Eclogue 8 (Ecloga VIII; Bucolica VIII), also titled Pharmaceutria ('The Sorceress'), is a pastoral poem by the Latin poet Virgil, one of his book of ten Eclogues. After an introduction, containing an address to an unnamed dedicatee, there follow two love songs of equal length sung by two herdsmen, Damon and Alphesiboeus. One is the song of a love-sick young man, whose girlfriend Nysa is marrying another man, Mopsus. The second is the song of a woman who, with the help of her servant Amaryllis, is performing a magic rite to try to entice her beloved Daphnis back from the city.
The poem is believed to have been written in 39 BC, and the dedicatee is usually thought to be Virgil's patron Gaius Asinius Pollio, whose military exploits are alluded to in verses 6–13.Greenough, ed. 1883, p. 21.
This eclogue is mainly based on Theocritus's Idyll 2, but the first song also includes elements from Idylls 1, 3, and 11.Macdonald (2005), pp. 14, 24.
Summary - 1 An anonymous narrator says he wishes to tell of the songs of two outstanding singers, Damon and Aphesiboeus, to whom cows, lynxes, and even rivers listen in amazement. He breaks off (lines 6–13) to address an unnamed dedicatee, whom he imagines at this moment crossing the rocks of the river Timavus or skirting the coast of Illyricum, asking him to accept the dedication. He continues by relating how Damon began his song at dawn, leaning on a smooth olive tree.
- 17 Damon's song is that of a nameless young man, who has been jilted by his beloved, Nysa. The young man praises the Arcadian mountain Maenalus and the god Pan, who listen to lovers' complaints. He explains how Nysa is to marry Mopsus, a most unequal match; he addresses Mopsus and advises him to prepare for the wedding. Then he addresses Nysa and chides her for despising him. He reminds her how he fell in love with her when she visited his mother's garden when he was only a child. Now he knows the cruelty of the god Love. It was the god Love, and his equally cruel mother (Venus), who persuaded Medea to murder her own children. Now wolves will run away from sheep, oak trees will bear apples, and all sorts of other impossible things will happen. He says farewell to the woods and declares he will throw himself off a high cliff into the sea.
- 62 The narrator now asks the Muses to help him recount the song of Alphesiboeus.
- 64 Alphesiboeus sings the song of an unnamed woman, who is making a magic spell to bring home her beloved Daphnis. She instructs her maid to decorate the altar and burn herbs and incense. She declares that songs have the power to bring down the moon, and enabled Circe to turn Ulysses' companions into pigs. Three times she surrounds the altar with three-colour thread; and three times she carries an effigy around it. She instructs her maid to tie three colours into three knots. She describes how the clay she is holding grows hard and the wax soft in the same fire; she prays her love for Daphnis will do the same. She instructs the maid to sprinkle meal and burn bay leaves. She prays that Daphnis may be overcome by love, in the same way as a young cow is overcome with love for a bull, forgetting to return home at night. She buries some clothes left behind by Daphnis at the threshold of the house. She uses some magic herbs from Pontus which she says she was given by Moeris, an accomplished magician. Then she bids Amaryllis to take the ashes and throw them behind her into a stream; though Daphnis cares nothing for songs, she says she will bring him back by magic. Suddenly the maid notices that the ashes have burst into flame, which she accepts as a good omen. The woman agrees that it is certainly a sign, and the dog Hylax is barking at the threshold. Should she believe Daphnis is coming back? Or is she just imagining a dream?
The addressee The introduction to the poem narrates how at the beginning of the day Damon and Alphesiboeus sang in competition with each other. In the middle of this narrative is an eight-line address to an unnamed person, who is identified only by various indications. First, Virgil imagines him sailing past the "rocks of Timavus" (a river at the very north of the Adriatic sea) and the Illyrian coast. He looks forward to celebrating the addressee's achievements and poems, which alone are worthy of the Sophoclean stage. Virgil asks him to accept the poems which he has begun on the addressee's command as ivy to be wreathed round the addressee's head along with the laurels of victory.
From early times these indications have been taken as describing Virgil's patron Gaius Asinius Pollio. He is mentioned by name in Eclogue 3 for his liking for bucolic poetry, and again, as consul in 40 BC, in Eclogue 4. Pollio is also known to have written tragedies.cf. Horace, Satires 1.10.42; Tacitus, 21.7.
Some scholars, however, such as Bowersock (1971), have proposed that the addressee is not Pollio but Octavian, who fought a campaign in Illyricum beginning in 35 BC; he is also said to have composed a tragedy on the subject of Ajax.Bowersock (1971), p. 79. But since Bowersock's article, several other scholars have argued against this view. For example, Thibodeau (2006) points that Virgil's description seems to describe not a voyage from Pollio's province to Rome (as some scholars have thought), but one going to his province, and he shows that it is perfectly plausible for Pollio to have set off for his province in 39 BC from Aquileia near the Timavus river. To suppose that the addressee is Octavian, on the other hand, creates considerable difficulties in chronology. There is therefore no need to doubt that Pollio is meant here and that the date of Eclogue 8 is 39 BC.
The words in the 7th line of the dedication (line 11) ( ) go back to Homer's Iliad 9.97 (flattering words spoken by Nestor to Agamemnon).Page (1898), p. 157. They also recall line 60 of Eclogue 3 ( ). According to Greenough, this poem has every appearance of an epilogue, and perhaps was originally intended to stand at the end of the book.Greenough (1883), p. 50.
In 2014 it was noticed that the initial letters of the dedication (lines 6 to 13) contain an acrostic: (i.e. ) 'if you are the one, accept!' Possibly this instruction is addressed only to Pollio, though Neil Adkin, who discovered the acrostic, believes that Virgil wished to leave the addressee ambiguous. Adkin suggests that the ambiguous words (line 7) 'you skirt the coast' or 'you read the margin' provide a clue to the presence of the acrostic, just as the words provide a clue to an acrostic in the dedication to Maecenas in Georgics 2.44.Adkin, (2014), pp. 47–48.
The two songs
The 16-line introduction is followed by two songs, one sung by Damon and the other by Alphesiboeus. The two songs in the eclogue are loosely based on Theocritus's Idyll 2. In this idyll a woman called Simaetha makes a magic spell to attract her lover Delphis to return to her. At the end of the spell, after dismissing her maid Thestylis, Simaetha sings a second song of 12 slightly longer stanzas, telling the Moon about how she had fallen in love with Delphis when she saw him one day coming from the gymnasium, how they became lovers, and how she had learnt that he had now fallen in love with someone else. Both songs in Idyll 2 are broken up by refrains. The order of the songs is reversed in Eclogue 8, and the complaint is put into the mouth of a man; the content is also changed. Another change made by Virgil is to set the songs in the countryside, whereas Theocritus's Idyll 2 is set in a city.Macdonald (2005), p. 18.
The two songs in Eclogue 8 are clearly designed to match each other, and thus like the songs in Eclogues 3, 5, 7 and 9 are amoebaean. Both have the same number of lines (if line 76 is omitted) and almost exactly the same pattern and number of stanzas. Both songs start with a command ( and ); both have the word at the beginning of line 2 or 3. The second stanza of each song speaks of the power of Arcadia and the power of songs respectively. The last two lines of the third stanza of both songs consist of commands. Stanzas 3 and 8 of the first song speak of impossible things that will happen in consequence of Nysa's marriage, while stanza 3 and 7 of the second song speak of impossible things that magic can do. The first song references the story of Medea (47–49), the other the story of her aunt Circe (70); Medea is also implied in the references to the magic herbs of Pontus (95–96).Solodow (1977), p. 759 (note 6). In both songs, the central stanza has a vivid picture describing the emotion of falling in love.
Damon's song, like Simaetha's first song, has 9 stanzas, each followed by a refrain, but the stanzas are of varying lengths: 4, 3, 5, 4, 5, 3, 4, 5, 3 lines respectively. Alphesiboeus's song has almost exactly the same pattern, except that in the manuscript tradition it contains an extra refrain (line 76), dividing the 3rd stanza, making ten stanzas of 4, 3, 3, 2, 4, 5, 3, 5, 3, 4 lines. To make Virgil's two songs match each other more exactly some editors, such as Mynors in the Oxford Classical Text of 1969, add an extra refrain in the first song (line 28a); however, other editors remove line 76 instead.Macdonald (2005), p. 12.Skutsch (1969), p. 154. If the latter solution is taken, the magic spell in Virgil, just as the magic spell in Theocritus, has nine stanzas, an appropriate number for magic (cf. lines 73–78, where the number 3 x 3 is emphasised).Gow (1952), ii p. 39: (Idyll 2) "consists of nine quatrains – a number suitable in itself, for three is the magic number (cf. 6.39, 20.11), and particularly associated with the triple Hecate." Another argument put forward by Skutsch for removing line 76 is that if it is deleted, then when Eclogue 8 is added to its pair (Eclogue 2), it makes 181 lines, the same number as when Eclogue 3 is added to its pair (Eclogue 7).Skutsch (1969), p. 155. Cucchiarelli (2012), however, retains line 76, arguing that in this way the number of refrains is the same as in Theocritus's magic spell (there being an extra refrain at the beginning in Theocritus, dividing the spell itself from the introduction to Idyll 2).
Damon's song
Damon's song is the complaint of a young man whose beloved, Nysa, is marrying another man, Mopsus.Mopsus is he name of the young singer in Eclogue 5 who sings a lament for the dead Daphnis. At the end of the song in his despair he declares that he is going to throw himself off a high cliff into the sea. The refrain in the first eight stanzas is "Begin the Maenalian verses with me, my pipes".The pipes in this case are the , a pair of reed pipes. The adjective "Maenalian" refers to the mountain Maenalus in Arcadia, the fabled region in Greece which Virgil chose to make the scene of his bucolic poems. After the last stanza the refrain changes to: "End the Maenalian verses now, end the verses."
The historian Thomas Babington Macaulay thought that the five lines in the central stanza of this song (37–41) were "the finest lines in the Latin language"; and he noted that Voltaire had said that they were the finest in all of Virgil's poetry.Macaulay's words are quoted by Page (1898), p. 158.For Kenney (1983), p. 51, however, lines 8–13 of Eclogue 2 are "among the most poignant and haunting in all Latin literature". They have been translated as follows:
"I saw you, a little child, with my mother in our garden, picking dew-wet apples (I was guide to you both). The year beyond my eleventh had just greeted me, now I could reach the frail branches from the ground. As I saw you, I was lost! How a fatal madness took me!"Translated by A. S. Kline.