The pastoral mode has traditionally been understood to sentimentalize, even mythologize, ideas, objects and phenomena associated with the rural landscape, often contrasting the bucolic and the urban, irrespective of literary or artistic genre. Throughout the centuries, "Arcadia was forever being rediscovered," asserts Ernst R. Curtius, because the stock of pastoral motifs was "bound to no genre and to no poetic form" (187). Thus, they were adaptable by Greek romance, eclogue, drama, and Renaissance chivalric and sentimental romance (187). The influence of pastoral in Western literature is deeply rooted and pervasive. Indeed, from the first century of the Roman Empire down to the time of Goethe, the study of Latin literature began, notes Curtius, with Virgil's first eclogue (190). The present study seeks to situate the works of late nineteenth-century Spanish zarzuela-including those with urban settings and characters-within the pastoral tradition. Pivotal to all pastoral formulations is an exaltation of that which is ostensibly close to nature. Whether characterized mythically as a Golden Age in which, as Alexander Pope (I, 15) maintained, "the best of men follow'd the employment [of shepherd]"; or located, as by the "moderns," in the promise of contemporary rural life; or conceived, as by many Romantics, as a manifestation of untarnished and exemplary Nature itself, the pastoral world is typically contrasted to a morally compromised urban universe. Pastoral, in its various presentations, resists unequivocal definitions or rigid descriptions. As Annabel Patterson points out, pastoral, like other "strong literary forms," propagates "by miscegenation" (7). What matters, then, is not to define pastoral but to delineate and analyze how it is put to use by "writers, artists, and intellectuals . . . for a range of functions and