By Timothy Saunders
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Extra resources for Bucolic Ecology: Virgil's Eclogues and the Environmental Literary Tradition
Insere, Daphni, piros: carpent tua poma nepotes’. MOERIS: Omnia fert aetas, animum quoque. saepe ego longos cantando puerum memini me condere soles. LYCIDAS: What about those things I heard you singing alone under a clear night? I remember the numbers, if only I could manage the words: ‘Daphnis, why are you looking up at the ancient risings of the stars? Look! the star of Dionean Caesar has come into view, the star at which cornfields might 34 2. Cosmology rejoice in crops and at which the grape might introduce colour to the sun-drenched hills.
111-14): ehhj d, ,Hdwnîn m5n 1n êresi ce8mati m2ssü *Ebron p>r potamÕn tetramm2noj 1ggÚqen -Arktw, 1n d5 q2rei pum£toisi par, A9qiÒpessi nomeÚoij p2trv Ûpo BlemÚwn, Óqen oÙk2ti Nelloj [ratÒj. May you be in the mountains of the Edonoi in the middle of winter as you make your way to the river Hebrus, near the Bear, but in summer may you pasture alongside the distant Ethiopians under the rock of the Blemyes, where the Nile is no longer visible.
In Eclogue 3, for instance, the relationship between the Eclogues and the Idylls is mediated in part through cosmological works such as Aratus’ Phaenomena and Callimachus’ (and Catullus’) Coma Berenices. As such, literary history takes on the form of cosmological history. In Eclogue 5, moreover, the temporality of bucolic liturgy is likewise a response to the new cosmological environment that bucolic responsion (which is itself a manifestation of this temporality) has achieved. All of this suggests that Eclogues 3 and 5 introduce and develop a distinctly bucolic conception of the relationship between poetry and the universe, grounded as it is in such recognisable principles as those of responsion and exchange.