Corresponding to this we find the following passage in the Latin poem:

Song hath power to draw from heaven the wandering huntress,
Song was the witch's spell transformed the mates of Ulysses....
Home from the city to me, my song, lead home to me Daphnis.

Vergil was the first to begin the dissociation of pastoral from the
conditions of actual life, and just as his shepherds cease to present the
features and characters of the homely keepers of the flock, so his
landscape becomes imaginary and undefined. This peculiarity has been
noticed by Professor Herford in some very suggestive remarks prefixed to
his edition of the _Shepherd's Calender_. 'The profiles of the Sicilian
uplands,' he writes, 'waver uncertainly amid traits drawn from the Mantuan
plain. In this confusion lay, perhaps, the germ of those debates between
highland and lowland shepherds which reverberate through the later
pastoral, and are still loud in Spenser.' The gulf that separated Vergil
from his predecessor, in so far as their treatment of shepherd-life is
concerned, may be measured by the manner in which they respectively deal
with the supernatural. In the Greek Idyls we find the simple faith or
superstition as it lived among the shepherd-folk; no Pan appears to sow
dismay in the breasts of the maidens, nor do we find aught of the mystical
worship that later gathered round him in the imaginary Arcadia. He is
mentioned only as the rugged patron of herds and song, the wild indweller
of the savage woods as he appeared to the minds of the simple swains, who
hushed their midday piping fearful lest they should disturb the sleep of
the god. It is true that Theocritus introduces mythological characters in
the tale of Galatea, but it should be noticed that this merely forms the
theme of a song or the subject of a poetical epistle to a friend.
Moreover, it is open to more than one rationalistic interpretation.
Symonds treats it as an allegory in harmony with the mythopoeic genius of