The Eclogues is a collection of Latin poetry attributed to Calpurnius Siculus and inspired by the similarly named poems of the Augustan-age poet Virgil.

The date of writing is disputed. Some scholars argue in favor of a Neronian date (54–68 AD),Haupt, M. (1854) De Carminibus Bucolicis Calpurnii et Nemesiani, Townend, G.B. (1980) "Calpurnius Siculus and the Munus Neronis", JRS 70:166-74; Mayer, R. (1980) "Calpurnius Siculus: Technique and Date", JRS 70: 175–176. while others arguing for a later date (possibly during the reign of Severus (193–211 AD)).Champlin, E. (1978) The Life and Times of Calpurnius Siculus, JRS 68: 95–110, Armstrong, D. (1986) "Stylistics and the Date of Calpurnius Siculus", Philologus 130: 113–136; Courtney, E. (1987) "Imitation, Chronologie Litteraire et Calpurnius Siculus", REL 65: 148–157

Form and structure The Eclogues consist of seven separate poems, each written in hexameters:Number of lines per Keene (1887). Eclogue I (94 lines) Eclogue II (100 lines) Eclogue III (98 lines) Eclogue IV (169 lines) Eclogue V (121 lines) Eclogue VI (93 lines) Eclogue VII (84 lines)

Goodyear notes that "Calpurnius' book of eclogues has an intentionally patterned structure".Goodyear, F.D.R. "Minor Poetry" p. 131, in Kenney, E.J. (ed) (1982), The Cambridge History of Classical Literature: Volume II The Early Principate. Hubbard and others note that, whereas Virgil's Eclogues consists of an even number of poems (10) Calpurnius's Eclogues consists of an odd number of poems (7), enabling the creation of a sense of symmetry.Korzeniewski, D. Die Eklogen des Calpurnius Siculus als Gedichtbuch MH29 (1972) p. 214-216, Leach, E.W. Corydon Revisited: An Interpretation of the Political Eclogues of Calpurnius Siculus, Ramus 2 (1973) p. 53, Friedrich, W. Nachahmung und eigene Gestaltung in der bukolischen Dichtung des Calpurnius Siculus (1976) p. 13-14, Hubbard, T.K.The Pipes of Pan (1998) p. 152 Various symmetries and other patterns in the arrangement of the book have been identified: The arrangement of the poems into two thematic groups – a "panegyric group" alluding to the "real word" and politics (Eclogues I, IV and VII) and "pastoral poems proper... which more or less follow the line of Theocritean...and Virgilian bucolics..." (Eclogues II, III, V and VII).Karakasis, E (2011) Song Exchange in Roman Pastoral p. 213, Goodyear, F.D.R. "Minor Poetry" p. 131, in Kenney, E.J. (ed) (1982), The Cambridge History of Classical Literature: Volume II The Early Principate. Eclogue II (featuring an amoebaean song contest) and Eclogue VI (which relates to an aborted amoebaean song contest), providing a middle frame around Eclogue IV, corresponding to Virgil's Eclogues III and VII.Hubbard, T.K. The Pipes of Pan (1998) p. 152 Poems with dialogue (Eclogues II, IV and VI) are interwoven with poems containing long monologues (Eclogues I, III, V and VII).Goodyear, F.D.R. "Minor Poetry" p. 131, in Kenney, E.J. (ed) (1982), The Cambridge History of Classical Literature: Volume II The Early Principate Idealizing poems (Eclogues I, II, III) are followed by more realistic poems (Eclogues V, VI and VII), following the pivotal Eclogue IV.Davis (1987) Structure and Meaning in the Eclogues of Calpurnius Siculus, Ramus 16 pp. 32–38, 49–50

The poems

Eclogue I

Title Eclogue I is inscribed Delos in certain editions.Keene C.H. (1887) The Eclogues of Calpurnius Siculus and M. Aurelius Olympius Nemesianus, p. 49

Form Eclogue I takes the form of a short dialogue between two brothers (Corydon and Ornytus), framing an ecphrasis of a poem purportedly written by the god Faunus which takes up 55 of the poem's 94 lines.

Synopsis It is a sunny day in summer or early autumn, somewhere in the countryside; Corydon and Ornytus decide to take shade in a nearby grove, sacred to Faunus.

Corydon says that a woman called Leuce has recently been rejecting his sexual advances, and that he is therefore permitted to enter the holy place. Corydon suggests that Ornytus should sing a song and play the pipes, and Corydon explains that has recently been given a reed pipe made by someone called Ladon.

At the grove of Faunus, Ornytus notices that a poem has very recently been inscribed on a sacred beech tree. Ornytus is taller and so Corydon asks him to read out the poem to him.

The poem on the tree purports to be composed by Faunus. He declares the rebirth of a Golden Age, bringing a new era of peace; an end to political corruption; the restoration of law and order and happiness for people all across the world. There is a bright comet in the sky, which presages peace, and the reign of a new Caesar.

Corydon claims to be awestruck and praises Faunus. Ornytus suggests setting the poem to music and disseminating it, via a man called Meliboeus.

Commentary Eclogue I alludes to many sources. Some scholars think it is modelled principally upon Virgil's Fourth Eclogue, which also heralds a new golden age.Hubbard, T.K. The Pipes of Pan (1998) p. 151, Slater, N.W. Calpurnius and the Anxiety of Virgilian Influence: Eclogue I. Syllecta Classica 5 (1994) p. 73 Hubbard considers that the poem, particularly the description of the comet, alludes to Lucan.Hubbard, T.K. The Pipes of Pan (1998) p. 161f.

The concept of a poem written upon a tree, or on bark, is found in several earlier pastoral poems – some critics have argued that such reference to writing is a reflection of self-conscious literary belatedness.

Eclogue II

Title Eclogue II is inscribed Crotale in certain editions.Keene C.H. (1887) The Eclogues of Calpurnius Siculus and M. Aurelius Olympius Nemesianus, p. 65

Form The poem starts with a 27 line narrative, followed by an amoebaean song contestDuff, J.W. and Duff, A.M. (1934) Minor Latin Poets (Vol 1) p 213, Hubbard T.K (1998) The Pipes of Pan p. 152. between the characters Astacus and Idas. Each stanza in this exchange is 4 lines long, with the exception of the final exchange of 3 lines each. The poem ends with a further 3 line narrative.

Synopsis Two youths, Idas (a shepherd) and Astacus (a gardener) are both in love with someone called Crotale (or Crocale, in some editions).For example – Keene (1887) has Crotale, Duff and Duff (1934) has Crocale.

They meet by a spring, under some shade on a very hot day and decide to have a song contest, adjudicated by Thyrsis. An audience consisting of domestic and wild animals, shepherds, Faunus, Satyrs and nymphs is present. Natural forces such as rivers and winds pause. Although the youths had placed high stakes, Thyrsis declares that the prize should be glory alone.

Idas and Astacus take it in turns to sing about: the favour granted to them by various rustic gods; their respective agricultural skills; the dedications they would make to any god who brings Crocale/Crotale to them; the agricultural gifts that they would give to Crocale/Crotale; their respective youthful good looks; and orders for the next agricultural tasks of the day. Thyrsis declares the song contest to be a draw.

Commentary Although amoebaean song contests appear in earlier extant pastoral poetry, some scholars have noted that the fact that the song contest is a declared a draw seems to be a novel feature – possibly indicating that Idas and Astacus are intended to be portrayed as ideal singers/poets.Davis, P.J. (1987)Structure and Meaning in the Eclogues of Calpurnius Siculus, Ramus:16 p. 33; Leach (1975) Neronian Pastoral and the World of Power, Ramus 4 pp. 204–230.

Karakasis notes that, although Eclogue II is the only poem of Calpurnius that remains faithful to the traditional pastoral song-contest form, it can be construed as a deconstruction of the pastoral canon – citing (among other things) the introduction of characters with names unprecedented in previous pastoral poems and the use of epic, elegiac and georgic allusions, language and imagery.Karakasis, E (2011) Song Exchange in Roman Pastoral pp. 214ff

Eclogue III

Synopsis Two cowherds – Iollas and Lycidas – meet. Iollas asked Lycidas whether he has seen one of his heifers, which has gone missing. Lycidas replies that he is too distracted by his love for Phyllis, who has left him for someone called Mopsus. Iollas tells a certain Tityrus to keep looking for the missing heifer, and asks Lycidas in the meantime to tell him more about his break-up with Phyllis.

Lycidas explains that he was overcome by jealousy, after seeing Phyllis and Mopsus singing and playing pan pipes together, and that he physically abused Phyllis.

Iollas recommends that Lycidas apologises, and offers to pass the message on to Phyllis. Lycidas says that he was thinking of writing Phyllis a song or poem to win her back. Iollas asks Lycidas to recite the poem, whilst he transcribes it on some tree bark.

Lycidas recites how sad he is without Phyllis, and how happy he will be if she returns to him. He explains that he is superior to Mopsus in musical skill, looks and wealth. He explains that he cannot work without Phyllis. He explains that, if Phyllis is afraid that he might beat her, he shall have his hands bound (and reminds her of a time when Mopsus's own hands were bound, after he was caught thieving). He tells of the gifts of flowers he used to bring to Phyllis, and further mocks Mopsus. He threatens to hang himself if Phyllis does not return to him, and that a poem will be inscribed upon the tree from which he is hanged, telling of the affair.

Lycidas then tells Iollas to tell the poem/song to Phyllis, whilst he hides nearby. Lycidas agrees – but then remarks that, as a propitious omen, Tityrus has returned with the missing heifer.

Commentary Some scholars consider Eclogue III to have an "elegiac character".Karakasis, E (2011) Song Exchange in Roman Pastoral p. 230, fn 66; Friedrich, W. (1976), Machahmung und eigene Gestaltung in der bukolischen Dicthtung des Titus Calpurnius Siculus p. 62f; Vinchesi (1991) La Terza Ecloga di Calpurnio Sicolo fra Tradizione Bucolica e Tradizione Elegiaca, Prometheus 17 p. 259 -76; Fey-Wickert, b. (2002), Calpurnius Siculus Kommentar zu 2 und 3 Ekloge pp. 22–29 More specifically, Karakasis notes that the "generic interaction" between pastoral and elegy is achieved through "the adoption of language, style and motifs of elegiac provenance...[and] also through the systematic imitation of Vergilian pastoral passages marked by clear elegiac qualities".Karakasis, E., Comedy and Elegy in Calpurnian Pastoral: Generic Interplay, p. 231. in Papanghelis, T.D., Harrison, S.J. and Frangoulidis, S. (Eds) (2013) Generic Interfaces in Latin Literature

Haupt considered that Eclogue III predated the other Eclogues, on the basis of its meter and style.per Keene C.H. (1887) The Eclogues of Calpurnius Siculus and M. Aurelius Olympius Nemesianus, p. 80.

Keene considers this poem to be an imitation of Virgil's Eclogue VII and Theocritus Idylls 3, 14 and 23.Keene C.H. (1887) The Eclogues of Calpurnius Siculus and M. Aurelius Olympius Nemesianus, p. 80.

Garson considers that certain elements of Lycidas's poem – principally those denigrating Phyllis's new lover, Mopsus – parody classical forensic oratory.Garson, R.W. (1974) The Eclogues of Calpurnius: A Partial Apology, Latomus 33 p. 671

Korzeniewski suggests that Eclogue III is influenced by the plot of Menander's Perikeiromene.Korzeniewksi, D. (1972) Die Eklogen des Calpurnius Siculus als Gedichtbuch, MH 29 p. 215 fn5

Eclogue IV

Title Eclogue IV is inscribed Caesar in certain editions.Keene C.H. (1887) The Eclogues of Calpurnius Siculus and M. Aurelius Olympius Nemesianus, p. 92

Form The poem consists of: an introductory 81 line dialogue between Corydon and Meliboeus (each character's stanzas are of irregular length); a 65 line amoebaean song exchange between Corydon and his brother Amyntas (each stanza is 5 lines long); a final section (23 lines), in which all three characters speak (as with the introduction, each character's stanzas are of irregular length).