See also:

• PASTORAL (from Lat. pastor, a shepherd)

PASTORAL (from See also:

• LAT

Lat. pastor, a shepherd)  , the name given to a certain class of See also:

• MODERN

modern literature in which the " idyll " of the Greeks and the " See also:

• ECLOGUE

eclogue " of the Latins are imitated . It was a growth of See also:

• HUMANISM (from Lat. humanus, human, connected with holm)

humanism at the See also:

• RENAISSANCE, THE

Renaissance, and its first See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home was See also:

• ITALY
• ITALY (Italia)

Italy . See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil had been imitated, even in the See also:

• MIDDLE

middle ages, but it was the example of See also:

• THEOCRITUS

Theocritus (q.v.) that was originally followed in See also:

• PASTORAL (from Lat. pastor, a shepherd)

pastoral . Pastoral, as it appeared in See also:

• TUSCANY
• TUSCANY (Toscana)

Tuscany in the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, was really a See also:

• DEVELOPED

developed eclogue, an idyll which had been See also:

• EXPANDED

expanded from a single See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene into a See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama . The first dramatic pastoral which is known to exist is the Favola di Orfeo of See also:

• POLITIAN (1454–1494)

Politian, which was represented at See also:

• MANTUA (Ital. Mantova)

Mantua in 1472 . This poem, which has been elegantly translated by J . A . See also:

• SYMONDS, JOHN ADDINGTON (184o-180, English critic and poet, was born at Bristol, on the 5th of October 184o. He was the only son of John Addington Symonds, M.D. (1807—1871)
• SYMONDS, WILLIAM SAMUEL (1818-1887)

Symonds, was a tragedy, with choral passages, on an idyllic theme, and is perhaps too See also:

• GRAVE

grave in See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone to be considered as a pure piece of pastoral . It led the way more directly to tragedy than to pastoral, and it is the Il Sagrifizio of See also:

• AGOSTINO
• AGOSTINO, or AGOSTINI [AUGUSTINUS], PAOLO (1593-1629)

Agostino Beccari, which was played at the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of See also:

• FERRARA

Ferrara in 1554, that is always quoted as the first See also:

• COMPLETE

complete and actual dramatic pastoral in See also:

• EUROPEAN

European literature . In the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west of See also:

• EUROPE

Europe there were various efforts made in the direction of non-dramatic pastoral, which it is hard to classify . See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

Early in the 16th century See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander See also:

• BARCLAY, ALEXANDER (c. 1476-1552)
• BARCLAY, JOHN (1582-1621)
• BARCLAY, JOHN (1734-1798)
• BARCLAY, R
• BARCLAY, ROBERT (1648-1690)
• BARCLAY, WILLIAM (1546–1608)

Barclay, in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, translated the Latin eclogues of Mantuanus, a scholastic writer of the preceding See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . Barnabe See also:

• GOOGE, BARNABE (1540-1594)

Googe, a See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation later, in 1563, published his Eglogs, Epytaphes and Sonnettes, a deliberate but not very successful See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to introduce pastoral into See also:

• ENGLISH

English literature .

In See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France it is difficult to deny the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of pastoral to various productions of the poets of the Pleiade, but especially to Remy See also:

• BELLEAU, REMY (c. 1527-1577)

Belleau's See also:

• PRETTY

pretty See also:

• MISCELLANY

miscellany of See also:

• PROSE

prose and See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse in praise of a See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country See also:

• LIFE

life, called La Bergerie (1535) . But the final impulse was given to non-dramatic pastoral by the publication, in 1504, of the famous See also:

• ARCADIA

Arcadia of J . See also:

• SANNAZARO, JACOPO (1458-1530)

Sannazaro, a See also:

• WORK

work which passed through sixty See also:

• EDITIONS

editions before the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the 16th century, and which was abundantly copied . Torquato See also:

• TASSO, TORQUATO (1544-1595)

Tasso followed Beccari after an See also:

• INTERVAL

interval of twenty years, and by the success of his Aminta, which was performed before the court of Ferrara in 1573, secured the popularity of dramatic pastoral . Most of the existing See also:

• WORKS

works in this class may be traced back to the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence either of the Arcadia or of the Aminta . Tasso was immediately succeeded by Alvisio Pasqualigo, who gave a comic turn to pastoral drama, and by Cristoforo Castelletti, in whose hands it See also:

• GREW, NEHEMIAH (1641-1712)

grew heroic and romantic, while, finally, Guariniproduced in 1590 his famous Pastor Fido, and Ongaro his See also:

• FISHER
• FISHER, ALVAN (1792–1863)
• FISHER, GEORGE PARK (1827-1909)
• FISHER, JOHN (c. 1469-1535)
• FISHER, JOHN ARBUTHNOT FISHER, 1ST BARON

fisher-men's pastoral of Alceo in 1591 . During the last See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the 16th century pastoral drama was really a See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power in Italy . Some of the best See also:

• POETRY

poetry of the age was written in this See also:

• FORM (Lat. forma)

form, to be acted privately on the stages of the little court theatres, that were everywhere springing up . In a See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time See also:

• MUSIC

music was introduced, and rapidly predominated, until the little forms of tragedy, and pastoral altogether, were merged .in See also:

• OPERA (Italian for " work ")

opera . With the reign of See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth a certain tendency to pastoral was introduced in England . In See also:

• GASCOIGNE, GEORGE (c. 1535—1577)

Gascoigne and in See also:

• WHETSTONE, GEORGE (1544?-1587?)

Whetstone traces have been observed of a tendency towards the form and spirit of eclogue . It has been conjectured that this tendency, combined with the study of the few extant eclogues of Clemont See also:

• MAROT
• MAROT, DANIEL (seventeenth century)

Marot, led See also:

• SPENSER, EDMUND (c. 1552-1599)
• SPENSER, JOHN (1559-1614)

Spenser to the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of what is the finest example of pastoral in the English See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language, the Shepherd's See also:

• CALENDAR

Calendar, printed in 1579 .

This famous work is divided into twelve eclogues, and it is remarkable because of the constancy with which Spenser turns in it from the artificial Latin See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of pastoral then popular in Italy, and takes his See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration See also:

• DIRECT

direct from Theocritus . It is important to See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note that this is the first effort made in European literature to bring upon a pastoral See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage the actual rustics of a modern country, using their own See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant See also:

• DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect . That Spenser's attempt was very imperfectly carried out does not militate against the genuineness of the effort, which the very See also:

• ADOPTION (Lat. adoptio, for adoptalio, from adoptare, to choose for oneself)

adoption of such names as Willie and Cuddie, instead of the customary See also:

• DAMON

Damon and See also:

• DAPHNIS

Daphnis, is enough to prove . Having led up to this work, the influence of which was to be confined to England, we return to Sannazaro's Arcadia, which See also:

• LEFT

left its See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark upon every literature in Europe . This remarkable See also:

• ROMANCE

romance, which was the type and the See also:

• ORIGINAL

original of so many succeeding pastorals, is written in See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich but not laborious periods of musical prose, into which are inserted at frequent intervals passages of verse, contests between shepherds on the " humile See also:

• FISTULA (Lat. for a pipe or tube)

fistula di Coridone," or laments for the See also:

• DEATH

death of some beautiful virgin . The characters move in a See also:

• WORLD

world of supernatural and brilliant beings; they See also:

• COMMUNE (Med. Lat. communia, Lat. communis, common)
• COMMUNE, MEDIEVAL

commune without surprise with " i gloriosi spiriti degli boschi," and reflect with singular completeness their author's longing for an See also:

• INNOCENT (INNOCENTIUS)
• INNOCENT (POPES)

innocent voluptuous existence, with no See also:

• HELL (0. Eng. hel, a Teutonic word from a root meaning " to cover," cf. Ger. Holle, Dutch hel)

hell or See also:

• HEAVEN (0. Eng. hefen, heofon, heofone; this word appears in O.S. hevan; the High. Ger. word appears in Ger. Himmel, Dutch hemel; there does not seem to be any connexion between the two words, and the ultimate derivation of the word is unknown; the sugges

heaven in the background . It was in See also:

• SPAIN
• SPAIN (Espana)

Spain that the influence of the Arcadia made itself most rapidly See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt outside Italy . The earliest See also:

• SPANISH

Spanish eclogues had been those of Juan de See also:

• ENCINA, JUAN DEL (1469–c.1533)

Encina, acted in 1492 . Gil See also:

• VICENTE, GIL (147o-1540)

Vicente, who was also a Portuguese writer, had written Spanish religious pastorals early in the 16th century . But Garcilaso de la See also:

• VEGA, GARCILASO DE LA
• VEGA, GARCILASO DE LA (1503-1536)

Vega is the founder of Spanish pastoral . His first eclogue, El Dulce lamentar de los pastores; is considered one of the finest poems of its See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind in See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient or in modern literature . He wrote little, and died early, in 1536 .

Two Portuguese poets followed him, and composed pastorals in Spanish, Francisco de Sa de See also:

• MIRANDA, FRANCESCO (c. 1754-1816)

Miranda, who imitated Theocritus, and the famous Jorge de See also:

• MONTEMAYOR (or MONTEMOR), JORGE (1520?-156x)

Montemayor, whose See also:

• DIANA

Diana (1524) was founded on Sannazaro's Arcadia . Gaspar Gil See also:

• POLO (Tibetan pulu, ball)
• POLO, GASPAR GIL (?153o-1591)
• POLO, MARCO (c. 1254-1324)

Polo, after the death of Montemayor in 1561, completed his romance, and published in 1564 a Diana enamorada . It will be recollected that both these works are mentioned with respect, in their kind, by Cervantes . The author of See also:

• DON
• DON (anc. Tanais)

Don Quixote himself published an admirable pastoral romance, Galatea, in 1584 . In France there has always been so strong a tendency towards a graceful sort of bucolic literature that it is hard to decide what should and what should not be mentioned here . The charming pastourelles of the 13th century, with their See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

knight on horseback and shepherdess by the roadside, need not detain us further than to hint that when the influence of See also:

• ITALIAN

Italian pastoral began to be felt in France these earlier lyrics gave it a See also:

• NATIONAL

national inclination . We have mentioned the Bergerie of Remy Belleau, in which the See also:

• ART

art of Sannazaro seems to join hands with the See also:

• SIMPLE

simple sweetness of the See also:

• MEDIEVAL

medieval pastourelle . But there was nothing in France that cculd compare with the school of Spanish pastoral writers which we have just noticed . Even the typical See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French pastoral, the Astree of Honore d'See also:

• URFE

Urfe (161o), has almost more connexion with the knightly romances which Cervantes laughed at than with the pastorals which he praised . The famous Astr€e waa the result of the study of Tasso's Aminta on the one See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand and Montemayor's Diana on the other, with a strong flavouring of the romantic spirit of the Amadis . To remedy the See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan tendency of the Asiree a See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest, See also:

• CAMUS, ARMAND GASTON (1740-1804)
• CAMUS, CHARLES ETIENNE LOUIS (1699-1768)
• CAMUS, FRANCOIS JOSEPH DES (1672-1732)

Camus de Pontcarre, wrote a See also:

• SERIES (a Latin word from serere, to join)

series of See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian pastorals . Racon produced in 1625 a pastoral drama, See also:

• LES

Les Bergeries, founded on the Aslree of D'Urfe .

In England the See also:

• MOVEMENT

movement in favour of Theocritean simplicity which had been.introduced by Spenser in the Shepherd's Calendar, was immediately defeated by the success of See also:

• SIR

Sir See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip See also:

• SIDNEY
• SIDNEY (or SYDNEY), ALGERNON (1622-1683)
• SIDNEY, SIR HENRY (1529-1586)
• SIDNEY, SIR PHILIP (1554-1586)

Sidney's Arcadia, a romance closely modelled on the masterpiece of Sannazaro . So far from attempting to sink to colloquial See also:

• IDIOM (Gr. t&%wµa, something peculiar and personal; lbws, one's own, personal)

idiom, and adopt a See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism in rustic dialect, the See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor of Sidney's narrative is even more grave and stately than it is conceivable that the conversation of the most serious nobles can have ever been . Henceforward, in England; pastoral took one or other of these forms . It very shortly appeared, however, that the Sannazarian form was more suited to the See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper of the age, even in England, than the Theocritean . In 1583 a See also:

• GREAT

great impetus was given to the former by See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• GREENE, GEORGE WASHINGTON (1811-1883)
• GREENE, MAURICE (1695-1755)
• GREENE, NATHANAEL (1742-1786)
• GREENE, ROBERT (c. 1560-1592)

Greene, who was composing his Morando, and still more in 1584 by the publication of two pastoral dramas, the Gallathea of Lyl y and the See also:

• ARRAIGNMENT (from Lat. ad, to, and rationare, to reason, call to account)

Arraignment of See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris of See also:

• PEELE, GEORGE (1558-c. 1598)

Peele . It is doubtful whether either of these writers knew anything about the Arcadia of Sidney, which was posthumously published, but Greene, at all events, became more and more imbued with the Italian spirit of pastoral . His Menaphon and his Never too See also:

• LATE

Late are pure bucolic romances . While in the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general form of his stories, however, he follows Sidney, the verse which he introduces is often, especially in the Menaphon, extremely rustic and colloquial . In 1589 See also:

• LODGE
• LODGE, EDMUND (1756-1839)
• LODGE, H
• LODGE, HENRY CABOT (1850– )
• LODGE, SIR OLIVER JOSEPH (1851– )
• LODGE, THOMAS (c. 1558–1625)

Lodge appended some eclogues to his Scilla's See also:

• METAMORPHOSIS

Metamorphosis, but in his Rosalynde (1590) he made a much more important contribution to English literature in general, and to Arcadian poetry in particular . This beautiful and fantastic See also:

• BOOK

book is modelled more exactly upon the masterpiece of Sannazaro than any other in our language . The Sixe Idillia of 1588, paraphrases of Theocritus, are See also:

• ANONYMOUS

anonymous, but conjecture has attributed them to Sir See also:

• EDWARD

Edward See also:

• DYER, JOHN (c. 1700-1758)
• DYER, SIR EDWARD (d. 1607)
• DYER, THOMAS HENRY (1804-1888)

Dyer . In 1598 See also:

• BARTHOLOMEW, JOHN (1831-1893)
• BARTHOLOMEW, SAINT

Bartholomew See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

Young published an English version of the Diana of Montemayor .

In 1585 See also:

• WATSON, RICHARD (1737-1816)
• WATSON, THOMAS (c. 1557–1592)
• WATSON, WILLIAM (1858- )
• WATSON, WILLIAM (c. 1559-1603)

Watson published his collection of Latin elegiacal eclogues, entitled Amyntas, which was translated into English by See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

Abraham See also:

• FRAUNCE, ABRAHAM (c. 1558-1633)

Fraunce in 1587 . Watson is also the author of two frigid pastorals, Meliboeus (159o) and Amyntae gaudia (1592) . See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Dickenson printed at a date unstated, but probably not later than 1592, a " passionate eclogue " called The Shepherd's Complaint, which begins with a harsh burst of hexameters, but which soon settles down into a harmonious prose See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story, with lyrical interludes . In 1594 the same writer published the romance of Arisbas . See also:

• DRAYTON, MICHAEL (1563-1631)

Drayton is the next pastoral poet in date of publication . His See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

Idea: Shepherd's See also:

• GARLAND, JOHN (fl. 1202—1252)

Garland bears the date 1593, but was probably written much earlier . In 1595 the same poet produced an Endimion and See also:

• PHOEBE

Phoebe, which was the least happy of his works . He then turned his fluent See also:

• PEN (Lat. penna, a feather, pen)

pen to the other branches of poetic literature; but after more than See also:

• THIRTY

thirty years, at the very close of his life, he returned to this early love, and published in 1627 two pastorals, The Quest of Cynthia and The Shepherd's Sirena . The general See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of all these pieces is rich, but vague and unimpassioned . The See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen's Arcadia of See also:

• DANIEL
• DANIEL (DANIL)
• DANIEL, BOOK
• DANIEL, GABRIEL (1649-1728)

Daniel must be allowed to See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie open to the same See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge, and to have been written rather in accordance with a See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion than in following of the author's predominant impulse . The singular eclogue by See also:

• BARNFIELD, RICHARD (1574-1627)

Barnfield, The Affectionate Shepherd, printed in 1594, is an exercise. on the theme "O crudelis Alexi, nihil mea carmina curas," and, in spite of its juvenility and indiscretion, takes See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank as the first really poetical following of Spenser and Virgil, in distinction to Sidney and Sannazaro . See also:

• MARLOWE, CHRISTOPHER (1564-1593)
• MARLOWE, JULIA [SARAH FRANCES FROST] (1870– )

Marlowe's pastoral lyric Come live with Me, although not printed until 1599, has See also:

• BEER

beer attributed to 1589 .

In 1600 was printed the anonymous pastoral See also:

• COMEDY

comedy in See also:

• RHYME

rhyme, The Maid's See also:

• META

Meta-morphosis, See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long attributed to See also:

• LYLY (LILLY, or LYLIE), JOHN (1553–1606)

Lyly . With the close of the 16th century pastoral literature was not extinguished in England as suddenly or as completely as it was in Italy and Spain . Throughout the romantic Jacobean age XX . 29897 the English love of country life asserted itself under the See also:

• GUISE
• GUISE, HOUSE OF

guise of pastoral sentiment, and the influence of Tasso and See also:

• GUARINI
• GUARINI, GIOVANNI BATTISTA (1537-1612)

Guarini was felt in England just when it had ceased to be active in Italy . In England it became the fashion to publish lyrical eclogues, usually in short measure, a class of poetry See also:

• PECULIAR

peculiar to the nation and to that age . The lighter staves of The Shepherd's Calendar were the See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model after which all these graceful productions were See also:

• DRAWN

drawn . We must confine ourselves to a brief enumeration of the See also:

• PRINCIPAL

principal among these Jacobean eclogues . See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas See also:

• BRETON, BRITTON
• BRETON, JULES ADOLPHE

Breton came first with his Passionate Shepherd in 1604 . See also:

• WITHER, GEORGE (1588-1667)

Wither followed with The Shepherd's See also:

• HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)

Hunting in 1615, and Braithwaite, an inferior writer, published The Poet's See also:

• WILLOW (Salix)

Willow in 1613 and Shepherd's Tales in 1621 . The name of Wither must recall to our minds that of his friend See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• BROWNE
• BROWNE, EDWARD HAROLD (18,1–1891)
• BROWNE, ISAAC HAWKINS (1705-1760)
• BROWNE, JAMES (1793–1841)
• BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
• BROWNE, PETER (?1665-1735)
• BROWNE, ROBERT (1550-1633)
• BROWNE, SIR JAMES (1839–1896)
• BROWNE, SIR THOMAS (1605-1682)
• BROWNE, WILLIAM (1591–1643)
• BROWNE, WILLIAM GEORGE (1768-1813)

Browne, who published in 1613—1616 his beautiful collection of See also:

• DEVONSHIRE (DEvoN)
• DEVONSHIRE, EARLS AND DUKES OF

Devonshire idylls called Britannia's Pastorals . These were in heroic verse, and less distinctly Spenserian in character than those eclogues recently mentioned . In 1614 Browne, Wither, See also:

• CHRISTOPHER, SAINT (Christophorus, Christoferus)

Christopher See also:

• BROOK

Brook and See also:

• DAVIES (DAvIslus), JOHN (1679-1732)
• DAVIES, DAVID CHARLES (1826-1891)
• DAVIES, RICHARD (c. 1505—1581)
• DAVIES, SIR JOHN (1569-1626)
• DAVIES, SIR LOUIS HENRY (1845— )

Davies of See also:

• HEREFORD

Hereford See also:

• UNITED

united in the composition of a little See also:

• VOLUME

volume of pastorals entitled The Shepherd's See also:

• PIPE

Pipe .

Meanwhile the composition of pastoral dramas was not entirely discontinued . In 16o6 See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

Day dramatized See also:

• PART

part of Sidney's Arcadia in his Isle of Gulls, and about 1625 the Rev . See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• GOFFE (or Govc11), WILLIAM (fl. 1642-1660)

Goffe composed his Careless Shepherdess, which See also:

• BEN (from Old Eng. bennan, within)

Ben See also:

• JONSON

Jonson deigned to imitate in the opening lines of his Sad Shepherd . In 1610 See also:

• FLETCHER, ALICE CUNNINGHAM (1845– )
• FLETCHER, ANDREW
• FLETCHER, GILES (c. 1548-1611)
• FLETCHER, GILES (c. 1584-1623)
• FLETCHER, JOHN WILLIAM (1729-1785)
• FLETCHER, PHINEAS (1582-1650)

Fletcher produced his Faithful Shepherdess in emulation of the Aminta of Tasso . This is the principal pastoral See also:

• PLAY

play in the language, and, in spite of its faults in moral See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, it preserves a See also:

• FASCINATION (from Lat. fascinare, to bewitch, probably connected with the Or. f3ao-Kaiveev, to speak ill of, to bewitch)

fascination which has evaporated from most of its See also:

• FELLOWS, SIR CHARLES (1799-1860)

fellows . The Arcades of See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton is scarcely dramatic; but it is a bucolic See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode of great stateliness and beauty . In the Sad Shepherd, which was perhaps written about 1635, and in his pastoral masques, we see Ben Jonson not disdaining to follow along the track that Fletcher had pointed out in the Faithful Shepherdess . With the Piscatory Eclogues of Phineas Fletcher, in 1633, we may take leave of the more studied forms of pastoral in England early in the 17th century . When pastoral had declined in all the other nations of Europe, it enjoyed a curious recrudescence in See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland . More than a century after date, the Arcadia of Sannazaro began to exercise an influence on Dutch literature . Johan See also:

• VAN

van Heemskirk led the way with his popular Batavische Arcadia in 1637 . In this curious romance the shepherds and shepherdesses move to and fro between Katwijk and the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague, in a landscape unaffectedly Dutch .

Heemskirk had a See also:

• TROOP (an adaptation of Fr. troupe, O. Fr. trope; cf. Ital. troppa, troppa; Med. Lat. truppus; the origin is doubtful; suggestions have been made that it represents a German conception of Latin turba, crowd, or is an adaptation of Norw. tarp, flock)

troop of imitators . Hendrik Zoeteboom published his Zaanlandsche Arcadia in 1658, and Lambertus See also:

• BOS, LAMBERT (1670—1717)

Bos his Dordtsche Arcadia in 1662 . These See also:

• LOCAL

local imitations of the suave Italian pastoral were followed by still more crude romances, the Ratterdamsche Arcadia of Willem den Eiger, the Walchersche Arcadia of Gargon, and the Noordwijker Arcadia of Jacobus van der Valk . See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany has nothing to offer us of this class, for the Diana of See also:

• WERDER, KARL WILHELM FRIEDRICH AUGUST LEOPOLD, COUNT VON (1808—1887)

Werder (1644) and See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die adriatische Rosamund of Zesen (1645) are scarcely pastorals even in form . In England the See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing of eclogues of the sub-Spenserian class of Breton and Wither led in another generation to a rich growth of lyrics which may be roughly called pastoral, but are not strictly bucolic . See also:

• CAREW, GEORGE (d. about 1613)
• CAREW, RICHARD (1555–1620)
• CAREW, THOMAS (1595–1645?)

Carew, See also:

• LOVELACE, RICHARD (1618-1658)

Lovelace, Suckling, See also:

• STANLEY (FAMILY)
• STANLEY, ARTHUR PENRHYN (18x5–1881)
• STANLEY, EDWARD (1779-1849)
• STANLEY, SIR HENRY MORTON (184o-1904)
• STANLEY, SIR WILLIAM (1548-163o)
• STANLEY, THOMAS (1625-1678)

Stanley and See also:

• CARTWRIGHT, EDMUND (1743–1823)
• CARTWRIGHT, JOHN (1740–1824)
• CARTWRIGHT, PETER (1785–1872)
• CARTWRIGHT, SIR RICHARD JOHN (1835– )
• CARTWRIGHT, THOMAS (c. 1535–1603)
• CARTWRIGHT, WILLIAM (1611–1643)

Cartwright are lyrists who all contributed to this See also:

• HARVEST (A.S. hcerfest " autumn," O.H. Ger. herbist, possibly through an old Teutonic root representing Lat. car pere, " to pluck ")

harvest of country See also:

• SONG

song, but by far the most copious and the most characteristic of the pastoral lyrists is See also:

• HERRICK, ROBERT (1591-1674)

Herrick . He has, perhaps, no See also:

• RIVAL

rival in modern literature in this particular direction . His command of his resources, his deep originality and observation, his power of concentrating his See also:

• GENIUS (from Lat. genere, gignere)

genius on the details of rural beauty, his See also:

• INTEREST

interest in recording homely facts of country life, combined with his extraordinary See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of song to See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place him in the, very first rank among pastoral writers; and it is noticeable that in Herrick's hands, for the first time, the pastoral became a real and modern, instead of being an ideal and humanistic thing . From him we date the recognition in poetry of the humble beauty that lies about our doors . His genius and influence were almost instantly obscured by the Restoration . During the final decline of the Jacobean drama a certain number of pastorals were still produced . Of these the only ones which deserve II mention are three dramatic adaptations, See also:

• SHIRLEY (or SHERLEY), JAMES (1596-1666)
• SHIRLEY (or SHERLEY), SIR ANTHONY (1565-c. 1635)
• SHIRLEY, WILLIAM (1694-1771)

Shirley's Arcadia (164o), See also:

• FANSHAWE, SIR RICHARD

Fanshawe's Pastor Fido (1646), and Leonard Willan's See also:

• ASTRAEA

Astraea (1651) .

The last pastoral drama in the 17th century was See also:

• SETTLE
• SETTLE, ELKANAH (1648–1724)

Settle's Pastor Fido (1677) . The Restoration was extremely unfavourable to this See also:

• SPECIES

species of literature . Sir See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• SEDLEY, SIR CHARLES (c. 1639-1701)

Sedley, Aphra See also:

• BEHN, APHRA (otherwise AFRA, APHARA or AYFARA) (164o-1689)

Behn and See also:

• CONGREVE, RICHARD (1818-1899)
• CONGREVE, SIR WILLIAM
• CONGREVE, WILLIAM (167o-1729)

Congreve published eclogues, and the Pastoral See also:

• DIALOGUE

Dialogue between Thirsis and Strephon of the first-mentioned was much admired . All of these, however, are in the highest degree insipid and unreal, and partook of the extreme artificiality of the age . Pastoral came into fashion again early in the 18th century . The controversy in the See also:

• GUARDIAN

Guardian, the famous critique on See also:

• AMBROSE (AMBROISE), AUTPERT (d.' 778)
• AMBROSE (ANDREY SERTIS-KAMENSKIY) (1708-1771)
• AMBROSE (fl. 119o)
• AMBROSE, ISAAC (1604-1663/4)
• AMBROSE, SAINT (c. 340-307)

Ambrose See also:

• PHILIPS, AMBROSE (c. 1675-1749)
• PHILIPS, JOHN (1676-1708)
• PHILIPS, KATHARINE (1631-1664)

Philips's Pastorals, the anger and rivalry of See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope, and the doubt which must always exist as to See also:

• STEELE
• STEELE, ANNE (1717-1778)
• STEELE, SIR RICHARD (1672-1729)
• STEELE, THOMAS (1788-1848)
• STEELE, WILLIAM (d. 1680)

Steele's See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in the mystification, give 1708 a considerable importance in the See also:

• ANNALS (Annales, from annus, a year)

annals of bucolic writing . Pope had written his idylls first, and it was a source of See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite annoyance to him that Philips contrived to precede him in publication . He succeeded in throwing ridicule on Philips, however, and his own pastorals were greatly admired . Yet there was some nature in Philips, and, though Pope is more elegant and faultless, he is not one whit more genuinely bucolic than his rival . A far better writer of pastoral than either is See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

Gay, whose Shepherd's See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

Week was a serious attempt to throw to the winds the ridiculous Arcadian tradition of See also:

• NYMPHS

nymphs and swains, and to copy Theocritus in his simplicity . Gay was far more successful in executing this pleasing and natural See also:

• CYCLE
• CYCLE (Gr. KUK)^os, a circle)

cycle of poems than in writing his pastoral tragedy of See also:

• DIONE

Dione or his " tragi-comico pastoral See also:

• FARCE

farce " of The What d'ye See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call it ? (1715) .

He deserves a very high place in the See also:

• HISTORY

history of English pastoral on the See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score of his Shepherd's Week . See also:

• SWIFT
• SWIFT, JONATHAN (1667—1745)

Swift proposed to Gay that he should write a Newgate pastoral in which the swains and nymphs should talk and warble in See also:

• SLANG

slang . This Gay never did attempt; but a See also:

• NORTHERN

northern admirer of his and Pope's achieved a veritable and lasting success in See also:

• LOWLAND

Lowland Scotch, a dialect then considered no less beneath the dignity of verse . See also:

• ALLAN, DAVID (1744–1796)
• ALLAN, SIR HUGH (1810–1882)
• ALLAN, SIR WILLIAM (1782–1850)

Allan See also:

• RAMSAY, ALLAN (1686-1758)
• RAMSAY, ALLAN (1713-1784)
• RAMSAY, ANDREW MICHAEL (1686-1743)
• RAMSAY, DAVID (1749—1815)
• RAMSAY, SIR WILLIAM (1852– )
• RAMSAY, SIR WILLIAM MITCHELL (185r– )

Ramsay's See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

Gentle Shepherd, published in 1725, was the last, and remains the most vertebrate and interesting, bucolic drama produced in Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain . It remained a favourite, a See also:

• HUNDRED

hundred and fifty years after, among Lowland reapers and milkmaids . With the Gentle Shepherd the See also:

• CHRONICLE (from Gr. Xpovos, time)

chronicle of pastoral in England practically closes . This is at least the last performance which can be described as a developed eclogue of the school of Tasso and Guarini . It is in See also:

• SWITZERLAND

Switzerland that we find the next important revival .of pastoral properly so-called . The taste of the 18th century was very agreeably tickled by the religious idylls of Salomon See also:

• GESSNER,

Gessner, who died in 1787 . His Daphnis and Phillis and Der See also:

• TOD, JAMES (1782-1835)

Tod Abels were read and imitated throughout Europe . In See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German literature they left but little mark, but in France they were cleverly copied by See also:

• ARNAUD, HENRI (1641-1721)

Arnaud Berquin . A much more important pastoral writer is See also:

• JEAN

jean See also:

• PIERRE

Pierre See also:

• CLOVIS [Chlodovech] (c. 466-511)

Clovis de See also:

• FLORIAN, JEAN PIERRE CLARIS DE (1755-1794)
• FLORIAN, SAINT

Florian, who began by imitating the Galatea of Cervantes, and continued with an original bucolic romance entitled Estelle .

It has always been noticeable that pastoral is a form of literature which disappears before a breath of ridicule . Neither Gessner nor his follower Abbt were able to survive the See also:

• LAUGHTER

laughter of See also:

• HERDER, JOHANN GOTTFRIED VON (1744-1803)

Herder . Since Florian and Gessner there has been no reappearance of bucolic literature properly so-called . The whole spirit of romanticism was fatal to pastoral . See also:

• VOSS, JOHANN HEINRICH (1751–1826)
• VOSS, RICHARD (1851– )

Voss in his Luise and See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe in See also:

• HERMANN, JOHANN GOTTFRIED JAKOB (1772–1848)
• HERMANN, KARL FRIEDRICH (1804–1855)

Hermann and Dorothea replaced it by poetic scenes from homely and simple life . See also:

• HALF

Half a century later something like pastoral reappeared in a totally new form, in the fashion for Dorfgeschichten . About 183o the Danish poet S . S .. Blicher, whose work connects the grim studies of See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• CRABBE, GEORGE (1754-1832)

Crabbe with the milder modern See also:

• STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain of pastoral, began to publish his studies of out-See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door romance among the poor in See also:

• JUTLAND (Danish Jylland)

Jutland . See also:

• IMMERMANN, KARL LEBERECHT (1796-1840)

Immermann followed in Germany with his novel Der Oberhof in 1839 . See also:

• AUERBACH, BERTHOLD (1812-1882)

Auerbach, who has given to the 19th-century idyll its peculiar character, began to publish his Schwarzwalder Dorfgeschichten in 1843 . Meanwhile George See also:

• SAND
• SAND, GEORGE (1804-1876)

Sand was writing Jeanne in 1844, which was followed by La See also:

• MARE

Mare an Diable and See also:

• FRANCOIS (1558-1614)

Francois le Champi, and in England See also:

• CLOUGH, ANNE JEMIMA (182o-1892)
• CLOUGH, ARTHUR HUGH (1819-1861)

Clough produced in 1848 his remarkable long-vacation pastoral The Bothie of Tober-na-Vuolich .

It seems almost certain that these writers followed a simultaneous but See also:

• INDEPENDENT

independent impulse in this curious return to bucolic life, in which, however, in every See also:

• CASE
• CASE, JOHN (d. 1600)

case, the old tiresome conventionality and affectation of See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady-like airs and See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

graces were entirely dropped . This school of writers was presently enriched in See also:

• NORWAY
• NORWAY (Norge)

Norway by See also:

• BJORNSON, BJORNSTJERNE (1832-1910)

Bjornson, whose Synnove Solbakken was the first of an exquisite series of pastoral romances . But perhaps the best of all modern pastoral romances is Fritz See also:

• REUTER, FRITZ (1810-1894)
• REUTER, PAUL JULIUS, BARON DE (1821-1899)

Reuter's Ut mine Stromtid, written in the See also:

• MECKLENBURG

Mecklenburg dialect of German . In England the See also:

• DORSETSHIRE (DORSET)

Dorsetshire poems of William See also:

• BARNES, ALBERT (1798–1870)
• BARNES, BARNABE (1569 ?–16o9)
• BARNES, JOSHUA (1654-1712)
• BARNES, ROBERT (1495-1540)
• BARNES, SIR EDWARD (1776-1838)
• BARNES, THOMAS (1785-1841)
• BARNES, W
• BARNES, WILLIAM (1800-1886)

Barnes and the Dorsetshire novels of Thomas See also:

• HARDY, ALEXANDRE (1569?-1631)
• HARDY, SIR THOMAS DUFFUS (1804-1878)
• HARDY, SIR THOMAS MASTERMAN
• HARDY, THOMAS (1840- )

Hardy belong to the same class . It will be noticed, of course, that all these See also: