By Judith Haber
Humanist and historicist perspectives of pastoral as a style are topic to problem during this 1995 publication. Judith Haber bargains another point of view through exploring ways that pastoral poets themselves interrogate the contradictory family inherent of their style, an exploration which increases wider questions about the position of literature in society.
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Additional info for Pastoral and the Poetics of Self-Contradiction: Theocritus to Marvell
Example text
And, once more, the pain that has been left behind reappears in a more benign context: O ye winged Loves, rosy as blushing apples, hither come, Pierce, I pray, with your arrows Philinos the desired, Pierce him, that miserable wretch, who pities not my friend. And yet he's but a pear that's over-ripe, and the girls cry, " Ah welaway Philinos! " (117-21) Finally, Simichidas addresses his friend directly for the first time, and attempts to bring him home: Come then, Aratos, let's no more stand watching at his gates, Nor wear our feet away; but let the cock that crows at dawn Give others over to be chilled by numbing misery.
35~37) Not only is Corydon more self-consciously constrained by the values of others (he compares himself to the established standard of pastoral excellence,20 and he imagines Alexis as the "judge"), he also ultimately founds his faith in himself on his belief in the accuracy of reflections. 21 Corydon's judgment is quite clearly at fault here; his selfassessment is ludicrously inflated. 22 And as Corydon continues to reflect upon his self-definition,23 and proceeds to define himself primarily as an artist (a self-conscious creator of reflections), he gradually develops a more sophisticated awareness of the ways in which images do - and do not — lie.
Throughout the eclogue, he is attempting to bring together the "wild" and the " tame" :17 he is trying to unite Alexis with himself (perceived as rustic) and, simultaneously, trying to unite himself (perceived as sophisticated) with simpler rustics; he is attempting to reconcile his conflicting desires and wishes, to bring together the contradictory pieces of his own identity. Corydon's primary means of effecting these unions - like Virgil's - is his poetic imagination, here aptly symbolized by the "well-joined pipe of hemlock stalks" that Damoetas gave him (36-37).
