in Arcadia there
were born
A shepherd
- The Faithful
Shepherd, Giambattista Guarini (translated by Richard Fanshawe)
Les Bergers d'Arcadie, Nicholas Poussin (1637-38)
Courtesy of Wikimedia Commons
In my previous blogpost I gave a brief introduction to the development of the
vanitas motif in art, and this blogposts examines another step in
this evolution, namely the motif of death in Arcadia, collectively
known as Et in Arcadia ego. This artistic genre draws on a
long legacy of bucolic writing reaching back into Greek and Roman
literature, with Vergilius' Bucolica and Georgica,
pastoral eclogues detailing the idyllic life of shepherds, as perhaps
the most important works. They retained their popularity throughout
the Middle Ages, and Vergilius' position in the eyes of the medieval
learned is perfectly exemplified by his role as Dante's guide through
Hell and Purgatory.
In the 16th century
pastoral poetry gained increased momentum with the critical debates
concerning Aristotle's Poetics, which had been translated into
Latin late in the preceding century. Aristotle's rules of drama gave
rise to the modern theatre, and also caused a lot of controversy
among literary theorists who sought to reconcile the Poetics
with Horatius' Ars Poetica, and some of the key points of
tension were whether the satyr play and the shepherd play were the
same, and whether either could be seen as a genre of its own on par
with the tragedy and the comedy. As these definitions were tried and
experimented with, a significant body of pastoral literature arose.
This occurred primarily in Italy, but several important works were
also written in England. These pastoral works were often composed for
the court, and frequently contrasted the deceits of courtly life with
the simplicity of the pastoral scene, often represented by Arcadia, a
region in Greece that had become synonymous with The Pastoral Idyll.
Woodcut from second eclogue of Spenser's Shepheardes Calender, 1579
Courtesy of this website
Among the most
important literary works to shape the late medieval and early modern
pastoral were the plays Aminta (1573) by Torquato Tasso and
The Faithful Shepherd (1590) by Giambattista Guarini. These
were not only texts to be performed, but statements in the ongoing
debate on genre, where the views of the playwright were put to paper
and then executed on stage. The Arcadian scene was already a
long-standing feature in Italian literature, from Jacopo Sannazzaro's
very influential poem Arcadia from 1504 and onwards. This
tradition also influenced English writers of the times, and among the
foremost are Edmund Spenser, who wrote his Shepheardes Calender
in 1579 in imitation of Vergilius, and Sir Philip Sidney, whose The
Duchess of Pembroke's Arcadia drew on Sannazzaro's poem, among
others.
In the 17th century,
this pastoral tradition was merged with the contemporary vanitas
motif in art, and resulted in some beautiful and deeply unsettling
paintings, where the pastoral idyll was disrupted by the discovery of
death's presence, even in the blissful Arcadia. The first example of
this sub-genre, that I know of, is a painting by Giovanni Francesco
Barbieri executed in the the period 1618-22. Barbieri, also known as
Guercino, or the Squinter, here depicts two shepherds discovering a
human skull, the proof that death also lurks in the blessed Arcadia.
This sinister composition is given extra gravity when compared with
another of Guercino's paintings, Apollo and Marsyas, where the
same shepherds are witness to Marsyas' penalty, as seen below.
Et in Arcadia Ego, Guercino (1618-22)
Courtesy of Wikimedia Commons
Apollon and Marsyas, Guercino (1618)
Courtesy of Wikigallery
The most famous
rendition of death in Arcadia was painted by Nicholas Poussin in
1637-38 and titled Les Bergers d'Arcadie, The Shepherds of
Arcadia, as seen above. This iconic painting of shepherds examining a
tomb was, however, a later variation of the theme, and the first
painting was finished in 1627 with a slightly different composition
as seen below.
Les Bergers d'Arcadie, Nicholas Poussin (1627)
These doleful
meditations on death's omnipresence are a very beautiful confluence
of the vanitas motif and the literary pastoral, evoking the
mythological register of Arcadia while playing on the symbolism of
the vanitas in a manner worthy of the rising Baroque of the
first half of the 17th century, giving a contemporary touch to
elements of a rich and long-standing history.
Bibliography
Hagen, Margareth, 1500 - poetikk, intertekst og sjanger i italiensk 1500-tallslitteratur, 2013
Hayward, Malcolm, introduction to Torquato Tasso's Aminta, 1997: http://www.english.iup.edu/mhayward/aminta.htm
Penman,
Bruce, Five
Italian Renaissance Comedies,
Penguin Classics, 1978
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