Lifeguard Not on Duty: Water as Pastoral Danger in Sannazaro's Ovidian Salices
By Charles McNamara
Jacopo Sannazaro (1459-1530), one of the foremost Neapolitan humanist poets, is recognized as an innovator in pastoral poetry for his
integration of the Italian seascape into his Piscatory Eclogues . Sannazaro himself calls attention to his novel use of water in his fourth
Eclogue , where he announces that he "was the first to bring down [the Muse of the seashore] to the salty waves, daring to risk their
dangers in an untested bark" (salsas deduxi primus ad undas / ausus inexperta tentare pericula cymba , IV.19-20). Sannazaro's interest in
The Commodification of Carmina in Baptista Mantuanus’s Eclogues
By Caleb M. X. Dance
In 1498 Johannes Baptista Mantuanus (1447-1516) published a revised version of his
Adulescentia, a collection of ten eclogues in Latin hexameters. The Carmelite friar engaged
deliberately with his Mantuan poetic predecessor through repeated references to noster Tityrus
(2.8, 3.172-174, 5.86-89)—a poetic figure who, in singing about wars, agriculture, and pastures,
assumes the identity of Vergil himself. Pastures populated by herdsmen provide a fittingly
Vergilian setting for Mantuanus’s eclogues, but the two poets from Mantua differ markedly in
The Conflict between Spring and Winter: A Pseudo-Vergilian Bucolic Poem
By Fabian Zogg
The Channels of Song in Calpurnius Siculus and Virgil's Georgics
By Julia Scarborough
This paper will argue that Calpurnius Siculus suggests a metapoetic reading of pipes in Virgil’s Georgics
as instruments of pastoral song. Calpurnius’ second eclogue uses the image of irrigating a garden through
canales (pipes) to signify song in the pastoral landscape (lines 34-35). The gardener Astacus invokes
Hesiod’s poetic initiation in the Theogony as he counters the shepherd Idas’ claim to have received a pipe
from the pastoral god Silvanus: he has been instructed by the Nymphs to take the water of their springs