It has long been noticed that Virgil's Eclogue 10, in which Gal I us plays so prominent a rôle, contains a combination of pastoral and elegiac elements. But this prompts the question: who was responsible for this combination? Was the fusion of pastoral and erotic-elegiac detail Virgil's own, or did Gallus himself write love-elegies with a strong pastoral colouring, a type of poetry which Virgil then echoed in Eclogue 10?

In CQ N.S. 28 , 242, Frances Mueeke, quoting Beroaldus, rightly understood this line to refer to a funerary practice. In default of ancient parallels the author offered us a modern one from a novel I vicerè by Federico De Roberto, first published in 1894. 1894. But even before De Roberto's novel was published, Vincenzo Padula, in his curious work Pauca Quae in Sexto Aurelio Propertio Vincentius Padula ab Acrio Animadvertabat , had explained Prop. 4.7.26 by reference to popular custom.

It is a view commonly held by Tibullus' commentators and critics that the poet's art consists essentially in the more or less skilful weaving together of disparate themes into a single elegy. Leo, for example, talks of Tibullus' imagination which ‘ihn selbst und somit den Hörer gleichsam unwillkürlich von Bild zu Bilde reisst’’.