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These poems helped establish the defining elements of the mode: shepherds, who spend much of their time in song and dialogue; the topics of love, loss, and singing itself; a leisurely life; and a natural landscape of endless summer. In the Middle Ages, when Virgil’s eclogues were still read but rarely directly imitated, an explicitly Christian version of pastoral developed; this version was based in the shepherds of the Bible, both the literal shepherds who witnessed Jesus’ birth and the figurative shepherds referred to by Jesus or mentioned in the Psalms. In this biblical or ecclesiastical pastoral, authors used shepherds to discuss priestly duties and the state of the church more generally. Pastoral flourished in the Renaissance, when poets brought together Virgilian and Christian traditions, along with topical concerns about court politics and rural controversies, such as enclosure, to invent a new kind of poetry. 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摘要

田园是指任何对乡村或乡村生活的表现,强调其美丽和愉快的方面。虽然这个词被广泛用于描述绘画、小说和大众媒体,但它起源于古希腊和罗马的诗歌。关于牧羊人和牧牛人的诗歌,也被称为“田园诗”,最早出现在泰奥克里托斯的《田园诗》(公元前3世纪)中,这些诗歌给了罗马诗人维吉尔灵感,创作了一套名为《牧歌》的诗歌(公元前42-37年)。维吉尔的十首诗影响深远。的确,牧歌在欧洲漫长而相对完整的历史可以追溯到牧歌的持续流行。这些诗歌帮助确立了这种模式的定义要素:牧羊人,他们花了很多时间在唱歌和对话中;关于爱、失去和歌唱本身的话题;悠闲的生活;还有无尽夏日的自然景观。在中世纪,当维吉尔的牧歌仍被阅读但很少被直接模仿时,一个明确的基督教版本的牧歌发展起来了;这个版本以圣经中的牧羊人为基础,既包括见证耶稣诞生的真正的牧羊人,也包括耶稣提到的或诗篇中提到的象征性的牧羊人。在这本圣经或教会牧歌中,作者用牧羊人来讨论牧师的职责和更普遍的教会状况。田园诗歌在文艺复兴时期蓬勃发展,当时诗人将维吉尔和基督教传统结合在一起,同时关注宫廷政治和农村争议,如圈地,创造了一种新的诗歌。在浪漫主义时期和之后,田园诗失去了其鲜明的牧羊风格,与更广泛的自然写作类别合并。作为几种可能接近自然的方法之一,田园被简化为理想化和怀旧的品质,它经常与更现实或科学的表现形成对比。从《长久的生活》的角度看,牧歌是一个广阔的范畴,它包含了对农村人和农村生活的许多不同的态度,甚至包括对劳动和流放的现实主义。尽管种类繁多,但田园小说的特点在于它希望在读者心中唤起对乡村生活的感受:大自然带给感官的愉悦,失去人和地方的悲伤,以及青春期的强烈迷恋。
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Pastoral
Pastoral refers to any representation of the countryside or life in the countryside that emphasizes its beautiful and pleasurable aspects. Although the term has come to be used broadly to describe paintings, novels, and popular media, it originated and developed in the poetry of ancient Greece and Rome. Poems about shepherds and cowherds, also called bucolic, first appeared in the Idylls of Theocritus (3rd century bce), and these inspired the Roman poet Virgil to write a set of poems called the Eclogues (c. 42–37 bce). Virgil’s ten poems have been immensely influential. Indeed, pastoral’s long and relatively unbroken European history can be traced to the ongoing popularity of the Eclogues. These poems helped establish the defining elements of the mode: shepherds, who spend much of their time in song and dialogue; the topics of love, loss, and singing itself; a leisurely life; and a natural landscape of endless summer. In the Middle Ages, when Virgil’s eclogues were still read but rarely directly imitated, an explicitly Christian version of pastoral developed; this version was based in the shepherds of the Bible, both the literal shepherds who witnessed Jesus’ birth and the figurative shepherds referred to by Jesus or mentioned in the Psalms. In this biblical or ecclesiastical pastoral, authors used shepherds to discuss priestly duties and the state of the church more generally. Pastoral flourished in the Renaissance, when poets brought together Virgilian and Christian traditions, along with topical concerns about court politics and rural controversies, such as enclosure, to invent a new kind of poetry. During and after the Romantic period, pastoral lost its distinctly shepherdly focus and merged with a broader category of nature writing. As one of several possible approaches to nature, pastoral was reduced to its idealizing and nostalgic qualities, and it was often contrasted with more realistic or scientific representations. From the perspective of the longue durée, pastoral is a capacious category that includes many different attitudes toward rural people and rural life, even the realism of labor and exile. Despite this variety, pastoral is recognizable for the feelings it hopes to generate in its readers about rural life: the delight that the senses take in nature, the sadness at the loss of people and places, and the intense crushes of adolescence.
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