Eclogue 2 is set with greater specificity in respect to both place and time. In fact, the passage of time is noted during the poem. It starts at the hottest part of the day (sole sub ardenti); it closes at sunset (sol crescentis decedens duplicat umbras). Such a lengthy passage of time appears, of course, incredible. Also, as Coleman notes, the presence of reapers (messoribus) indicates that the harvest period is in full swing (ba-dum tis). The Mediterranean agricultural calendar would place this in the Spring.
We also find out that we are in Sicily, the traditional Greek pastoral location. The poem is, in fact, responsive to Theocritus’ Idyll 11, in which the Sicilian cyclops Polyphemus sings to Galatea. Williams points out that Vergil adapts the contrast between Polyphemus (land) and Galatea (sea) to Corydon (rural) and Alexis (urban). More specifically, Corydon sings to mountains and woods. The terms used, montibus and silvis, suggest the wilderness, as compared to the more tame, pastoral grove (Coleman 92). Such, then, is the location of the beech trees mentioned in line 3. Corydon later admits his preference for such an environment (as compared to the urban life), nobis placeant omnia siluae.
A few of Corydon’s references are noteworthy in their relation to setting. Actaeo Aracyntho is a bit uncertain. The Aracynthus mountain in Acarnania is more well-known, but Coleman suggests that it refers to a mountain on the border of Attica and Boeotia. Further, Actaeo is not from actaeus (Greek aktaios ‘coastal’), but Akte, Aktaia was an ancient name for Attica (96-7). Separately, the reference to Paris recalls the time when he was a herdsman on Mount Ida. Shortly thereafter he will give his infamous judgment and acquire his own mate.
No comments:
Post a Comment