This article aims to examine the ways in which the Calpurnian text converses with the earlier pastoral tradition focusing on the women identified in the collection. Leaving aside the mythical female figures who are also traced in the collection (e.g. Pales and Venus), this study focuses on all the female characters mentioned by male figures, trying to show that women in the Eclogues, among other elements (such as subjects, motifs, intertexts, language and style), constitute a significant means by which Calpurnius shows originality and generic evolution.It is argued that the female characters in Calpurnian pastoral are the erotic objects of the herdsmen and the recipients of their songs and in that sense they recall the pastoral tradition (Greek and Roman) that Calpurnius inherited. What is more, they are central metapoetic elements which show Calpurnius’ metaliterary engagement with gender in a collection that stresses the originality of the Neronian pastoral. Most importantly, however, they incorporate features and elements from other literary genres (mostly from Roman comedy and love elegy) and in that sense they constitute a significant means by which Calpurnius maintains the generic tensions employed by his literary antecedents (i.e. Vergil) and broadens the limits of pastoral.

中文翻译：

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Calpurnius Siculus 牧歌中的女性与体裁

本文旨在研究卡尔珀尼亚文本与早期田园传统的对话方式，该传统侧重于该系列中确定的女性。撇开收藏中也有记载的神话女性人物（如帕勒斯和维纳斯）不谈，本研究重点关注男性人物提到的所有女性角色，试图表明牧歌，在其他元素（如主题、母题、互文、语言和风格）中，构成了卡尔珀尼乌斯展示独创性和一般进化的重要手段。有人认为，卡尔珀尼乌斯田园中的女性角色是牧民和牧民的色情对象。他们歌曲的接受者，从这个意义上说，他们回忆起卡尔珀尼乌斯继承的田园传统（希腊和罗马）。更重要的是，它们是核心的元诗学元素，展示了 Calpurnius 在强调尼罗尼亚田园诗的独创性的集合中对性别的元文学参与。然而，最重要的是，