Georgics (gğōrgica, ‘husbandry’), Virgil's didactic poem (in four books and over 2, 000 hexameter lines) written in imitation of the Works and Days of the early Greek poet Hesiod. Virgil spent seven years (36–29 BC) on its composition and dedicated it to his patron Maecenas. His debt to the Works and Days is relatively small. The Georgics are much more sophisticated in thought and in technique, and owe something to the polished versification of the later Greek didactic poets such as Aratus of Soli and Nicander. The poet derived some factual information from Varro's prose handbook De re rustica (‘on farming’) published in 37 BC (and he was perhaps also influenced by its moral and patriotic tone). However, Virgil resembles Hesiod in that his intention is not to compose a handbook of instruction for those who wish to be farmers; rather he is presenting a picture of the (Italian) farmer's life as the ideal: it is frugal and austere, prone to setbacks and not free from suffering, but, lived in harmony with nature and with the divine scheme of things, it is morally satisfying and it brings the reward of peace and contentment (2. 458 ff.); it is also the basis of Italy's greatness. For Virgil, as for Hesiod, hard work, labor improbus, is essential; he sees the individual as an oarsman rowing upstream whom the current will carry backwards if he slackens his effort (1. 199). Virgil's greatest debt is perhaps to Lucretius, to whom he alludes obliquely in 2. 490. He recalls that poet not only in phrasing and in style but also in the passion with which he expounds his subject. Nevertheless the Georgics are a rebuttal of Lucretius' Epicureanism which asserted that the gods did not intervene in the world; Virgil reasserts divine providence, and dwells affectionately on the gods of the countryside. It was Virgil's deep sympathy for all living things and his sense of the need for men to co-operate with nature that led his English translator John Dryden (1631–1700) to call the Georgics ‘the best poem of the best poet’, a judgement also supported by Virgil's mature mastery of expression. The poem must therefore be seen as far more than a practical guide to farming, which its omissions and inaccuracies could not allow it to be, and to which the philosophical ‘digressions’ are irrelevant. Ancient critics soon observed that Virgil's aim was to give pleasure rather than instruction.
Book 1 deals with the raising of crops and the signs of the weather, ending emotionally with a description of the horrors suffered by Italy as a consequence of the murder of Julius Caesar; book 2 covers the growing of trees, chiefly the olive and the vine, and also contains magnificent praise of Italy (136 ff.); book 3 deals with the rearing of cattle (concluding with the notable description of the cattle-plague in the Alps); in book 4 Virgil describes bee-keeping, treating the bees with affectionate irony as exemplars of the ideal citizen body, ‘little Romans’ (parvi Quiritēs). The work ends with the episode of Aristaeus together with the story of Orpheus and Eurydicē. The reason for this latter inclusion is hard to discern; the ancient commentator Servius implausibly suggests that it was written to replace an earlier panegyric of the Roman poet Gallus which had to be excised after the latter's disgrace. Whatever the reason, it contains some of Virgil's most haunting poetry, and the effect of the highly individualized, hapless love of the poet Orpheus for his beautiful wife Eurydice, following after the description of the busy, orderly, useful, and sexless lives of the bees, is deeply moving.





