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{{Short description|Poetry and music genre}}
[[File:Virgil, Eclogues, Vaticanus Palatinus lat. 1632.jpg|thumb|The beginning of Virgil's ''Eclogues'', 15th century manuscript, [[Vatican Library]]]]
An '''eclogue''' is a [[poem]] in a [[classical antiquity|classical]] style on a [[pastoral]] subject.  Poems in the [[genre]] are sometimes also called '''bucolics'''.  The term is also used for a musical genre thought of as evoking a pastoral scene.

==Classical beginnings==
The form of the word ''eclogue'' in contemporary [[English language|English]] developed from [[Middle English]] {{Lang|enm|eclog}}, which came from Latin {{Lang|la|ecloga}}, which came from [[Greek language|Greek]] {{Lang|grc-latn|eklogē}} ({{lang|grc|ἐκλογή}}) in the sense 'selection, literary product' (which was only one of the meanings it had in Greek).<ref>{{Cite web|url=https://www.ahdictionary.com/word/search.html?q=eclogue|title=The American Heritage Dictionary entry: eclogue|publisher=Houghton Mifflin Harcourt|website=www.ahdictionary.com}}</ref> The term was applied metaphorically to short writings in any genre, including parts of a poetic [[sequence]] or poetry book.

As a genre of poetry, Eclogues began with the Latin poet [[Virgil]], whose collection of ten ''[[Eclogae]]'' was ultimately modelled on the ''[[Idyll|Idylls]]'' of [[Theocritus]].<ref>James R. G. Wright, [https://www.jstor.org/stable/44696900 "Virgil’s Pastoral Programme"], ''Proceedings of the Cambridge Philological Society'', NS 29 (209) (1983), pp. 107-160</ref> and was alternatively termed ''Bucolica''.<ref>{{cite book |author1=Van Sickle |author2=John B | title=The Design of Virgil's Bucolics | publisher=[[Gerald Duckworth and Company|Duckworth]] | year=2005 | isbn=1-85399-676-9}}</ref><ref>[https://www.britannica.com/art/eclogue Eclogue]</ref> Found there was a sophisticated mixture of [[pastoral]] dialogues, song contests and contemporary references. Virgil's term was used by later Latin poets to refer to their own pastoral poetry, often in imitation of Virgil, as in the cases of the [[Eclogues of Calpurnius Siculus |''Eclogae'' of Calpurnius Siculus]] and the [[Eclogues of Nemesianus|''Eclogae'' of Nemesianus]]. Calpurnius also employed rustic vocabulary and archaic expressions to add to their distancing effect.<ref>[https://www.britannica.com/biography/Calpurnius-Siculus Encyclopaedia Britannica]</ref>

==In Britain==
The practice of writing eclogues was extended by the 15th century Italian [[Humanism|humanists]] [[Baptista Mantuanus]] and [[Jacopo Sannazaro]] whose Latin poetry was imitated in a variety of European vernaculars during the [[Renaissance]], including in English. However, "the first Renaissance bucolic poem written in England" was a 1497 eclogue in Latin by Johannes Opicius in praise of [[Henry VII of England|Henry VII]]. Written in the form of a dialogue between the shepherds Mopsus and Melibœus, praising the ruler of the country for bringing back a [[Golden Age]] of prosperity and safety, the poem was modelled on the first of Virgil's [[Eclogues]] in praise of [[Augustus|Octavian]] and the first eclogue by [[Eclogues of Calpurnius Siculus|Calpurnius Siculus]] in praise of [[Nero]].<ref>Lena Wahlgren-Smith, [https://www.academia.edu/47480251/Heraldry_in_Arcadia_the_court_eclogue_of_Johannes_Opicius "Heraldry in Arcadia: the court eclogue of Johannes Opicius"], ''Renaissance Studies'' 14.2 (2000)</ref> So far as is known, the poem remained in manuscript and even the first eclogues written in the English language by [[Alexander Barclay]] remained unpublished until about 1514. These were written earlier and adapted from 15th century Latin originals by Mantuanus and [[Pope Pius II|Aeneas Silvius]].<ref>[https://www.bartleby.com/lit-hub/volume-iii-english-renascence-and-reformation/5-barclays-eclogues "Barclay's Eclogues"], Bartleby</ref>

[[Edmund Spenser]] was also inspired by Mantuan's eclogues, as well as by Virgil and [[Theocritus]], when he composed the ''[[Shepheardes Calendar]]'' (1579), a series of twelve eclogues, one for each month of the year.<ref>[https://www.oxfordreference.com/display/10.1093/oi/authority.20110803100501183 ''The Concise Companion to English Literature'']</ref> Each is titled an ''Aegloga'' and contains for the most part dialogues by different speakers on a variety of subjects. In the background too is the example of Calpurnius, manifested here in the antiquated vocabulary drawn from [[John Skelton (poet)|John Skelton]] and [[Geoffrey Chaucer]]. And behind the plain (but far from unlettered) language is vigorous allusion to contemporary events, particularly [[Elizabeth I#Marriage question|the proposed marriage between the queen and a Catholic Frenchman]].<ref>R. S. Bear, [https://www.luminarium.org/renascence-editions/shintro.html "Introduction to ''The Shepheardes Calender''"], Renascence Editions</ref> Spenser's eclogues were youthful work, as were [[Alexander Pope]]'s [[Pastorals (Pope)|''Pastorals'']], consisting of four shepherd dialogues divided between the seasons. They were originally composed in 1704 but first published in 1709;<ref>[https://quod.lib.umich.edu/cgi/t/text/text-idx?cc=ecco;c=ecco;idno=004789411.0001.000;node=004789411.0001.000:2;rgn=div1;view=text 18th century editions online]</ref> and to the 1717 edition, Pope added his originally intended "Discourse on Pastoral Poetry" in which he acknowledged the examples of Theocritus and Virgil ("the only undisputed authors of Pastoral") along with Spenser.<ref>[http://www.lyriktheorie.uni-wuppertal.de/texte/1717_pope1.html University of Wuppertal]</ref>

In between had come [[Phineas Fletcher]]'s ''Piscatorie Eclogs'' (1633), imitations of Sannazaro's much earlier ''Eclogae Piscatoriae'' (Fishermen's eclogues, 1526), in which the traditional shepherds are exchanged for fishermen from the [[Bay of Naples]].<ref>{{Cite web|url=http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=33159|title=Rev. Phineas Fletcher: Eclogue I. Amyntas.|website=spenserians.cath.vt.edu}}</ref> He was followed in this refocussing of the traditional subject matter in the following century by [[William Diaper]], in whose ''Nereides: or Sea-Eclogues'' (1712)  the speakers are sea-gods and sea-nymphs.<ref>{{Cite web|url=https://www.eighteenthcenturypoetry.org/authors/pers00266.shtml|title=Eighteenth-Century Poetry Archive / Authors / William Diaper|website=www.eighteenthcenturypoetry.org}}</ref>

==Variations on the theme==
By the early 18th century, the [[pastoral]] [[genre]] was ripe for renewal and an element of parody began to be introduced. [[John Gay]] ridiculed the eclogues of [[Ambrose Philips]] in the six 'pastorals' of ''The Shepherd's Week''.<ref>{{Cite web|url=http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=33869|title=John Gay: The Shepherd's Week I. Monday; or, the Squabble.|website=spenserians.cath.vt.edu}}</ref> The impulse to renewal and parody also met in the various "town eclogues" published at this time, transferring their focus from the fields to city preoccupations. The first was a joint publication by [[Jonathan Swift]] and his friends in [[Tatler (1709 journal)|''The Tatler'']] for 1710;<ref>''The works of Jonathan Swift'', [https://books.google.com/books?id=YksQCsw-KhwC&q=town+eclogue&pg=PP1 vol. 1, p. 613]</ref> [[John Gay]] wrote three more, as well as ''The Espousal'', "a sober eclogue between two of the people called Quakers";<ref>''The Poems of John Gay'', [https://books.google.com/books?id=FihAAAAAYAAJ&dq=Gay++%22Town+Eclogue%22&pg=PA144 pp. 144-158]</ref> and [[Mary Wortley Montagu]] began writing a further six ''Town Eclogues'' from 1715.<ref>{{Cite web|url=https://www.eighteenthcenturypoetry.org/works/o5152-w0110.shtml|title=Eighteenth-Century Poetry Archive / Works / Six Town Eclogues. (Lady Mary Wortley Montagu (née Pierrepont))|website=www.eighteenthcenturypoetry.org}}</ref>

In Scotland [[Allan Ramsay (poet)|Allan Ramsay]] brought the novelty of [[Scots language|Scots dialect]] to his two pastoral dialogues of 1723, "Patie and Roger"<ref name="auto">{{Cite web|url=http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=33932|title=Allan Ramsay: Patie and Roger: a Pastoral.|website=spenserians.cath.vt.edu|access-date=2020-06-23|archive-date=2021-04-15|archive-url=https://web.archive.org/web/20210415085213/http://spenserians.cath.vt.edu/TextRecord.php?action=GET&textsid=33932|url-status=dead}}</ref> and "Jenny and Meggy",<ref name="auto"/> before expanding them into the pastoral drama of ''The Gentle Shepherd'' in the following year. Later the eclogue was further renewed by being set in exotic lands, first by the ''Persian Eclogues'' (1742) of [[William Collins (poet)|William Collins]], a revised version of which titled ''Oriental Eclogues'' was published in 1757.<ref>{{Cite web|url=https://www.eighteenthcenturypoetry.org/works/o5089-w0020.shtml|title=Eighteenth-Century Poetry Archive / Works / Oriental Eclogues. (William Collins)|website=www.eighteenthcenturypoetry.org}}</ref> It was followed by the three ''African Eclogues'' (1770) of [[Thomas Chatterton]],<ref>{{Cite web|url=http://spenserians.cath.vt.edu/TextRecord.php?&action=GET&textsid=36917|title=Thomas Chatterton: Heccar and Gaira. An African Eclogue.|website=spenserians.cath.vt.edu}}</ref> and by [[Scott of Amwell]]'s three ''Oriental Eclogues'' (1782) with settings in Arabia, Bengal and Tang dynasty China.<ref>''The Cabinet of Poetry: Containing the Best Entire Pieces to be Found in the Works of the British Poets'', London 1808, [https://books.google.com/books?id=ohREAAAAYAAJ&dq=%22Oriental+Eclogues%22&pg=PA74 Volume VI, pp. 74–86]</ref>

In 1811 the fortunes of the [[Peninsular War]] brought the subject back to Europe in the form of four ''Spanish Eclogues, including an elegy on the death of the [[Pedro Caro, 3rd Marquis of la Romana|Marquis de la Romana]]'' issued under the pseudonym Hispanicus.<ref>{{Cite web|url=https://books.google.com/books?id=oehbAAAAQAAJ|title=Spanish eclogues, including an elegy on the death of the marquis de la Romana|date=September 14, 1811|via=Google Books|last1=Hispanicus (Pseud)}}</ref> These were described in a contemporary review as "formed on the model of Collins".<ref>''The British Critic and Quarterly Theological Review'', [https://books.google.com/books?id=6sEvAAAAMAAJ&dq=%22Spanish+Eclogues%22&pg=PA628 Volume 37, p.629]</ref> In the following decade they were followed by a vernacular "Irish eclogue", ''Darby and Teague'', a satirical account of a royal visit to Dublin ascribed to William Russell Macdonald (1787–1854).<ref>''The Dublin Mail'', London 1824, [https://books.google.com/books?id=Q7EDAAAAQAAJ&dq=Dublin+Fudge&pg=RA1-PA10 pp. 127–34]</ref>

==Musical genre==
The term eclogue or its equivalents was eventually applied to [[pastoral#Pastoral music|pastoral music]], with the first significant examples being piano works by the Czech composer [[Václav Tomášek]].<ref name="Newmarch">{{cite journal |last1=Newmarch |first1=Rosa |author-link=Rosa Newmarch |title=Modern Czech Composers |journal=The Chesterian |date=May 1925 |volume=VI |issue=46 |page=187 |url=https://books.google.com/books?id=Ysd2BuUVDj0C&pg=PA187 |access-date=16 November 2023 |quote=The form of the "Eclogue," or pastoral poem, has a certain traditional significance for Czech musicians. The name as applied to a musical piece seems to have originated with the famous ultra-conservative Bohemian pedagogue, Václav Tomašek, 1774-1850, who, departing from the conventional classic path of the sonata, allowed his fancy free play in a series of lyrical pieces for pianoforte called Eclogues (1807), Rhapsodies (1810) and Dithyrambs (1818). Dvořák adopted the title of Eclogue for one of his pianoforte works and Šín has carried it down to contemporary music in the pleasant idyll published in the Album.}}</ref> 19th century composers who adopted the title include [[Jan Václav Voříšek]] for piano;<ref>[https://www.supraphon.com/album/646-vorisek-complete-piano-works Eclogue for Piano in C major, 1820/2]</ref> [[Franz Liszt]], "Eglogue", the seventh piece in the first book of ''[[Années de Pèlerinage]]'', 1842);<ref>[https://www.youtube.com/watch?v=RczHCYuyOH8 Performance on You Tube]</ref> [[César Franck]], "Eglogue", op. 3, 1842,<ref>[https://www.youtube.com/watch?v=pBML9ZahOKU Performance on You Tube]</ref> as well as the later eighth movement of the oratorio ''Ruth'' (1882), titled ''eglogue biblique'', a setting of the words of Alexandre Guillemin;<ref>[https://books.google.com/books?id=9UpDAQAAMAAJ Google Books]</ref><ref>[https://www.youtube.com/watch?v=cxeyns_svJs Performance on You Tube]</ref> [[Antonín Dvořák]], "4 eclogues for piano", Op. 56, 1880;<ref>[https://www.antonin-dvorak.cz/en/work/eclogues-op56-b103 Dvorak site]</ref> [[Vítězslav Novák]], ''Eklogen'', Op. 11 for piano, 1896;<ref>[http://en.instr.scorser.com/D/7566.html Score online]</ref> and [[Mel Bonis]], "Eglogue" for piano, Op. 12, 1898.<ref>Rachel Harlene Rosenman, [https://digitalcollections.wesleyan.edu/_flysystem/fedora/2023-03/23654-Original%20File.pdf ''A Rosary Among the Roses: Tracing Pastoral Allusions and Spiritual Resonances in Chamber Music by Mel Bonis'', p.41], Wesleyan University, 2017</ref>

Two further pieces for solo piano followed in the new century: [[Egon Wellesz]]'s "4 eclogues", Op. 11, 1912,<ref>[https://www.oxfordreference.com/display/10.1093/oi/authority.20110803121717973?d=%2F10.1093%2Foi%2Fauthority.20110803121717973&p=emailAUfBuLkzVghUc Oxford Reference]</ref> and [[Jean Sibelius]]'s ''Ekloge'', the first of his "4 lyric pieces for piano", Op. 74, 1914.<ref>[http://www.musicweb-international.com/classrev/2003/july03/SibeliusPianoGimse.htm Music Web International]</ref> Similar titles  were given the second and third movements of [[Igor Stravinsky]]'s ''[[Duo Concertant]]'' ("Eclogue I" and "Eclogue II", 1932), while the middle movement of his three-movement ''[[Ode (Stravinsky)|Ode]]'' (1943) is also titled "Eclogue". [[Gerald Finzi]]'s "Eclogue" for piano and string orchestra, Op. 10, was revised in the 1940s and given that title then.<ref>[https://www.boosey.com/cr/music/Gerald-Finzi-Eclogue/4307 Boosey and Hawkes]</ref> An "Eclogue" for horn and strings by [[Maurice Blower]] dates from about the 1950s.<ref>[https://www.gramophone.co.uk/review/blower-symphony-in-c-horn-concerto-howell-tone-poem Gramophone]</ref> In the 21st century, American composer Henry Justin Rubin's ''Egloga'' for violin and piano dates from 2006.<ref>[https://www.d.umn.edu/~jrubin1/pJHR%20Egloga.pdf Score at the University of Minnesota]</ref>

==References==
{{reflist}}

==Further reading==
*{{cite book |author1=Hornblower, Simon |author2=Antony Spawforth | title=The Oxford Classical Dictionary: Third Edition | publisher=[[Oxford University Press]] | year=1999 | id=019866172X}}
*{{cite book | author=[[Theocritus]] | title=Theocritus: A Selection| publisher=[[Cambridge University Press]] | year=1999 | id=052157420X}}
*{{cite book | author=[[Virgil]] (comm. by W. V. Clausen)| title=Virgil: Eclogues | publisher=Clarendon, Oxford University Press| year=1994 | isbn=0-19-815035-0}}
*{{cite book |author1=Van Sickle |author2=John B. |title=Virgil's ''Book of Bucolics'', the Ten Eclogues in English Verse. Framed by Cues for Reading Out-Loud & Clues for Threading Texts & Themes | publisher=[[Johns Hopkins University Press]] | year=2011 | isbn=978-0-8018-9799-3}}|

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[[Category:Genres of poetry]]
[[Category:Ancient Greek poetry]]