Gabriel Laguna Mariscal

Literatura clásica. Tema 2. Textos y material adicional

 

 

2.- El género pastoril: historia desde los orígenes grecolatinos (Teócrito, Virgilio). Características literarias. El género en el Renacimiento inglés.

 

a) Textos

 

Virgilio, Églogas II 19-20.

Cristopher Marlowe, Englands Helicon, "The passionate Sheepheard to his love".

Sir Philip Sidney, The Countess of Pembroke’ Arcadia, "My sheep are thoughts...".

b) Notas de lectura

 

 

 

a) Textos:

 

Virgilio, Églogas II 19-20:

 

despectus tibi sum, nec qui sim quaeris, Alexi, 
quam diues pecoris, niuei quam lactis abundans. 
mille meae Siculis errant in montibus agnae; 
lac mihi non aestate nouum, non frigore defit. 
canto quae solitus, si quando armenta uocabat, 
Amphion Dircaeus in Actaeo Aracyntho. 
nec sum adeo informis: nuper me in litore uidi, 
cum placidum uentis staret mare. non ego Daphnin 
iudice te metuam, si numquam fallit imago. 
o tantum libeat mecum tibi sordida rura 
atque humilis habitare casas et figere ceruos,

 

 

[Trad.]

Me desprecias, Alexis, y no te importa quién soy:

cuán rico en ganado, cuán abundante en leche.

Mil corderas de mi propiedad pastan en los montes

sículos; leche fresca no me falta ni en verano ni en

invierno. Canto lo que cantaba, cuando llamaba al ganado

el tebano Anfión en el ático monte Aracinto.

Y no soy tan feo: recientemente me vi en la costa

cuando el mar yacía libre de vientos. A Dafnis no tengo

que envidiar, a juicio tuyo, si no engaña un reflejo.

¡Oh, ojalá sólo te agrade habitar conmigo humildes pobres campos, habitar humildes cabañas y cazar ciervos.

 

Cristopher Marlowe, Englands Helicon, "The passionate Sheepheard to his love": 

 

The passionate Sheepheard to his love

 

Come live with mee, and be my love,

and we will all the pleasures prove,

that vallies, groves, hills and fieldes,

woods, or steepie mountaine yeeldes.

 

And we will sit upon the rocks,                  5

seeing the sheepheards feede theyr flocks,

by shallow rivers, to whose falls,

melodious byrds sing madrigalls.

 

And I will make thee beds of roses,

and a thousand fragrant poesies,              10

a cap of flowers, and a kirtle,

imbroydered all with leaves of mirtle.

 

A gowne made of the finest wooll,

which from our pretty lambes we pull,

fayre lined slippers for the cold:                15

with buckles of the purest gold.

 

A belt of straw, and ivie buds,

with corall claps and amber studs,

and if these pleasures may thee move,

come live with mee, and be my love.          20

 

The sheepheards swaines shall daunce and sing,

for thy delight each May-morning;

if these delights thy minde may move,

then live with mee, and be my love.

 

 

Sir Philip Sidney, The Countess of Pembroke’ Arcadia, "My sheep are thoughts..."

 

My sheep are thoughts, which I both guide and serve;

their pasture is fair hills of fruitless love;

on barren sweets the feed, and feeding starve;

I wail their lot, but will not other prove.

My sheephook is wanhope, which all upholds;                         5

my weeds, desire, cut out in endless folds.

   What wool my sheep shall bear, whiles thus they live,

   in you it is, you must the judgemente give. [...]

 

Strephon.   I that was once free-burgess of the forests,

where shade from sun, and sports I sought at evening,

I that was once esteemed for pleasant music,                        15

am banished now among the monstrous mountains

of huge despair, and foul affliction's valleys;

am grown a shriek-owl to myself each morning.

 

Klaius.   I that was once delighted every morning,

hunting the wild inhabiters of forest,                                     20

I that was once the music of these valleys,

so darkened am, that all my day is evening;

heart-broken so, that molehills seem high mountains;

and fill the vales with cries instead of music.[...]

 

Strephon.    For she whose parts maintained a perfect music,

whose beauty shined more than the blushing morning,

who much did pass in state the stately mountains,

in straightness passed the cedars of the forests,

hath cast me, wretch, into eternal evening,                            65

by taking her two suns from these dark valleys.

 

Klaius. For she to whom compared the alps are valleys,

she whose last word brings from the spheres their music,

at whose approach the sun rose in the evening,

who, where she went, bare in her forehead morning,                70

is gone, is gone, from these our spoiled forests,

turning to deserts our best pastured mountains.

 

Strephon & Klaius.   These mountains witness shall, so shall these valleys,

these forest eke, made wretched by our music,

our morning hymn is this, and song at evening.                        75

 

b) Notas de lectura:

 

En el texto de Virgilio, fragmento perteneciente a su Égloga II, encontramos el triste canto del pastor Coridón, que lamenta el desdén del jovencito Alexis. En su canto encontramos los siguientes elementos temáticos:

 

  1. Descripción encomiástica de la persona amada (para adularla) [fuera del fragmento].

  2. Descripción elogiosa de sí mismo (para atraerla), relativa a:

    Su riqueza agropecuaria, en forma de "ofrecimientos de amor" o munera amoris (vv. 19-22).

    Habilidad poético-musical (23-24).

    Belleza física (25-27).

  3. Invitación expresa a que el amado acepte su amor (28-29).

 

Nota cómo en el poema de C. Marlowe, The passionate Sheepheard to his love, se recogen prácticamente los mismos tópicos que en Virgilio, especialmente el de los munera amoris. Nota asimismo una técnica formal propia del género bucólico, la del estribillo: ¿dónde?.

 

Por su parte, en el pasaje de Sir Philip Sidney se aprecian técnicas formales bucólicas, como la del canto amebeo entre dos pastores, Strephon y Klaius. Nótese el paralelismo en las alocuciones de los dos pastores. En el contenido, se aprecia una gran alegorización del género: las imágenes bucólicas sirven para caracterizar un amor desdichado (de raigambre petrarquista).