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Between it and the work of Boccaccio and Sannazzaro there exists no such continuity of tradition as between the bucolics of the classical Mantuan and those of his renaissance follower. The Italian pastoral romance, in spite of its almost pedantic endeavour after classical and mythological colouring, was as essentially a product of its age as the pastoral drama itself.
The same return upon the Virgilian manner is shown in the seven Eclogues, composed in the early years of Nero's reign, by Titus Calpurnius Siculus. These are remarkable rather as the only specimens for nearly three hundred years of a direct attempt to continue the manner of Virgil's Bucolics than for any substantive merit of their own.
Boethius, the last of the Roman philosophers, left a work "on the Consolations of Philosophy," which is known in all modern languages. In many passages it is an imitation of the Iliad and the Odyssey. In his didactic poems, known as the Bucolics, Virgil has made use of Theocritus, while in the Georgics he has chosen Hesiod as his model.
This was the Fourth Eclogue of his Bucolics, called the Pollio. In it he invokes the "Sicilian Muse" to inspire him to loftier strains; and proceeds to sing of the coming of a new cycle, the return of a better age, to be ushered in, supposedly, by a 'child' born in that year:
When such was the just respect which they paid to the author of the Bucolics and Georgics, how would they have expressed their esteem, had they beheld him in the effulgence of epic renown! In the beautiful episode of the Elysian fields, in the Aeneid, where he dexterously introduced a glorious display of their country, he had touched the most elastic springs of Roman enthusiasm.
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