The history of the pastoral is a long history; perhaps no other manner of writing has exerted so wide an influence or held so deep a fascination. The words pastoral, idyllic, Arcadian still move us; they surround us with an atmosphere of charm; they encourage those moments that are unstrenuous; they recall us to an early and almost outgrown freshness of feeling. Yet, oftentimes, the poets of the Golden Age are regarded as mere literary alchemists by critics who cannot yield themselves to genuine poetic illusion, failing to recognize in that distant world the embodiment of really existent beauty. Pastoral has, in many cases, justly been a word of reproach and ridicule, a synonym for insipid creations, unreal in feeling, affected in style; but whether good art or bad it has appeared, Proteus-like, in numerous forms. Music, sculpture, and painting have used the pastoral motif; the Good Shepherd has been for twenty centuries, in the Christian church, a tender symbol of Divine Care; and in literature the pastoral has never really faded away, but has come back again and again with persistent appeal. It seems, therefore, that there must be in it some inherent beauty, some elemental greatness which deserves investigation and acknowledgment.