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The Castalian Band is a modern name given to a grouping of Scottish Jacobean poets, or makars, which is said to have flourished between the 1580s and early 1590s in the court of James VI and consciously modelled on the French example of the Pléiade. Its name is derived from the classical term Castalian Spring, a symbol for poetic inspiration. The name has often been claimed as that which the King used to refer to the group, as in lines from one of his own poems, an epitaph on his friend Alexander Montgomerie: ''Quhat drowsie sleepe doth syle your eyes allace'' / ''Ye sacred brethren of Castalian band'' ''(The Poems of King James VI of Scotland'', ed. James Craigie, 2 Vols. Scottish Text Society, 1955 and 1958.) The notion of the 'Castalian band' in 20th century scholarship derives in the main from the book ''Song, Dance and Poetry at the Court of Scotland under King James VI'' by Helena Mennie Shire (Cambridge University Press 1969). It was H.Mennie Shire and her collaborator Kenneth Elliot - who had produced ''The Music of Scotland'' (Cambridge 1964) - who drew particular attention to the verse lines by James, remarking that "It has been well suggested that King James' name for his poets at court, or their name for themselves, was 'the brethren of Castalian band.'" However, apart from this verse, no scholar has produced any clear evidence for any such self-aware grouping. Nevertheless, other writers (and numerous websites) have seized on the concept. In a celebrated article from 2001, the reputed literary scholar Priscilla Bawcutt examined the claims closely, and - in the opinion of most modern authorities - demolished them. However, the persistence of the idea of the Castalian Band has its own interest - as Bawcutt noted, suggesting that it is grounded in a desire to identify a strong Scottish renaissance culture. Poetry, and more especially song, had suffered as a result of the Reformation of the Scottish Protestant church concluded in 1560, and it may have seemed desirable to offer a more positive image for the later 16th century. Whether or not there ever was such a Court grouping as the Castalian Band, it seems likely that there were cultivated circles of educated gentlemen in Scotland at the time. The King wrote a detailed treatise intended to establish a standard of practice in Scots poetry - his ''Reulis and Cautelis'' - and there may well have been gatherings of poets at James' court. Activities of some the poets recognized to be working in Scotland at the time is known to a limited extent. The principal literary figure to be directly associated with the court was Alexander Montgomerie. Music may also played an important part in performances; some of the poems of Montgomerie and others are known to have been set as song. =="Brethren" of the Castalian Band== The circle of poets with known connections to the Scottish court include: *King James VI *Alexander Montgomerie (c. 1544–1598?) *Patrick Hume of Polwarth (c. 1550-1609) *Alexander Hume (c. 1557–1609) the younger brother of Patrick Hume *William Fowler (1560–1612) *John Stewart of Baldynneis (c. 1567–1605) *Thomas Hudson (d. 1605) *Robert Hudson, brother of Thomas Membership was supposedly fluid〔See RDS Jack, ''Poetry under James VI'', in Cairns Craig (1988). p. 125. RDS Jack - a well-reputed scholar who took up the 'Castalian' idea - claimed that James, as both patron and head, could effectively determine who was "in" or "out" of the inner circle, but this has to be counterbalanced with the fact that the young King did also recognise himself as, to an extent, in tutelage to poetic superiors.〕 and some figures, such as Montgomerie, were already established poets. French influences were particularly important for the King. James himself made translations of work by the Gascon soldier-poet du Bartas, and du Bartas in return translated James's own ''Lepanto''. Du Bartas himself visited the Scottish Court on a diplomatic mission in 1587 during which time James unsuccessfully attempted to persuade him to stay.〔(Encyclopedia of literary translation into English, Volume 1 ), Olive Classe, editor. p.383. King James translated his ''L'Uranie''.〕 Other 'Castalian' makars produced translation as well as original works. William Fowler, whose original poetry includes the sonnet sequence ''The Taratula of Love'',〔See (Elizabeth Elliot ) for an online evaluation of Fowler's sonnets.〕 made translations from Petrarch,〔His versions of Petrarch's (Petrarch, ''Trionfi'' ), published 1587.〕 while John Stewart produced an abridged translation of Ariosto's ''Orlando Furioso''.〔published 1590.〕 Many Scots translations predated first translations of the same works in England. Chief among the circle was arguably the soldier, courtier and makar Alexander Montgomerie.〔The King referred to him as "beloved Sanders, maistre of our art". See for instance RDS. Jack ''Alexander Montgomerie'', p.1.〕 He had achieved celebrity after victory over Patrick Hume in ''The Flyting Betwixt Montgomerie and Polwart'' (c.1583).〔''Flyting'' was a fearless poetic contest with a considerable tradition as court entertainment in Scotland.〕 His many works include public poems such as ''The Navigatioun'', a long allegory called ''The Cherry and the Slae'', some devotional poems, and a large number of personal court lyrics sometimes modelled on poets such as Ronsard. Sonnets on various themes include an autobiographical sequence that deftly charts frustration with "the law's delay".〔In the early 1590s Montgomerie was fighting to reclaim his pension, lost during a period of political imprisonment in England.〕 Even when Montgomerie came to be politically excluded from the court sometime in the mid 1590s as a result of his Cathoic sympathies, he appears to have retained the affection of the King.〔RDS Jack ''Alexander Montgomerie''. Scottish Academic Press. Edinburgh, 1985. p.2. Evidence comes in a poem by James, c.1598, which contains both the epitaph for Montgomerie (quoted above) and a complaint at the silence of the other "sacred bretheren" on the subject of the erstwhile "prince of poёts".〕 The court also attracted figures from furth of Scotland. The brothers Thomas and Robert Hudson from the North of England, were appointed as by James not only as poets but as court musicians helping to lead the musical "revival" he regarded as going hand-in-hand with his literary programme.〔See RDS Jack, ''Poetry under James VI'', in Cairns Craig (1988). p. 130.〕 Thomas produced translations as well as original work. Under James' patronage he was another translator of du Bartas.〔Thomas Hudson translated du Bartas' ''Judith''. The King contributed a laudatory sonnet to its publication in 1584.〕 Names on the fringes of court literary circles include: *William Alexander, Earl of Stirling (1567–1640) *Robert Aytoun (1569–1638) Alexander and Ayton later represented a more anglicised stream of Scottish writing. They came to prominence more properly after the Union of the Crowns.〔RDS Jack, in Cairns Craig (1988). p.126.〕 Ayton was one of the first Scottish poets to have written explicitly in English, while Alexander wrote rhymed tragedies in a genre sometimes referred to as ''closet drama''〔Alexander's dramas include his ''Croesus'', ''Darius'', ''The Alexandrean'', and ''Julius Caesar'' and were published in the years after 1604.〕 and assisted the King in his metrical translations of the Psalms of David. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Castalian Band」の詳細全文を読む スポンサード リンク
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