, surrounded by nature

5?see above, p. 53-5^.

58weingarth, p. 181-82, -116-

in abundance. The setting is not quite the hills that

Lycidas longed for, nor is the poet Comatas present, but

the locale is thoroughly rustic and poetry is a part of the celebration. Even Lycidas* earlier vision of a feast

in honor of Ageanax’ safe arrival seems fulfilled in many details of the thanksgiving festival. His relaxed sojourn was the essence of their longings. Having already accom­ plished their highest wishes, Simichidas can now only ask for the same happiness over again. Such a wish confirms the soundness of the last wishes of the songs. For he is not at all dissatisfied with even the incomplete fulfill­ ment of the wishes that the two of them made. He does not seek anything else instead. He now knows that such d\d8eia is the perfection of life and cannot be improved upon.

His ultimate wish is that it be repeated.

* fl­

it remains to consider the Thalysla as a complete work. In this larger perspective additional ties between frame and enclosure become evident that lead to a fuller comprehension of the poem.

Parallels in mood and structure that have already been seen to exist between the two contest songs are -117- re pea ted in the frame.59 Each song opens in an atmosphere

of anxiety and eagerness and closes on a picture of

tranquillity.^ Lycidas goes from passion and despondency to a description of the utopian rustic existence that he desires, Simichidas from the anguish and unrest of his friend Aratus to an expression of the peace and quiet they might share. Likewise the frame moves from haste and agitation to the luxurious ease of the harvest feast. In all three cases the turmoil is resolved by some form of

A,oux£cc. All three end with an apostrophe and a special wish of the poet. These wishes progress successively from the impossible, to the possible, to the actual, which is desired again.

Thus the final scene brings to fruition the earlier pictures and ideals of the idyll. It has loomed as the goal from the opening lines and has been anticipated throughout the poem. We get our first glimpse of the site in lines 6-9 and this is reinforced with lines 22-23, which set the mood of noontime ease. The scene grows fuller with Lycidas' imagined celebration (v. 63ff.)— here is the couch, the wine, and the singing soon to be met by Simichidas.61 Ease and song in a rustic setting

59see above, p. 71-73 and 8^-88.

6°0tt, Kunst des Gegensatzes. p. 172.

6lNote also the verbal repetitions, above, p. 95* -118-

again appear at the close of the song (v. 86-89). And

finally, just before the whole panorama unfolds, the ideal

is compressed into one single concept, &auxta, "leisure."

All these briefer pictures coalesce into the one festival

description. Their details, their moods of joy and

relaxation are elaborated into a small world of perfection.

In Plato's Phaedrus such a rustic setting is suggested as

an ideal place to philosophize; for Theocritus it is the

ideal place to live and compose. Here men and the world about them reach a harmony of spirit. Both are at peace;

there is no tension. The hardest work is singing. And

the country setting and sacred water readily foster that.

This is the appeal of the simple life. It is a poet’s

Eden.

At the core of these scenes, and hence of the poem itself, is the glorification of the country way of life— not the actual country way of life, but the idealized representation of it that Theocritus offers. The poet presents to us his conception of the perfect existence— laborless, devoted to poetry and friendship and drink, spent in the shade alongside a spring. Such a life is the rule throughout his bucolic Idylls; but here, instead of simply being treated as a matter of course, the rjouxoc;

(3Cos receives very definite praise. Besides making clear

62cf. Rosenmeyer, Chapter "Otium," p. 65-97*. Bignone, p. 50; Barigazzi, p. 5-6. -119- his predilection for this type of life by fashioning the

description of it to be as enticing as possible, Theocritus

openly acknowledges his feelings through the wishes that

he and Lycidas make for just such a life. In both songs

the peaceful life stands forth as the solution, the ideal.

Love is intimately bound up with this ideal. It provides

a needed topic for songs and sufficient concern to keep

the pastoral from becoming sluggish and boring. J Simply because here iauxCa is presented as a means to end the pains of love does not mean, as Pohlenz states,^ that

Theocritus rejects erotic poetry in favor of bucolic poetry. Love is the essential theme of Theocritus' pastoral.^ There is no way to divorce the bucolic from the erotic without eviscerating it. Besides, although the singers emphasize the sorrows of love, these sorrows are kept at a distance, in the songs. Both Lycidas and

Simlchidas remain cheerful and carefree, despite the tenor of their songs. Suffering caused by love is a theme, not a major factor in the bucolic life. With lycidas the peaceful life is more of an elaborate dream; for Simlchidas

^Rosenmeyer, p. 77. ^^Max Pohlenz, "Die hellenistische Poesie und die Philosophie," XdoiTec fur Friedrich Leo (Berlin: Weidmannsche Buchhandlung, 1911), p. 103-105. and also Gestalten aus Hellos (Munich: Verlag F. Bruckmann, 1950), p. 559. 65couat, p. 4l4. -120- lt is realizable but less detailed. Then the harvest description follows as the* culmination both in elaboration and possibility. The wishes have been answered and for a few hours the life of tranquillity has been experienced.

The final wish sums up the whole occurrence. What better compliment can the poet make to the rjovxos fJCos than to pray so wholeheartedly to return to it?

Such a proclamation of his conception of the perfect existence has much in common with Epicureanism.00 It is, notwithstanding Rosenraeyer's assertion that Theocritus

“does not allow his own likes and dislikes and commitments to come through at all," a statement of his personal preference, his own value judgment.The praise that

Theocritus gives here to the "simple country life" cannot be a consequence of Impartiality.

The central theme of the happiness of the peaceful country life is interwoven into the story of Simlchidas' acceptance by a true rustic poet and of the joy and relaxation he discovers in the country life. In this narrative Theocritus has employed two symbols of investi­ ture, the awarding of the staff and drinking from a sacred spring. They indicate the friendship and inspiration he

6^See Bignone, p. 50; Lawall, Theocritus* Coan Pastorals. p. 117; Rosenraeyer, p. 4-2ff. and 6'5"ff.

^Rosenmeyer, p. 44. See Lawall, review of Rosenraeyer, p. 161-62. -121-

finds in the country and also point to his poetic prefer­

ence for Hesiod and Callimachus. These two signs,

moreover, mark the two stages in which the city poet meets

the country. Lycidas, in the contest itself and in the

scenes of his song, provides Simlchidas with a foretaste

of the country and its delights. Then he experiences it

personally in all its fullness. Thus the staff symbolizes

friendship and harmony with the country poet, and the

divine drink inspiration and harmony from and with nature.

One must remember that both Lycidas and the rustic scene

are imaginary, typical components out of Theocritus*

poetry, here writ large. He has placed himself as a

protagonist in one of his poems and Imagines his partici­

pation in what he has so often composed. We witness his

symbolic acceptance by the people and region he has

described. Theocritus has been invested into his own

imaginary bucolic world. And the pleasure he finds there

reflects his conception of how he would react to such a

place, such a life. The poet has shown his longing to

share in the Idealized, romanticized world he has portrayed

throughout his idylls.

One cannot but view this as escapist. Rosenraeyer

declares that "the otlum of pastoral poetry is not...an

^®This is another statement of preference that disproves Rosenmeyer's assertion of anonymity (see footnote 67). ✓r -122- escapist mechanism, motivated by a generally pessimistic view about the real world," but offers no real defense of his c l a i m . ^9 And one paragraph later he admits that the rustic picnic, for which he cites the last part of the

Thalysla as an example, illustrates the theme of the flight from reality. No judgment should be made on

Theocritus' motivation for such fancies. But in the

Thalysla he has, for a moment at least, escaped into the realm of his own poetry. He has fantasized how it would actually be to compete against a herdsman-poet and to participate in the perfect country celebration. Fortu­ nately the reader has been allowed to venture with him.

He too has sensed the happiness of itcruxCa and the many joys to be reaped from the country life. But that is, after all, the purpose of the whole poem.

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