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3mprobc te Ivefoa. 2£>6pfum rua pb^ttia amabit. -Runcpcneaalcippen manet, ac ne forte vagetur. 3t>vereo:.nectam nobio ego pbvlliDa reDOi jfqcoptorjj quot» mopfo turgetur angelo 3 receperunt tua turgia. tupriorilli 3 IHicmetcnve manus, occet inoulgere pucll^ ©el cum prima nocet.fiquio manuare tuuabit. ©eoulua trateconringam nunciua aurea. 3amt>uoum meoitor.quo pb vllioa carmine placem 7L iwfitan aupito poterit mitefeere cantu. £tfolet illa meaa ao fioera ferre caminas |Dicage.'Bamcerafitua cortice verba notabo 3 £t oecifa feram rutilanti carmina libro. tDaatibipbtllipceaiam pallioua boa tibi cantus % Dat l veioaa quoa nocte mifer mooulatur acerba Dum flet: z ejcculTo oifpergit lumina fomno. 'Bon ficDdtructa macrcfctt rarima oliua. *Ron lepua ejetremaa legulus cu m fiiflulit vuaa ^Itlvctoaa Otia fine pb ^llioc rabttma erro. JCefinevebmiferomibi lilia nigra vioentur. •Becfapiunt fontea:etacefcunt vina bibenti. 3t fi tu veniaa.iam canoioa lilia fient £tfapientfonrea:? auleta vina bibenti 3Ue ego fum lycioas.quo te cantante folebaa Dicere fcliccmrcui Dulcia fjpeDeDifti DfculatnecmeDioa aubitafti rumpere cantus St3 inter calamos errantia labra petifti Sb^olor-zpoftbccplacuittibi torrioa mopfi X3opet carmen inopa.t acerbe Urinor auene

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I

THE NETHERLANDS 1 DEVENTER

JACOBUS DE BREDA

CALPURNIUS (Titus Julius) SICULUS. Bucolicum Carmen. 1491

Hain 4,273-

Printed with gothic type, in quarto 20 leaves; the size of a leaf is 206 X forni, with 29 lines 011 a page. It has mni.

The volunie contains eleven eclpgues. It is regarded, however, as certain tliat Calpurnius Siculus wrote only the first seven of these. The author of the last four

eclogues was Aurelius Nemesianus. Calpurnius Siculus, as his name shows, was probably a native of Sicily. INlost

scholars believe that he was a contemporary of Nero, and that the various events to which the eclogues refer occurred during that tyrant s reign. In the fiist eclogue, for instance, a coihet is mentioned, probably the one observed in 54 A.D. However, it has been also suggested that the young monarch celebrated in the poem may have been Gordian III, of the third century, whose accession to the throne, too, nearly

coincided with the appearance of a comet. But whenever Calpurnius did live, there is little difference of opiuion about

his poetry, which is usually described as “the imitation of an imitation. The Buco~ licon Carmen is a pastoral poem, but it is devoid of all genuine feeling. It is the work of a city-dweller, who unquestionably had some yeaming for the country-side, but who was unable to free himself from artificiality. The versitication of the poem is elever; indeed, too ingenious and elaborate. Calpurnius borrowed much from Virgil, and in addition he ransacked Ovid, Catullus, Horaee, and others.

The first eclogue is in praise of the Golden Age which, according to the poet, was revived with the reign of the young Emperor who, god-like, commands all man- kind. The second describes a contest of song between two shepherds before a third as judge. I11 the third eclogue, Lycidas complains to his friend about the loss of Phylliss love, who prefers the upstart Mopsus to him. This lover’s complaint con¬ tains the best lines of the poem. The most important part, however, is the seventh eclogue. I11 this an amazed peasant telis of the games which he has seen in the

amphitheatre at Rome. Nemesianus, the author of the last four eclogues, was born at Carthage about

the middle of the third century. He, too, was a thoroughly conventional poet, yet some scholars prefer his poetry to that of Calpurnius. Curiously, the four eclogues continued to be ascribed to Calpurnius until the middle of the mneteenth century, though an edition printed at Parma in 1490 named Nemesianus as the real author.

The printer of the volume, Jacobus de Breda, began his activities at Deventer in 1485, and worked there till 1518. He used many types, but his oarly books are sparingly illustrated. Deventer, though the largest center of printing in Northern Netherlands, does not seem to have had a school of wood-engravers in the fifteentli century. It is worth mentioning, however, that in 1491 Jacobus de Breda issued an edition of Matteo Bossi’s Sermo in Jesu Christi Passionem, which contains a

l woodeut showing a scholar standing before a King. Around the scholar’s head is i inscribed the name “Jacobus de Breda,’' and Dibdin, the chatty bibliographer, Ilassumed that this picture was presented here as the portrait of the pnnter.

I Thomas P. Barton's cop>u_h

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