Virgil Ecologue II

Virgil’s Ecologue II depicts a scene of unrequited love, which the shepherd Corydon harbours for the ‘beautiful’ Alexis. According to Guy Lee, ancient readers interpreted the poem autobiographically, claiming that Alexis is a beautiful slave-boy given to the poet by his patron Pollio, and Corydon is Virgil himself (Guy Lee, Virgil The Ecologues (England: Oxford University Press, 1984), p.37.).
Virgil introduces Corydon as a lone figure in the woods, berating Alexis for his disinterest in him. Corydon appeals to Alexis for pity, claiming that he will be ‘the death’ (7) of him and pointing out that whilst cattle ‘cast about for cool and shade’ (8) and the green lizards hide amongst hawthorn branches, he, Corydon, retraces Alexis’ steps ‘beneath the burning sun (13). Although Corydon describes himself as being in this position, the narrator has already described Corydon as walking among the ‘dense, shady-topped beeches,’ (5) which lends to the reader an altogether more pleasant account of Corydon’s position than Corydon himself. Perhaps Corydon is exaggerating his suffering in order to invoke Alexis’ sympathy, which seems pointless considering that Alexis himself is not present. It seems more likely that it is Corydon’s mood, shown as fractious in the opening lines, is the true cause of his discomfort.
Virgil shows Corydon to be frustrated with Alexis’ indifference for him, and he berates Alexis for ‘never asking’ who he is. Corydon is depicted as a vain character here, with a strong view of his own position. He describes himself as ‘rich in flocks’ and ‘affluent in snowy milk,’ (20) as though advertising his merit as a potential suitor or benefactor. His wealth in ewe-lambs, he assures Alexis, ranges across the hills of Sicily. As Corydon continues in this vein he appears to grow in confidence, asserting that he is ‘not that ugly’ (25) and would ‘not be scared of Daphnis, if mirrors tell the truth’ (27) (thereby comparing his beauty with that of Daphnis.)
Corydon bemoans that Alexis is not interested in living life with him ‘in country squalor,’ living in a ‘humble hut’ and ‘shooting fallow deer’ (29). This again paints an image incongruous to that which precedes it, considering that Corydon was in previous lines assuring Alexis of his wealth. Corydon fantasises about Alexis mimicking Pan beside him, playing the pipes. Here, Virgil presents a scene of pastoral idyll, in which Corydon and Alexis spurn the city for a simple, wholesome life in the countryside. When he later comes to his senses, Corydon maintains that ‘Pallas can keep her cities (62) but let the wood all else please me (63).
Corydon makes repeated reference to Alexis as ‘lovely boy,’ and from line 46 bids him to come near so that the nymphs and the naiad may give him flowers picked for him. Flowers and plants like Narcissus and the laurel are mentioned, which carry symbolic meaning relevant to the poem. The narcissus could be a metaphor for Alexis, as both Narcissus and Alexis are beautiful boys. The laurel could also be seen as a (somewhat presumptuous) symbol of victory for Corydon winning Alexis’ affections. Corydon also mentions ‘my Amaryllis’ (52) who ‘used’ to love chestnuts, recalling perhaps a former lost love.
Suddenly, Corydon scorns himself as a ‘yokel’ (56) and seems to snap out of his lovelorn yearning for Alexis. His focus here shifts from Alexis to himself. His choice of insult is interesting, considering that yokel is a derogatory term describing the stereotypical unsophisticated person (I assume that ‘rusticus es, Corydon,’ is the Latin phrase for ‘Corydon, you’re a yokel.) Corydon now attacks himself for neglecting his domestic duties, and notes how the oxen ‘now bring home their yoke-suspended ploughs (67.) Corydon seems to equate his love with madness, and calls himself a ‘poor lunatic’ (59). In the parting line, Corydon seems to console himself with a line akin to ‘there’s plenty more fish in the sea,’ by reassuring himself that ‘if this Alexis sneers at you, you’ll find another’ (73). This final sentiment seems from Virgil to be a statement on the transience of love, considering that at the beginning of the poem Corydon thought that Alexis would be the death of him. The effect of this overall is that Virgil is poking gentle fun at Corydon, but is also sympathetic to his feelings at the beginning of the poem.

Alissa Bevan