'With specific reference to Virgil’s Eclogues, Paul Alpers argues that ‘the poetics of pastoral can tell us something about poetics in general’ (The Singer of the Eclogues 6). He equates song with voice when he discusses aspects of the poetics of voice in Virgilian pastoral, including, ‘self-representation, self-reflexiveness, and the community implied by the song’ (6). In this essay, I explore the poetics of voice in a modern novel, Christina Stead’s Cotters’ England (1966), and highlight links between voice in Stead’s novel and the Eclogues. The discussion of voice leads to a second point, that Stead’s writing treats the particular and the general in ways that recall Virgil’s pastoral poems. In the course of this argument, I also discuss the treatment of the idyllic, and the contrasts and tensions between city and country, in Cotters’ England.'

Source: Abstract.

'This essay is grounded in William Empson’s view of the pastoral tradition as deeply concerned with social relations – with how we live in the world and with each other – and in the conviction that the pastoral is again appearing as an enabling mode of expression, especially in the midst of the issues of our time that surround human relationships with the non-human world. Amanda Lohrey’s Vertigo: A Pastoral is a work of refined artistry shaped by a genre that continues to be capable of acting in our imaginative life as a powerful mode of storytelling. Much has been written in recent times, particularly in the context of Australian literature, about the idea of an ‘anti-pastoral’, and Terry Gifford’s term ‘post-pastoral’ is applied to the adaptation of the tradition to contemporary environmental concerns. While these are significant lines of thought, I want to argue that they risk preventing us from seeing the deeply rooted value of basic strategies of traditional pastoral. Lohrey’s novella points to ways in which pastoral can usefully be seen as a continuing and adaptable set of ideas. It illustrates, too, the particular energies that are generated when, as Paul Alpers argues in his discussion of pastoral narration, ‘pastoral usages and modes of representation are affected by appearing in prose fiction’ (324).'

Source: Abstract.

'As Lawrence Buell has observed, the pastoral, which in the ‘old’ worlds of Europe was a type of symbolic allegory not expected to be taken literally, became in Europe’s ‘new’ worlds of settler colonialism, such as the United States and Australia, ‘a vehicle of national self-definition’ as well as a template for the construction of an idyllic settler colonial pastoral way of life (52). The settler colony was often envisioned as a type of Arcadia. Martin Mulligan and Stuart Hill argue that the earliest European settlers in Australia, for example, ‘were bent on carving out familiar farms in unfamiliar settings; radically transforming landscapes into approximations of the Arcadian visions they had in their minds’ eyes’ (21). Similarly, in the United States Thomas Jefferson ‘saw America as a paradise of small farms, a rural arcadia with every freeholder secure under his own vine and fig tree’ (Schlesinger 221). Thus we note how, manifest in various settlement and homesteading schemes in both the United States and Australia, the allegorical discourse of the European pastoral mode became ideological and materially manifest. The purported discovery of new lands as yet untainted by the urban and court vices that the pastoral mode critiqued, and that Enlightenment-era political philosophers hoped to supersede, provided an opportunity for Europeans to fashion the discourse of Arcadian fantasy into a material reality that would influence the lives of millions of people and alter the ecology of millions of acres of land up to the present day. In its afterlife the pastoral would seem to be surprisingly vital.

'This essay examines how the pastoral imaginary functioned in settler colonial societies, the ecological consequences of this role, and a possible bioregionally informed alternative that seeks to develop a more sustainable and just version of that imaginary. By doing so I hope to show how the ancient pastoral mode, even and perhaps especially in settler colonial circumstances, inspires new forms of not just literary but also literal pastoralism and how, in Buell’s phrase, we might envision an ‘ecocentric repossession of pastoral’ (52).'

Source: Abstract.