VEN U S A N D A D O N IS

WILLIAM SHA KESPEARE

ED I T E D , W I TH N o T E s , I N T R O D U CT I O N

G L O S S A R Y , L I S T O F V A R I O RU M R EA D

ING S, A ND S E L E CT E D C R IT I C I SM , BY

CHA RLOTT E PORTER

NEW YORK
T H O MAS Y . C RO WELL CO M PANY
PUBLISHERS
“H L .
 26 1 9 1 2

J/
Copyr igh t ,
3 , by
I 90

T H OM A S Y . CRO WE L L 8: CO .

Cop y righ t ,
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THO MAS Y . CROWE L L COM PA NY
.
 CO N T EN T S

I NT RO D U CT I O N

Ex PL A N AT O RY

BI O G RA P HY

V ENU S AN D A D O N IS

NO T E S

I A RG U M EN T
II SO U RC ES
II I D U RAT IO N OP T HE A CTIO N
Iv D AT E OP CO M PO SI T IO N
v EA RL Y EDITI O N S
VI L IT ERA RY I L L U ST RA T I O N S

E ! PLA N A T O RY : ABBREVIA T I O N S OP E DIT IO NS

C O N SU LT ED

A G LO SSA RY OP WO RDS : G RA MM AT IC A L USA G E

AND P RO NUN CI AT IO N

A LIST OE V A RIO RU M REA DI N G S

SEL ECT ED C RIT IC I MS

 I NTROD UCTION

Venus bi ds h er senses fear th e fantasi e no m ore,

a nd w i th th a t w or d sees th e h unted b oar e w h o se
r ed bep ai nted fro th i e m outh i s l i k e m ingl ed mi l k e
’
and bl ood , i t i s l ess a dr eam co m e true th an a dreaded
second d ream , such a s ever one h a s fel t , spr ea di ng
y
’
thr o ug h all th e sinew s a second fea r e .

! Everyw h ere th e sense of si gh t feeds a vi si oned h ap

peni ng So unrea lly rea l i s each one, th at i t enth r a ll s th e
.

x
m ent a l eye w i th th e m ere pl easur e o f e erci si ng i ts
th rilli ng fa cul ty Of vi suali zing
j
T h e vi vi d seei ng p ro ffer ed so plenti fii lly and wi th
’
so sensi tive a tr ansi enc to th e b eh o l d er s e e, car r i es
y y
wi th i t to him a l so a n i m pr essi on Of d eta ch m ent . He
i s i nci ted wi th ar ti stic cunni ng to l oo k o n, and no te,
a nd m a r k , ti ll th e seei ng i tsel f, a s a w h o l e, beco m es

a centr e O f aesth eti c O b ser va ti on . T h e a l oo fness O f a n

a ctua l th i r d p er so n pr i vi l eg ed , li k e th e Uni ver sa l Eye,

t o p eer up on th e l overs , and th e sym p a th y, coo l ed b y

crea ti veness, O f th e p o tenti a l th i r d p er son th e P o et

hi m se lf, are sh a red i n by th e o nl o o ker .

T h e co ncep tion Of th e P oem i n t erm s o f si gh t h as

th us p urged t h e th em e fr om ar ousing i n t h e r ea der
th e l o wer ex ci tem ents O f i m i ta tive sensation . T h ese, if
i t h a d used th e sam e m eth o ds, i t w o ul d h a ve h a d in co m
m o n wi th th e m any o th er p o p ul ar p oem s O f th e ti m e,
der i ved fr om O vi d a nd th e l a ter I ta li an stor ies O f
M yrrh a, Sa lm aci s and H erm ap h ro di tus , o r V enus a nd
Ado ni s . H ow ever O th er wi se p oeti ca l ly superi or , i t
wo ul d h ave fa llen i nto th e sam e l evel o f p opul ari ty a s
’ Sa m a ’
Peend S l ci s T h rough i ts ow n p eculiar m eth o d
.

’
of Stim ul a ting th e e e s cl ear sense o f b ea ut , qui te a s
y y
much a s by th at o th er p ecul i ari ty i n subject m a tter ,-

namel , crea ti ng a dr a m ati c cl a sh O f Wi ll s by m a ki ng

y
ix
 VENUS AND ADONI S

hi s Adoni s col d , Sh a kespear e ear ned for hi s P oem

i ts transcendency over all i ts am or ous com peti tors .

Thi s trai t came out promi nentl y to C ol eri dge ; a nd,

r ecentl , th e m o st ca p a bl e ed i t or Of th e Poems Of
y
Sh a kespea re Wyndh am , h as reénforced t his Observa
ti on . T h e facul ty of arti sti c appreci a ti on h as b een
ta ed, sa ys Wyndh am ,
x ‘
to a p oi nt a t whi ch i t begi ns
’
to par ti ci p a te i n th e a sceti ci sm Of ar ti sti c cr ea ti o n.
’
AS l i ttl e, sai d C o l eri dge, ca n a m ind th us r oused
and a wa k ened be br oo d ed o n by m ea n and indi s ti nct

em oti on as th e lo w , l az y m i st ca n creep up on th e sur

face Of a l a k e whi l e a str ong ga l e i s d ri ving i t O nw a rd

i n waves a nd bill o w
h ealth

l ess
,

li ke th e Poet one deli gh ts in all thi s revel ry of th e eye

, ,

unl ess one l ook s o n a t i ts acti vit y as w ell a s a t th e

,

wh o l e p ageant i t commands wi th a n over consci o us

,
-

ness of ex hi l ara ti on i n th e sh eer sense of si g h t as th e

sup rem e m ini strant of beauty for i ts o wn sa k e o ne ,

does not enjoy th e Poem to th e h ei gh t . O th er wise,

m oreover , one is l i k el y to m is see a nd m i sjudge i t
-
. Per
ce ti on of i ts visi o nar q u a li t , a nd th e l umi nous a tm o s
p y y
h er e fii tti ngl enco m p a ssing i t, l ifts i t out of any w or l d
p y '
but i ts own Q h r ough th ese ch aracteri stics p eculi ar to
.

th e ar ti sti c use of th e sense Of si gh t , i t i s so di sti nct i vel y

non h um a n and non
-
T h rough th ese e sth eti c
r esul ts i t r a p ts us so a wa i nto th e self suf fi ci ent r ea l m
y
-

of m yth new dr essed in fanta sy and tr ansp ar ent wi th

cosm i c suggesti on .

T h e stri k i ng ch ang e in subject m a tter , alrea dy m en

-

I
 INTROD UCTION

ti oned , p
th e conce ti o n of A doni s as co ld and
im
m atur e, — h as been tr aced to Gr eene and Mar lo w e .

Wh eth er th e fi rst hi nt of i t cam e from Mar lowe to

Sh a kespear e, or th e converse, wh ich i s p ossi bl e, i t i s a
m er e rudim ent in a ny one but Sh a k esp eare . In all i t s
ri ch es of suggesti on i t i s hi s . A nd i t sh oul d be no ted
th a t i t i s na tural to a N or th ern fancy w orki ng on a
'

m yt h yiel ding sym bo li sm o f th e recurr i ng seasons of

t h e year . Wh ere th e Sp ri ng com es co l dl y so Often,
'

wh ere th e young vegeta ti on yi el ds SO tar di l y to l oving

warmth and frui tful gr o w th , and i s cut Off b y th e sea
’
so n s ear l d eath so tra gi call oon, th er e an ori gi na l
y y s
’
poet s o wn m yth m a king fancy w oul d be quickl y apt
-

t o concei ve of a b ash ful Adoni s Unwi l ling w oul d h e

.

be to w oo , h ar d to be won as any H ipp ol ytus .

Som e cri ti cs l ove to deny to Sh a k esp eare any con

Sci o usness of th e cosmi c a ppl i ca ti o ns l ying b eh i nd th e

cr ea ti on of th e m th h e used B ut th esp o nsi bi l i t

y . e r
y
o f th eir d enia l rests h eav o n th ei r h ea d H ea vi er th an
y .

t h a t of fai th o n th o se wh o do t race th e anci ent m yth ic

i nfl uence. H owever freel y di r ected , i t surel y i nfor m s

and pervades a p o em set so consi stent l o ut Of do or s
y
’
th r ough out a b ur ning eyed da y and a
- ‘
black fac d -

ni g h t
. T h e l ove Of th e G reek g o ddess o f Lo ve fo r th e
i f h Y
’ b r e sai d to be for o ne
g e n u s O t e ear s ea ut y i s h e
’
Natur e m ade, and w i th w h ose li fe
w h om ‘
th e

worl d h a th ending ( 11 1 1
’ . H er beauty, too
sh e cl aim s, li k e t h a t of th e sp r i ng d o th earli e grow
y
1 A nd h er l ove for t h e ever young Adoni s,
( .
)
I 4I .

for ever renewed and h ai l ed w i th th e bl oo ming of th e

-
fl
wi nd o w er every spri ng , and for ever fa ted wh en th e
’
Summ er h ea t p asses to be gna sh ed b y Wi nter s cruel
tusks , — i s as unnatur al for a Sh a k esp ear e a s for a
xi
 VENUS AND AD ONI S

Keats ei th er ignore or m ak e ri gi d wi th a ll egory.

to
No wh ere does th e Poem quarrel wi th th e m yth NO .

wh ere do es i t q ui te h um ani ze i t, th ough everyw h ere

enli veni ng i t .I t tr anspor ts i t to Wa rw i ck sh ir e, m a kes
i t at h o m e wi th E ng li sh fo x a nd r o e, p urbl ind h are
’
a nd ear th del vi ng co nies, et a ni m a tes i t w i th a co n
y
si der a te Li on w h o w al k s b eh i nd th e h edge l est h e
’ w i ll ing to be
m a k e Ado ni s fear h i m , and a ‘
T ygre
a ta m e l i stener I n i ts ow n new w ay a nd under i ts
.

ch a nge of venue, i t ch i m es in w i th th e m edi ae val r e

ech o i ng o f th e cl a ssi c fa ncy b y m a ny a del ectabl e no te .

Such a no te i s th e incr easi ng sul tr iness Of th e sun th at

b urns Adonis, and fiom wh i ch th e go ddess w oul d
sh i el d him ; h er for eb odings th a t h e m ust d i e, th e
ech o es th a t m ock h er i n th e ni g h t , th e W i nd
’
ow er -
fl
th a t i s (’q uo th sh e
) th y fath er s guise a nd hi s nex t

o f bl oo d .

M ost rem ar k abl e and l east r em ar k ed, m ost p eculi ar

to Sh a k esp ea re, m oreo ver , o f a ll in th e co ncep ti on o f
th e subject m a t ter O f th e P o em , i s th e co ncl uding tur n
-

of th e stor I t consti tutes w h a t th e m th o l o g i st ca ll s

y .
y
a new m th O f e pl ana ti o n
y x T h i s o ri gi na l seq uel i s
.

th e p r o ph ecy V enus m a k es ( 1 1 I 1 35 . I t
a ttr i butes to th e fa ta l dea th o f A d oni s th a t cro ssed h er

l ove, th e secret i nfluence of all th e rough ness i n l i fe

a nd desti n th a t ever si nce h a s fo rb i d den th e co urse o f
y
tr ue love to run sm oo th .

Si nce th o u art dead , 10 h ere I pro ph ecie,

So rro w o n lo ve h erea fter sh a ll a ttend

i
‘
I t sh a ll
I t sh a ll
sus ect
p
no t
wh ere i s no ca use o f feare,
fea re wh ere i t Sh o uld m ost m istrust ,

i It sh all be ca use o f warr e a nd dire events,

 I NTROD UCTION

a nd servill to all discontents

s dri e com bust ious m a tt er i s to fire,
Si th i n his pri m e, dea th doth m y love destroy,
’
T h ey th at love best , th eir loves sh all not enjoy .

B oth whi m si ca l a nd p hi l oso p hi ca l i s thi s rem ar k abl e

a ddi ti o n . B o th ch arm ingl y and p rofoundl y i s i t ch ar
a ct eri sti c o f Sh a k esp ear e .

Apt a s i t i s and i n i tsel f of worth , i t serves, b esi des,

a dr am a ti c doubl e p ur p ose B efore Venus pr oph esies,
.

h er eyes, and o ur s, w h o r ead , are full o f th e si gh t o f

t h e r ui ned, devasta ted b ody, w h ose everi e beauti e i s

r ob d of hi s ef
’
’ ’ fl
fect, th e p a l e l ip s, th e co er li ds th a t
'

cl ose h i s eyes, wh ereunder lie, wh en sh e l ifts th em ,

’
1 0 , tw o l am p s burnt out i n da r knesse . A fter sh e h a s
ended h er p r op h ecy, th e do l o r o us b o dy h as va ni sh ed .

T h e stag e h a s b een cl ear ed .Wh i l e th e attenti on

wa s di ver ted b y th e deep est pl ungi ng a nd th e onl y
-

th o ugh t p r ovoca ti ve p assag e i n th e stor y, th e ch ance

-

h a s been ta k en, as i t was contri ved to be, for a m ag i ca l

ch a nge Of scene . From h er sigh t, a nd ours, th e boy
t h a t la y ki ll ed h a s b een spi ri ted aw ay m el ted li k e a
’
va p o ur. In h i s stead th e sw eet i ssue of A doni s h a s
sp rung up i nto li fe .T h e desire O f th i s p urpl e fl o w er
’ ’
‘
ch eckr ed wi th whi te i s, a l so , l i ke i ts fa th er s, to
‘

’
g r ow unto h im selfe B
.u t i ts fu tu r e, as th e n e t of x
’
bl oo d, i s to be cradl ed in Love s breast ’
.

T h e m yth th a t in th e p r op h ecy w a s r a ti onali zed,

and to som e d egree m a de to fit i n w i th h um an th ough t
a nd do i t ser vi ce, r eturns a t th e cl o se t o r ound out

fai th fiI lly th e co sm i c sym boli sm o f th e story O f l o ve a nd

li fe
. Wh at it im ages for th in th e cradl ed wind ow er -
fl
i s et erna l desire, p erp etual dyi ng transform ed i nto th e ;
r etual r enewal of life
i

p pe

C H A RLOT TE PO RT ER .
 E! P LA NA T O R T

F F li
i rst o o, 1 62 3 .

Li tre Number i ng .

A t t o p of pa ge, G lobe Edi ti on, every poeti ca l li ne of whi ch is

num bered ; a t si de of page, First oli o, ever F
o r a h i ca l line
y typ g p
of whi ch is numbered Li nes put between bra ck ets i n tex t are
.

not num bered, because th ey are not i n i rs t oli o F F .

Br a d en
I ndi ca te sta ge di recti ons, etc , in G lobe, or part s o f text i n G lobe
.

F
but not i n Fi rst oli o , th ese parts bei ng gi ven h ere as th ey a p
e ar i n th e earli est or th e earliest com plete Quart o
p .

I ta li : Wor d:
I n margins, th us, 1 blunt, refer t o a nd ex pla i n O bscure words .

Foat -
not e:

F F
Ci te in i tali cs i rst oli o words em ended ; i n bold- face, em en
da ti ons adopted in G lo be; i n sm all ca pi tals, earli est edi ti ons or
first edi tor pri nting th a t emenda ti on.

Abbr evi a t i am .

I Q q . e uals
Q F i rst
Q Second
uart o , Q au art o , a nd so on
.

r , 3 - 5 Q equals
. F
i rs t , T hird , ourth , and F F
i fth Quartos, all sub
stantia lly a greeing ; Q9 equa ls all early Quar t os
. .

zF eq uals Second
. oli o ,
3 F T Fhi rd oli o and so o n
, . F
; z-
4 F .

e ua ls Second, T hi rd, a nd
q ou rt h F F
oli os, all subst anti ally a gree

mg .

1. equals li ne, ll . e
quals lines.
 BI O G R A PH Y

O N C ERNI NG th e supr em e E ng l ish m an Of E l iza

b eth a n E ng l a nd, i t i s i m po ssibl e to construct an
a deq ua te per so na l h i sto r y bui l t so l el y o ut of fa cts o f

a ccr ed i ted r ecor d .

Yet only a n i ndubi ta bl e b i o g ra p h y b a re o f tr ad i ti on,

co lor l ess O f da zz l em ent fr o m th e l ig h t ex h a ust l essl y
’
b urni ng i n Sh a k espeare s wri ti ngs, can fulfil th e m od
ern d esi re for sur e k no w l edg e O f th e events i n Sh a k e
’
spea re s l i fe .

T h e i m p o ssibi l i ty o f m uch a ssur ed k no wl edge gr o w s

na t ur a l ly o ut O f a p r i m a r
y fa ct —
so ci al h a b i t i n E l iza

beth a n E ngland Since into th e scope Of thi s fact

.

Sh a k espear e w as born, i t b ecom es si gni fi ca nt, i nci den

q
ta ll y, a t th e o utset , t o see th a t i t dir ectl y a ffects th e ues

ti o n o f such b i o gra p h y a s th e m o der n m i nd desi r es .

T h e utm ost possibl e a pp r ecia tion O f th e g enius Of
Sh a k esp ear e i n h is day, h er e a nd th ere, a m o ng th e m ore
a dva nced m i nds, o r g enera ll y a m o ng th e p eo pl e w i th

wh o m h e l ived, co ul d no t gr ea tl y ch a ng e th e wa y O f
li fe th en bel ongi ng to th e p eo pl e as a wh o l e Th a t .

wa y O f l i fe led th em to be inca p a ble O f ex a ct fa cts even

a bout th e ti tl ed and o f ficia l p erso nages for wh o m th ey
g r ea tl y car ed I t led th em to care no th ing in par tic
.

ul ar fo r a ny fa cts a b o ut a co m m o ner , a n a ctor a nd wr i ter

O f pl ays . O nl y rank , O ffice under sta te or ch urch , and
l a nded property insured a m an any precise current rec
3
 BI O G R A PHY

or d . H encei t was natura l , a nd not yet grown so t e

m ote a nd uncommo n th a t i t need be decl a i m ed a gai nst ,
’
th a t Sh a k esp eare s e ter na l l i fex rem ai ned tr a cea bl e

ch i efl thr o ug h l ega l d ocum ents a s to h i s perso na l em o

y
ti o ns, a nd th r oug h h a p h aza r d m enti on as to h is ar ti sti c
a ch i evements I t i s no t sur p r i si ng , nor i s i t necessari l y
.

a mercenary si g n i n h i m , th a t m emo ra nda as to m o ne y

m a tters m ul ti pl ied to war d t h e cl ose of h i s l i fe, a s h e

m ore a nd more emer ged b eca use o f h i s ar tist i c success ,
,

fro m th e vagueness na tura lly enci rcl i ng h i m as a pl ay

wr i ter of geni us i nto th e pr o m i nence na turall y a ttach i ng
to h i m as a n E ng l ish ma n o f p r o p er ty .

It is t h ro ugh no unco m m o n h a pp eni ng to t h e son

o f a r isi ng E ngl i sh tr a des m a n th a t th e bi r th da y o f th a t

bab y o f worl d wide h om age Wil liam Sh akespeare, i s

-
,

no t a m a tter o f reco r d b ut t h a t h i s ch risteni ng da i s

, y .

T h e pervading i mpo r ta nce o f th e ch urch as a n E ngl i sh

i nsti tution l ends th e l igh t b y w h i ch h e fi rst i s seen .

T h e earl i est p arish r egi ster o f th e C h urch o f th e H o l y

Tri ni ty at Stratfor d o n Avon in War wi ck sh ire — a t h ick
- -

fo l io of vell um b ound i n m etal edged l ea th er , w h er ei n -

were t ra nscri bed i n 1 60 0 a nd l a ter th e entr i es of b ap

tis ms, marri ag es, a nd funer a l s i n th e p ar ish — sti ll h o l d s

o ne p age wh ose fo ur th l i ne h o m th e to , w r i t ten in

'

p
ch urch La ti n, h as co m e to b e o f emi nent i nterest :
’
1 5 64 ,
Apr il 2 6 . Guli elm ur fili u: j oba fm er Sba krper e .

The x ll y cer tai n nd i ndi sp utabl e r ecord

ne t a ctua a

ex ta nt di rectl a nd p e so nal l n c r ni ng Sh a k spea r e

y y c
ro e e

h i msel f foll o ws eig h teen yea s l ter h i s m ar r i a g e

r a —
.

I n t h e a b sence o f l ig h t up n h is b oyh ood a nd yo uth

o

wh i ch i s not b orro w ed f o m i nterweavi ng a seri es o f

r

t r di ti o ns da ti ng a centu
a so l a ter wi th f cts co n
r r
, y o , a

cerni ng h is fa mi l nd w i th i n f rences th a t a re m or e
y a , e

or l ess ma tter s Of i ndi vi dua l d gm i s best

j u e n t t see m ,
 B I O GRA PH Y
fail to enti tl e th e Ardens to m o re detai l ed a nd cer tai n
docum entary recor d th a n rem a i ns o f th eir p o o r er nei gh
bors, th e Sh ak espear es o f Sni tterfield , from w h om
o h n Sh a k esp ear e sp r a ng , a nd w h ence h e cam e t o s et t l e
j
i n Str a tfo r d , l ea vi ng hi s fa th er Ri ch ard a nd br o th er
H enry th ere em pl o yed i n fa rming .

Wh en Rob er t Arden of Wi lm eco te a nd h i s fa th er

Th om as were assessed for one o f th e subsidies l evied on
h i s subjects by H enry V I II , th ey w er e t wo o f th e
fo ur m en o f gr ea tes t sub st a nce in th e p ar i sh An d a
.

l a ter subsi dy fo und Rober t th e second rich est m a n .

H is will , no w in th e Regi str y C o ur t o f Worcester ,

leaves to h is yo ungest daugh ter Mary h i s best piece o f
l and, Ash bies, so m e fifty fo ur a cres o ut o f h is to tal
-

a cr ea ge O f a h undr ed a nd fi ft r so , t o g eth er w i t h t h e
y o

far m h o use, th e cro p a p o ne t h e gro unde standi ng as

- ‘ ’ ‘

’ ’
h i tt i s , a nd in m o neye vili x iii: i iii d
‘
T h i s w i ll
.

a rr a ng es fo r t h e l i vi ng o f h i s w i d o w in t h e sa m e h o use

wi th h i s da ugh ter Al ice, w h o w a s th e o t h er ex ecut or

’
wi th Ma ry o f h i s esta te . T o wa r d M ary s m a rr i a g e
a s p r o sp ecti ve a nd ta k i ng pl a ce l a t er t h i s w i ll o f N o
,

vem ber , I 5 5 6, bea rs th e w i t ness l a ck i ng fr o m th e p a r i s h

reg i ster .

’
I f, wh en Will ia m wa s b or n, M rs Sh a k esp eare s fir st
.

ch i l d , jo ne, as well a s h er seco nd , M a rg a r et , h a d d ied ,

to h o w tender a wel co m e fo r th e fir s t bo r n so n d o th e s e
-

for m al dry p arch m ents l end t h eir h a l ti ng testi m o ny !

’
A p l a g ue r a vag ed Stra tfo r d i n jul y o f Sh a k esp ear e s
bir th year , a nd th e to w n books Sh o w th a t Sh akesp eare s
-
’
fa t h er co ntr i b uted to w a r d th e r el i ef o f th e to w n .

Wh eth er or no t h is mo th er trem bl ed th en for t h e peri l

to h er l a s t b or n t h r ee m o nth s o ld b a by, cer t a i nl y th e
- - -

na t i o n s m a
y tr e m b l e n o w a t t h e co n ectur e O f w h a t th e
j
w o r l d m i g h t b e w i t h o ut i t s Sh a k esp ear e .

6
 B IOGRA PHY
T h ere is r ecor d l eft i n Stra tfor d th at in th e sa me
a utum n of I 5 5 6 w h en Ro ber t Ar den di ed jo h n

Sh a k es p ea r e m ade sub stantia l p rep ara ti on for l ivi ng

well , by purch a sing two p rop er ti es, a h ouse a nd gar
den i n G r eenh i ll Str eet, a nd a d oubl e h ouse wi th a
gar den i n Henl ey Street, no w k no wn to travel ers as
t h e Sh a kesp ear e M useum , si d e b y si de wi th th e h o use
’
s ti ll l onger k no wn as th e B ir th pl a ce
. H i s p urch ase
w a s subject to th e usua l p aym ent o f a fee year l y to
t h e l o r d o f th e m anor , th e E a rl o f Warwi ck ; a nd i t

h a ppens t h a t a l ist ta ken for th e q ueen l a ter , i n 1 5 9 0 ,

o f th e H enl e S treet tena nts p a i ng m a nori a l fees to
y y
th e grea t nobl e of th e Sh i r e, i denti fi es th is h ouse as th e
h o m e to w h i ch Sh ak esp eare w as born i n I 5 64, a nd to
w h i ch , so m e seven years before h i s birth , h is m o th er
ca m e a s a b ri d e .

T h e very earl i est refer ence, 1 5 5 2 , m ad e to h is

fa th er i n th e Stratford recor ds a lso co nnects h i m w i th
H enley Str eet He was th en fi ned 1 2 d for m a ki ng
. .

a refiI se h ea p th er e, t wo o th er burgh ers bei ng fi ned

-

a l o ng wi t h h i m to th e sa m e a m o unt fo r a l i ke o f fense.

x
T h e si m pl e sa ni tary reg ul a ti o ns o f a si teenth centur y
-

co untry t o w n ar e th us i ll ustra ted . Th ey co nsisted ,

i t a pp ea rs fr o m th e recor ds , i n pr eferring a s dum p
i ng pl a ces severa l disp ersed sp eci fi ed ‘
public dung
h i ll s
’
.

T h e sam e year as th e pur ch a se o f h i s h o m e i n

H enl ey Str eet, joh n Sh akespear e was sum m o ned to
T st l e a nd ti t l e t h en given h i m
serve o n a ur
j y . h e y
’
i s joh n Sh a kespere, g l over
‘
. A g a i n is i t so gi ven h i m
t h i r ty year s l a t er , i n a l eg a l p ap er pr eservi ng th e fa ct

t h a t h e went to th e neig h b o r i ng to wn of C o ventry to

gi ve b ai l for a Stratford tinker w h om h e th us be

fi i ended
'

. F ro m o th er r em aining r ecords o f h i s tra ns

7
 B IO GRAPHY
acti ons a nd sui ts , it com es out th a t h e deal t i n var i o us
l
ar ti c es made of l ea th er and l
a so in gr ai n, m a l t, a nd
such co untry produce .

By th e ti m e h i s fir st so n was j b o rnSh a k ‘
e oh n

fl
,
’
sp ere, g l o ver , h ad risen to successive to wn o i ces
first, 1 5 5 7, ale taster , or tester for th e to w n of
-

q
ma l t l i uors and b read ; th en to wn counci l or ; co n
sta bl e ; a f feer or , th a t i s, assessor o f just such fi nes as
h e and h is fell o w- to wnsm en h ad t o pay for th eir i ndi
vi d u a l di rt -h
ea p s ; C h a m ber l a i n, or tr easurer ; a nd ,

x
finally, th e ne t yea r after h i s son was born, al d er
man . H e w as so r epea tedl y empl oyed as audI tor for
th e to wn o f t h e C h a m ber l ai ns
’
accounts a nd as a
p
praiser o f pro perty th a t i t wo ul d seem h e must h a ve
been recognized as a m an o f practical a b i l i ty and o f a
Ski ll i n reck o ni ng no t i n th e l ea st i nconsi stent — ar a

p eri od wh en acco unts wer e cast wi th counters, as th e

’
sh ep h er d s ta l k i n
’
Wi nter s Tale ( I V i i i 3 8 ) i llus . .

tra tes wi th anoth er fact sh o wn by th e to w n p apers,

th a t, li ke most o f his g enera ti o n i n Stra tfor d , h e si g ned
h is name wi th a m ar k .

In 1 5 67, w h en h e was fi rst no m i nated for h ea d

bai l i ff or mayor , h e is first wri tten do wn as Mr
’ ’
Sh akspeyr . T h e i m p or tant sma ll p r efi Mr is x .

r epea ted i n I 5 68 , t h e ea r wh en h e was success fiI l i n

y
fl
b eing el ected to th at o i ce, th e same year a l so wh en
h i s fi rst appl i catio n was ma de to th e C o ll ege o f H era l d s
for a coat o f a r ms T h e p ari sh reg is ter refl ects h i s
.

i ncr easi ng social i mp o r ta nce i n th e sam e sl i gh t but si g

nifica nt ma nner i n t h e fiI r th er course of ch r o ni cl ing
th e ba p ti sm o f h i s ch i l dren : G i lber t , O ct I 3 , I 5 66 ; .

j o n e, A p ri l 1 5, 1 5 69 ; A nna , Sep t 2 8, 1 56
9
.

b ri ed i n Ap ri l , R i ch ard, Mch
( u I I, 1 57 ;
4
’
.

E dmund, May 3 , 1 5 8 0 T h e joh annes Sh akspere

.
 B IOGR A PHY
o f th e ear li er becomes Magistri Sh a kspere i n
entri es
’
I 571 , a nd th erea fter a l wa ys a ppea rs a s Mr .

T h e nex t m ar k a l ong t h e Sh a k esp eare trail is th is

As m ayor o f Stra tfor d Sh k esp eare s
’
stri k ing fact : a

fa th er enter tai ned actors o fl

,

i ci lly for t h e fi rst ti m e in

a
’ B etween Mich ael mas 1 5 68 and
t h e to wn s h i st ory . ,

1 5 69 ,
wi t h i n h i s term of o ffice w h en Sh a k esp ear e
,
’
w a s a five year o ld ur ch i n t h e q ueen s a nd th e E arl of
- -
,
’
L eicester s pl ayers ca me to to w n and w ere given an
ofl i ci al wel co m e T h ey may h ave com e before wi th
.

o ut i t o f course
,
In such case no o ne now i s l i kel y
.

t o be th e wi ser T h ei r co m i ng i s i n ken no w b eca use

M a yor jo h n Sh a kespeare o fl
.

i cia lly p ai d th e q ueen s ’

’
pl a yers ni ne sh illi ngs and th e ear l s twelve p ence for
first p erform nces before h i m sel f a nd th e al der m en
a ,

t h e to wn bei ng a d m i tt d free e A d m issi o n migh t be

.

ch a rg ed a t l a ter p e fo r m a nces ; b ut a ccor d i ng to custo m

r , ,
’
the Ma yo r s pl ay w s O p en t th e p ublic
a o .

’
T o t h e M yo r s pl y wri tes Wi l l is a m an born
a
’ a , ,

i n t h e nei g h bori ng ci ty o f G l o ucester th e sam e year s , a

Wi lli a m Sh k speare every one th at wi ll co m es in

a e ,

w i th o ut m o ney th e M ayo r gi vi ng unto th e pl ayers a

,

r ewa rd as h e th i nk s fit to sh ew r esp ect unto th em At .

such a pl a y m y fa t h er t o o ke m e w i t h h i m a nd m a d e ,

m ee st nd bet w eene h is leggs a s h e

a t e up n o ne o fsa o

t h e bench es w h ere w ee sa w and h e r d ver y w ell

, a .

T h i s sig h t t o k e such i m p essio n i n m ee th a t wh en I

o r

ca m e to wa r ds m a ns i t w as a s esh i n m y m em
esta te
’
fl
o r y as i f I h a d seen i t new l y acted T h i s Wi lli s t e
.

co r ds i n Mo unt T a b o r Pr iva te E erci ses ofa Penitent

. x
Si nner , p ub l i sh ed i n th e year e o f h is age 7 7 A nno
’
Wi ll Sh a kesp ea re s m ind can scar cel y
D om .

be supp o sed to be l ess i mp ressi onabl e .

T h e C o ventr y C orpus C h ri sti Pl a yers wer e pl ayi ng

9
 B I OGRA PHY
’
duri ng Sh a k esp eare s yo uth T h ey pl ayed at Bri stol
.

i n 1 5 70 , and th eir r oa d ran th r o ugh Stra tfor d In .

1 5 7 5 , wh en Sh a kesp eare w as el even, Q ueen E l i za b e th

wa s enter tained by L eicester w i th wi de h era l d ed fes -

ti vi ti es a nd sh o w s a t K eni l w or th , wi th i n a w a l k o f
Str atford . C oventr y i s but five mi l es far t h er o n .

x x
In th e ne t year , 1 5 76, a nd th e ne t, co m p a ni es o f
pl ayers ca m e to Stratford , a nd again fio m 1 5 7 9 o n for '

eigh t ear s each t wel vem onth b r o ug h t i ts a cto r s to

y
’
Sh a kesp ear e s to w n .1 8
5 7 , t h e r i ch es t year o f a ll,
’ ’
bro ug h t five co m panies, th e queen s, Leicester s, a nd
’
x
Esse s a mo ng th em .

T each i ng wa s to be h a d free to b o ys o f Str a tfo rd a t

’ It w as i n ch a rg e o f Wa l
th e Ki ngs New Sch o o l .

x
ter Roch e i n 1 5 70 , a n O fo r d m a n, fell o w o f C o r p us
C h risti , and to h i m , i n 1 5 7 7, th e curate o f Luddi ng
to n, T h om as H unt , succeeded . Such sch oo ls led
bo ys, after just such i ni tia l i nstructi o n i n th e h orn boo k -

’
a nd th e b a r as M o th m a k es firn wi th i n
-
L oves La
’ ’
b o ur s Lo st ( V i 49 . . t h r o ug h just such a fi r s t
boo k i n La ti n as Wi llia m Page reci tes fr om to Parson
’
H ugh i n T h e Merr y Wives o f Wi ndsor ( IV i 1 3 . .

’
Li l y s G ram ma r a nd t h e Sententi w P ueril es
‘ ’
bei ng passed, to t h e E cl o gues o f Mant uanus, prai sed
’ ’
in Loves Labour s Lost ( IV iii 9 7 . . to
Pl autus, O vi d, V irgi l , Seneca , T erence, C i cero ,
H orace, and th e r udi m ents o f G reek I t h a d no t yet
.

o ccur red t o th e p edag o g i c m i nd th a t a nyt hi ng but t h e

cl a ssi cs w as a subject fo r i nstr uct i o n, a nd La ti n w a s,

o f cour se, as co mm o n as geog r ap h y, p h ysi o l o g y, a nd

a r i th m eti c no w .

In 1 5 7 1 joh n Sh a k esp eare w as chi ef a l derm a n In .

1 5 7 5 h e bo ugh t a n a d di t io na l h ouse, th e o ne a djoi n

’
i ng, no w call ed th e B i r th pl a ce
‘
.

IO
 B IOGRA PHY
So far th e facts beto ken com fo r t and p rosp eri ty But .

w h en Sh a kesp ear e was four teen a deci ded stro k e o f

mi sfo r tune fro m th e m o ney p oi nt of vi ew b efell th e
’ ’
fa mi l y, th rough th e fa th er s m or tgagi ng h i s w i fe s p rop
et t of Ash bi es to h er b r o th er i n la w , E d m und L am
y
- -

’
bert, for £40 , for i t led to th e Sh a kesp eares l oss o f
th eir esta te .

E ar l y i n th e same year , 1 5 7 8 , th e to wn co unci l

a gr eed
‘
th a t every a l der m a n, such e und er wryt ten ex

cepted , sh a ll p a ye tow ar d es t h e eq ui p m ent o f p i k e

m en, bill m en, and ar ch er ‘
vjr. a nd
‘
Mr
.

’w f w i th p ayi ng
Sh a x pea re as one o f th e tw o let o f

l ess La ter i n th e yea r h e a nd a no th er were e cused

. x
fr o m a week l y p oo r ta x l evied o n t h e a l d erm en
-
. The
x
ne t year h e i s na m ed a m o ng t h o se fai l i ng to pa y a
l evy o n a ll th e ci tizens for th e p urch ase of arm or .

H e a nd h i s wi fe pa r ted wi th h is i ndi vid ua l sh are i n

Sni tterfield p r oper ty for £4, a nd th ey p ar ted wi th
h er i nterest i n o th er Sni tterfield p r o p er ty for £40 .

H e b egi ns i n 1 5 7 8 to absent h i m sel f fio m t h e to wn

'

x
co unci l meeti ngs , s t i ll m or e t h e ne t year , and t h en

so a l to ge th er th a t i n 1 5 8 6 a n a ld er m a n w a s ch o sen t o

fill h i s pl a ce, since h e do th e no t com e to th e h a ll es

‘

nor h a th no t d o ne o f l onge tym e

’
.

’
Sh a kesp eare s s i ster Anna di ed i n Ap ri l just b efore
’
h er bro th er s fi fteenth bir th da y, and th e sa dness o f th i s,
to g eth er w i th t h e fam i l y di str esses, p a r ti cul a r l y o ver Ash

bi es, regar ding which repeated i nterviews a nd arr ange

m ents wi th t h e La m ber ts w ere so ug h t i n va i n by h i s
fa th er , m ust h a ve bro ug h t Sh a k esp ea re ea r l y fa ce to
fa ce wi t h so m e of th e r el entl ess words o f l i fe .

If i n th e s p ri ng of th e yea r 1 5 8 0 , w h en th e £40
w as to be rep a i d , h is bro th er w as ch r i s tened E dmund
i n deference to Uncl e E d m und La m b er t , wh o h a d

I I
 B IOGRA PHY
lent th e m o ney Sh a kespear es on such g oo d
to th e
securi ty, t h e co mpl i m ent di d no t ser ve to l oosen h is

g ra s p up o n t h e la nd T h e la w o f th e ti me fa vor ed
.

’ b l ut o wnersh i p o f securi t i f p
a credi tor s a so e y r e a
y
ment was not made ri g i d l y o n th e day sp eci fied , a nd
t h o ug h th e Sh a kes peares cl ai med i n th eir first l ega l

a ppeal a gai nst La m ber t, a s i n o th er co m pl ai nts l a ter ,

th a t jo h n too k hi s £4 0 a cr oss B ar to n H ea th t o Ed
m und a t Mich ael m as o f 1 5 8 0 , and th a t i t wa s refused
because th er e were o th er deb ts th a t m ust be p a i d,
some co nfiI si o n as t o t h e ti me st icks t o t h ese cl ai m s ,

d ue, i t ma y be, to m i sfo rtune ra th er th a n fa ul t o f th e

Sh a kespeares T h e result , h o wever , r em ai ned i nex
.

orable .
Da tum 28 d i e Nw m br i r m d omi ne nortr e
'

83 a rm s r e
35 ,
g

T h e ch urch regi sters at Luddi ng ton and at T em pl e

x
G ra fto n are not e tant to yiel d record o f Sh a ke
’
s ear e s m ar ri age as ta k ing pl a ce i n 1 5 8 2 I t i
p . s a

fact assured by a bo nd preserved i n Wo rces ter at t h e

’
bis h op s registry Th i s b o nd was made in a nti ci p a
.

t io n o f t h e m arri age a nd to g uar a ntee t h e b i sh o p o f

th e di ocese, wh o wo ul d be h el d r espo nsi bl e for such a

co urse a s w a s ta k en, fr o m a n o b ect i on t h a t m i g h t
y j
be m ad e a ga inst h i m for all o wi ng th i s m arr i age o f
‘ W
i ll ia m Sh a gspere a nd Anne H a th a wey, of Stra t
’
ford i n t h e di ocese o f Worcester , to ta k e pl ace wi t h
but o nce aski ng o f th e ba nns , i nstead o f th e usua l
t h r i ce . It h a ppens t h a t th ere i s al so p reserved i n th e
’
b ish op s reg ister’s in Wo rcester an entr y for a m ar
r i age l i cense, N o vem b er 2 7 , 1 5 8 2 , b etw een Williel
m um Sh a x pere a nd A nnam Wh a teley dc T em pl e
G ra fto n ’ h o w ex pl i ca bl e, w h eth er th e sa m e Wi l
liam and Anne or not, nobody kno ws .

1 2
 B I OGRA PHY
pera te bi ti on wi th w h i ch th e Sh a kespeares wo uld
am

na tura ll y cl ing to t h e l o st esta te ech o es i n th ese wo d s r

fro m o ne of th ei r a cti ons fo r t h e reco very o f t h e l a nd

th e sayde jo h n w ro ngfulli e st i l l k eepeth t h e sayd e
‘

oh nL a m ber te o f g rea te w ea lth e a nd a bi li ti e, 8:

j y s

well frended and a li ed a m ongest g entl em en a nd free

h ol ders o f th e co untrey i n th e sa i de counti e o f Wa r
w i ck e, w h er e h e d well eth , a nd yo ur sa i d e or a to urs
a re o f sm a ll wea lth e a nd vere fewe fr end es a nd a l a nce
y y
i n th e sa i de co unt i e ’
.

T h i s year o f 1 5 8 7 was t h e year , a lready no ti ced ,

wh en a s m a ny as five co m p a ni es o f a ctors vi si ted Stra t
’
fo rd , a m o ng th em th e E ar l o f Leicester s pl a yer s .

’
1 5 93 Tbs onli e Sbuba -
r cm e, et c.
’
,

A new dra m a o f H enry VI ‘

w as b r o ugh t o ut i n
March o f t h is year , a t th e Rose T h ea ter , by th e
’ ’
pla yers for merl y Lei cester s, no w Lo r d Stra nge s T al .

’
bo t, a s h e a pp ea rs i n 1 H enr y V I , i s sp o k en o f th a t
sum m er a s new em b a l m ed w i t h th e teear s o f ten
’ ’
t h o usa nd sp ecta to rs a t l east i n N a sh s Pi er ce Penni
’ r t in
l esse, p i n ed 1 5 9 2 Ro ber t G reene wro te fro m h i s
.

’
death bed , Sep tem b er 4 , m a ki ng use o f Cl i ffo r d s l i ne
-

’ ’
in 3 H enr
y V I , I i v 1 37.,
‘
O
. t i g er s h ea r t
’ ’
w ra p t i n a w o man s h i d e, for a fli ng a t Sh akesp eare s
’

sud den em i nence In h i s G r oa tsw o rt h o f Wi t bo ug h t

.

’
wi th a M ill io n o f Rep enta nce, p ublish ed b y h i s fr i end
H enr y C h ettl e , Sep tem ber 2 0 , G reene wa rned th o se ‘

G entl emen h i s Q uonda m a cq ua i nta nce th a t spend th ei r

’
w i ts i n m a ki ng Pl a i es t h a t th ere w a s
, a n up sta r t

cro w , b ea uti fied w i t h o ur fea t h ers , th a t w i th h i s 7 3»

er r bea r t wr apt i n a P layer : bi de, s upp oses h e i s a s

g
wel l abl e to bum bast o ut a bl anke verse a s t h e b est o f
ou ; b ei ng a n a bso l ute f f oba r m er fa r t ot um, i s i n h i s
y ’
o wne co ncei t th e o nli e Sh a ke scene i n a countr i e
-
.
 B IO GR A PH Y
C h ettl e l
i n D ecem b er, i n h i s Prefa ce
h i mse f,
’ ’
K ind H ea r t s D ream e, adds clearness to th is
to
sca r cel d i sgui sed a l lusi on to Sh a k esp ea re a nd h i s co l
y
labora tor i n 3 H enr y VI by sui ng for p a rd o n to
o ne o f t h e t wo pl a ym a k ers agg ri eved b G ’
r eene s h i t
y .

O ne o f th em h e refer s to as l ea rned a nd th e o th er a s
‘

a n a cto r , w h o m e a t th a t t i m e I did no t so much sp a re

a s si nce [ w i sh I h a d because m yselfe h a ve seene
h i s dem ea nor no l esse ci vill th a n h e ex ellent i n th e
ua li tie h e p r o fesses ; b esi des di ver s o f w o rs h i p h a ve
q
r ep or ted h i s upr i gh tnes o f dea li ng w h i ch a rg ues h i s
,

h o nesty, a nd h i s fa ceti o us g r a ce i n wr i ti ng t h a t approoves

’
h is ar t .
°
1 593 .
‘
x vi i i
‘
Apr i li n — Ri d a rd Fei ld a booke i ntuled
Venus a nd Adoni s .

’
But th e sudden fa m e of Sh ak esp ea re s p o em , V enus a nd ‘

’
Ad o ni s, m o unted h ig h er i n t h e esteem o f d iver s o fw o r
‘

sh i p th a n a ny pl a y co ul d cl i m b a t th a t ti m e I t wa s pub
.

li s h ed by h i s fello w to wnsm an fr o m Stra t fo r d , Ri ch a rd

-

’
F ield, wh ose fa th er s esta te h a d been a pp raised a t
’
h o m e by th e Poet s fa t h er th e yea r b efore I ts d ed i.

ca ti o n, sig ned by Wi llia m Sh a k espea r e, ch a l l eng ed

w i t h a gra cefiI l a dventuro usness, m o dest but no t o bse
ui o us, th e p a tr o na g e o f th e m ost no ta bl e i n l i ter ar
q y
ta ste o f t h e young co ur tiers o f th e da y, th e Ea r l o f
So uth a m p to n, a nd won i t, a l o ng wi t h th e a ccl a i m of
th e to wn Seven edi ti ons w ere i ssued i nsi de o f ten
.

’
T h us th e ear th a t sa w Ki t M a r l o w e s unfo r
y ea rs .
y
t nna t e dea th saw Wi l l Sh a kesp ear e l aunch ed o n t h e

cr est o ffo r tune T h e sayi ng o f th e fop G ulli o in T h e

.

’ ’
Return fro m Par nassus, a cted a t St jo h n s, C a m .

b r i dge, i n 1 5 9 9 , ertpr esses i n a r epresenta ti ve w ay i ts

’
vo g ue :
‘
O sw eet M r Sh a kesp eare ! I ll h ave h i s
p i cture i n m y study a t th e C o urt L et th e d unci
.
~

I
S
 B IOGRA PHY
’
fiede age esteem o f Sp enser and C h aucer, I ll w o r
sh i pp Sweet Mr Sh a k esp ea re, a nd to h o no ur h i m wi ll
.

la y h i s V enus a nd Adoni s under m y p i ll o w , as w e

read o f o ne I d o no t well rem em b er h i s na m e, but I
(
a m sure h e wa s a k i ng sl ep t wi th H o mer under h i s
’ ’ )
bed s h ead .

1 5 94.
9 Ma
]M r Ha r r i son
. . a booke i nti tuled tbe
’
Ra vj rbement of Luer eee
‘
.

’
Sh a kesp eare s seco nd ded i ca ti on to South a m p ton i n
h i s Lucrece r eveal ed h is ad va nce i nto h i s p a tr o n s
‘ ’
favor , a nd th e p oem r ecei ved such ch o i ce p rai se a mo ng
wri ters as D ra yto n ga ve i t i n h i s Legend o f Ma th i l d a
‘ ’
refer ri ng to Lucrece o f Ro m e a s La tel y r e
’ n
vi vd to l i ve a no t h er a ge, a d such di r ect a l l usi o n a nd
‘ W
sp eci fi c na m i ng of th e Poet a s t h i s i n i llo bi e h i s
A vi sa ( 1 5 9 4 )

‘
T h o ugh C o llat ine h a ve d eerely b ough t
T o h i gh reno w ne a l a st i ng l ife,
A nd fo und t h a t m o st i n va i ne h a ve sough t ,
T o h a ve a fa i r e a nd co nst a nt w ife,
Y et T a rq uyne plu ck t h i s g l i steri ng gra pe,
’
A nd Sh a k e- spea r e pa i nt s poo re L ucrece ra pe .

The tri um ph
y o f th e ea r a s Poet cl osed w i th fr esh
h o no r as Pl a yer and Pl a yw rig h t He . a pp eared b efor e

Queen E l izabeth a t Greenwi ch Pal a ce duri ng th e h o l i

’
days, as th e fo ll o w i ng entry i n h er Trea surer s M S .

a ccounts sets fo r th : ‘
to Wi ll i a m K em p e, Wi ll ia m
Sh a k esp ear e a nd Ri ch a r d e B ur b ag e, servauntes t o t h e
Lord C h a m berleyne, up on th e C ouncelles w arra nt da ted
at Wh i teh all x v Marcij, 1 5 9 4, for tw oe sever all
‘°

co m edi es o r enterludes sh ew ed b
y t h em b efore h er

Majesti c i n C h r istm as tym e l aste p aste, viz , upon St . .

Step h ens d aye Inno centes da ye x i ijli vjr viijd , 8s . .

1 6
 B IO GRA PHY
by wa ye o f h er Majesties r ew arde vj !i x i ijs i i ijd, i n . . .

a ll x x li
’ .

T h e sam e D ecem ber h o l i da ys, th e a 8 th , ‘

T he
Comedic o f Er rors i s recorded at th e Templ e a s
pl ayed by th e pl ayers before th e students a t th e
’
Hall i n Gray s Inn .

H enceforth , each h ol i day season duri ng th e remai n

’
i ng year s of E l i za beth s reig n, t h ere i s r ecord o f pl ays
before h er by th e company to wh i ch Shakespeare be
lo nged .

’
Weever s sonnet includes, al ong wi th mentio n of
th e p oem s, a ll usi o n to th e ea rl iest tragedy, Rom eo
’
a nd jul i et , a nd ano th er o f th e h i stori es, a nd th us fur

ni sh es evi dence of wor k done up to th i s ti m e, i n a ddi

ti o n to th e earli er h istories and t h e co m edies a l ready
na med, o f wh i ch contem po r ar y reco rd i s l acki ng .

’
Weever s m o re wh ose nam es I k now no t is l ik e
‘
’
q ’
B an uo s glass It i mages th e sh ado wy many i n th e
.

backgr ound th e much unknown e actl y in t h e ro ya l x

’
successi o n o f Sh a k esp eare s a ch i eved d ra m a s T he .

So nnet i s a dd ressed :

AD G U L I EL M U M S H A KESPEA RE
’
H o ni e- t ong d Sba kerpea r e, w h en I sa w t h i ne i ssue,
I swor e A po ll o go t t h em a nd no ne oth er
’
T h ei r r o si e t a i nt ed fea t ures Clot h d i n t issue,
-

So m e h ea ven b o rn go ddesse sa i d t o b e th ei r m ot h er ;
-

Ro se ch eck t Ad oni s wi th hi s a m b er t resses,

-

F a ire fir e h ot Venn: ch a rm ing h i m to lo ve h er,

-

Ch s e
a t L u c r eti a , vi r
g i ne-
l i k e h er d resses,

P row d lust stung Ta r qui ne seek i ng sti ll t o pro ve h er ,

Ro m eo, Ri ch a rd ; m o re wh o se na m es I k no w not ,
T h ei r sugr ed tong ues a nd po w er a tt ra cti ve b euty
Sa y t h ey a re Sai nts, a lth ogh t h a t St s th ey sh ew no t ,
F or th ousa nd vowes t o th em subject i ve duti e ;
I7
 B IO GR A PH Y
T h ey b urn i n l o ve ; t h y ch i l d ren, Sh a k espea r h et th em ;
’
G o , wo t h y m use ; m o r e nym ph i sh b ro o d b eget th em .

From Lo ndon ach ievements so bri ll i ant Shak esp ea re s ’

e
ywere turned to Str a tfor d by th e dea t h o f h is
es son,

wh ose funer al i s entered i n th e ch urch r egi ster

1 5 95 ,
F. Aug ust 1 1 . Ha mnet fili us Willi a m Sba ksper e .
’

H is l H enry died d uring th e C h ri stmas h o l i d a ys

unc e ,
’
wh i l e Sh ak esp eare s co m p ny wa s p er for m i ng b efore
a
’
t h e q ueen a t Wh i teh a ll Hi fa t h er s appl i c ti on t h is
. s a

ear to th e C o ll eg e o f H r l ds r sul ted i n h i s o b t a i n e

y e a

i ng a p a ttern fo r a co t o f a m s a nd a dra ft o f t h e
a r ,

propo sed grant w as m ad e o ut wh i ch i s sti ll on reco r d

, ,

th o u gh no t ex ecuted .
’
1 5 97 . A Plea sa nt Concei ted Comed i e
Lo ves Labo ur s Lo st
l l ed ’
l’pl a
ca ye d i n th e h,o id a
ys

before th e q ueen a t Wh iteh all was a n ear li er success , ,

’ ’
o ne o f Weever s ma ny m ore fo r i t wa s revi sed , ,

new l y corr ected a nd aug m ented by W Sh a k espea r e

’ .
,

and p rep ared esp eci a l l y fo r th e p resenta ti o n gi ven be

’
fo re th e q ueen t h is l a st C h ri stm as a s i ts ti t l e p a ge
‘
,
-

of 1 8
59 sa ys .

Recorded gn in S k p of co nt i nued
’
si 59 7 1h a es ear e s

persona l a ttach m ent to Stratfo rd as h i s h o me, wh ich is

l acki ng with rel a tion to th e m ore i ntim ate event o f h is
’
so n s d ea t h , i s fo und i n h i s p ur ch ase fo r 0 o f N ew
£ 6
P l ace, th e fi nest residence in th e to wn, bui l t for Sir
H ug h Cl op to n i n 1 49 6 ; a pra t ty h ouse o f bri ck e a nd
’ ’
tym bre, o pp o si te a g oo dl y C h urch e i n a fa yre str eet,
‘

says a w ri ter descri b i ng i t i n 1 5 40 .

Aga i n, wi th rela tio n to m a teria l a ffair s, reco rd o f

’
w h i ch is dem a nded by cus to m , Sh a k espear e s stro ng co n
’
fai rs i s revea l ed by t h e fa ct
t i nued i nter est in h i s fa m i l y s a f

th a t a ch a ncery sui t wa s begun a ga i nst joh n Lam b er t for

a
 B I O GRA PHY
recovery of Ash bies . T h e pl ea da tes Novem b er 2 4,
1 5 9 7 , and a seri es of cour t or ders for h ea r ing w i tnesses

r uns fr om jul y, 1 5 9 8 , to O cto b er , 1 5 9 9 This nc.

cessarily exp ensive str ugg l e for th e Ar den p r o p er t testi

y
fies th at Lo ndo n success h a d no t o b scured but rath er
bri gh tened th e old Stratford desires No decree of th e .

cour t wa s ever r ecorded .

Letters of Str a tfordians b el o ng to t h is first ep och of

a tta i nment, a nd sh o w Sh a k esp ear e i n a p o si ti on upon

w h i ch h is to wnsm en pl ace fr i endl y d ependence, a s th e

x
foll o wi ng e tracts i llustra te
1 . From a l etter of january 2 4, 1 5 9 7, fr om Abra
h a m Stur ley to h is b ro th er i n la w in Lo ndon, Ri ch ard
- -

Q ui ncy, wh o se son m arri ed jud i th Sh akesp eare l ater

T h is is one speci all rem em brance from ur fa th ers
m o ti o n . I tt seem eth bi h i m th a t our countrim a n,
Mr Sh a ksper , i s willi nge to di sburse som e m ouei up on
.

so m e od yar d e l and o r o th er a tt Sh o t terie or nea re

a b o ut us ; h e t h i nk eth i t a veri fitt pa tter ne to m o ve

h i m to dea l e i n th e m a tter o f our ti th es Bi th e instruc

.

ci o ns u can geve h i m t h er eo f, a nd bi th e fr endes h e can

m a k e th erefore, we th i nke i t a faire mar ke for h i m to

sh oo te a tt, a nd no t unp ossi bl e t o h i tt I t o b tai ned woul d
.

’
a dva nce h i m i n d eede, a nd woul d do us much e go od .

2 . From a l et ter of Sturley to Quincy ackno w ledg

i ng a l etter o f O cto b er 2 5 , 1 5 9 7 , saying ‘
th a t our

countri m a n Mr Wm Sh a k
. . w oul d pr o cure us mo nei ,
.

whi ch I wi ll l i k e of as I sh all h eare wh en and wh eare

a nd h o we ; and I p ra i let no t go th a t occa si o n i f i t m ai

sor te to a ny i ndif ferent condi ci ons A llso th a t i f

.

m ouei mi gh t be had for 3 0 o r 40 1 a l ease, &c m igh t .

be pro cur ed ’ .

3 . A fletter
r om
Qui nc
y T o m
y lovi ngc ‘
go o d
fi end and contreym an Mr Wm Sh ackcspere . .

1
9
 B IO GRA PH Y
Lo vi nge co ntreym an, I a m b ol de o f yo w , as o f a
‘

ffrende, cravi nge your h elpe w i t h x x x /l uppo n M ?

.

Bush ells a nd m y secur ytec o r Mr M yttons wi th me , . .

Mr Rosswell i s no tt co m e to Lo ndon as yea te, and I

.

h a ve especia l ] ca wse Yo u sh a ll ffr ende me m uch e i n

.

h elpei ng m e o ut o f a ll th e dcbcttcs I o we in Lo n
d o n, I th a ncke G o d , a nd m uch e q ui et m y m ynde,
w h ich wo l de no tt be i ndebeted I a m no w c to war des
.

th e C o wr tc, i n h op e o f a nsw er for t h e d i spa tch e o f m y

buysenes You sh a ll neth er l oose credd ytt nor
.

m onney by m e, t h e Lor de wylli nge ; a nd no w e b utt

p erswade yo wrselfe soc, as I h ope, a nd yo w sh all no tt
need to fear e, b utt , wi th a ll h a r ri e t h a nckefullenes, I
w yll h ol de m y tym e, a nd co ntent yo w t ifr end e, a nd
f w e bar ga i ne far th er , yo u Sh a l be th e pa ie m a ster
y
y o wrselfe M y yt
. m e b i ddcs m e h a stene to a n end e,

a nd soe I com m i tt t h s to o wr ca r e a nd h o p e o f yo w r
y y
h elpe I fear e I sh a ll no tt be backe th ys nig h t ffr o m
.

t h e C o wr te Haste T h e Lorde be wi th yow and

. .

w i th vs all, Am en ! ffro m th e B ell i n C ar ter L a ne, th e

2 5 O ctober 1 59 8 .

‘
Yo wrs i n all kynd cnes,
RY C QU Y N EY ’
. .

By th e Sh a kespea re h a d rea ch ed h i s th ir ty
ti m e
fo ur th year , t h en, even t h ese i na deq ua te r ecor ds ar e
eno ug h to sh o w t h a t h e h a d gr a sp ed m a teri a l co m fo r t

i n Stra tfo rd a nd ar tisti c sup rem a cy i n Lo nd o n Wh er e .

h e m o st wa nt ed endear i ng q ui et a nd w ell bei ng , a t -

h o m e i n St ra tfor d , w i t h fa m i ly a nd k i nd r ed , h e to o k
pa i ns to secure a n establ ished m ansion In th e years .

fo ll o wi ng h e p ro ceed ed to a dd unt o i t br oa d l ands a nd

m ea ns fo r i ts fit m ai ntena nce O ut a m ong m en, on
.

t h e o th er h a nd , i n th e s tir a nd str ea m o f l i fe i n L o n

20
 B I OGRA PHY
Sh ak espear e anywh ere? T h e l esser l igh ts o f th ese
h igh er placed gentr y h ave sputter ed i nto bl ankness,
-

’
whi l e Sh a kesp eare s h o l ds fiesh br i l li ancy, and su i ces
'

’
fl
to r edeem h i s co ntem porary cr i ti c s errors i n a djudging
precedence h ere and th er e by h is discernm ent in fi ing x
th e P l ayer poet so ear l y a nd so fir m l y amo ng h is star s
-
.

’
Si gns o f Sh a k espea r e s continuance as a Pl ayer are
no t l ess steadfast , th ough much l ess co nsp i cuous , th an
as a Pl aywri gh t a nd as a Str a tfor dia n H is l i fe as an
.

actor a ppa rentl y never cea sed dur i ng hi s Lo nd on suc

cesses, and i n 1 5 9 8 , t h i s year mar ki ng so m uch a tta i n

ment p ast, i t i s cl ear th at h e pl ayed i n Ben jo nso n s ’

’
Every Man i n His H umour , since h i s nam e appears
at th e h ead o f th e or i gi na l l i st o f actor s .

x
T h e ch i ef m entio n e tant of th e pl a ys a dded by h i s
’ ’
‘
r i g h t h a pp y and co p i o us i ndustr y to M eres s o ft ci ted -

ta l e m ay no w fo ll o w . And as, co ntinuo usl y a ll a l o ng

wi th th e crea ti o n of th e g rea t pl a ys, th e tenaci ty o f
h i s h old up on Str a tfo r d a s h i s h om e is evi dent , th e
two str eam s o f i nter m i ttent testi m ony m a y fitly
fl o w on toget h er , side by si de, to betr a y w h a t l i t t l e

th ey may o f th e br ai n and h ear t of th e devi ser b ehi nd

t h em .

A nd to ourselv es cw ee q ued tbose d eser v i ng men,

1 5 99,

Sha ksper e, Hemmi ng s, Cond a ll, Pbi lips as oth ers, pa r t

’
ba t tbe ca ll tbe House
ner s i n tbs pr o
fi tt f
es o r y .

T h us in an address to th e Righ t H onorabl e P h i l i p ,

Ear l of Pembroke a nd Montgo m ery a m anuscri p t now ,

i n th e P ubl ic Recor d O ffi ce Lo ndo n i n w h i ch th ey

fl
, ,

stated th eir si d e o f th e di i culti es th ey h ad wi th o th er

o f th eir a cto r s , t h e B u r ba g es — o w ne r s o f th e T h ea ter ,

t h e G l o b e, a nd fi na ll y o Bl f c k ars preserve for pos

f i
a r —

t er i ty t h e fac t o f th e sh ar e s t h e y l ease d o u t for t w ent y o

-
n e

y ears . T h ese sh ares assur ed Sh a k espear e a far l arger

22
 B I OGRA PHY
p ar t in his successes th a n he cou ld
h ave w on eith er as
act or or as a uth or T h e sa m e a ddress e pl ai ns, to o,
. x
th a t i n th e da ys o f th e T h ea ter th e pl ayer s h ad o nl y
th e profitts ari si ng fr om t h e d or es,
’ but no w , si nce
t h e b ui l di ng o f th e G l o be, th ey receave a ll th e cum
‘

m i ngs in at th e door es to t h em sel ves and h a l fe th e

’
g a ll er i es .

1 5 00 .
‘
4 A ug usti — As Yo.u li ke
y t,
a book e ; Hen ry to

tbe Fij i , a booke ; Tbe Commed i e o f Mu ebe b e

Ad oo a bout notbi ng e, a booke,

Wh eth er or no t as Sh arer i n th e com pany Sh a ke
, ,

speare was i nterested in t h e sta i ng o f t h ese p l a s fr om

y y
t h e h a nds of th e pri nters wh i ch th i s fa m o us entr y i n
’
th e Sta ti o ner s B o o k s i ndi ca tes th e ri ch ness o f h i s
,

l i terary h arvest by th e year 1 60 0 i s sh o wn by i t and ,

th ere ar e to be a dded entri es o f A m ydsomm er ni gh tcs

’
dr ea m e a nd T h e Mer ch a nt o f Venyce I n Weever s
‘ ’ ’ .

M irror o f M ar tyrs an a llusion i s cl ear to Sh a k e

’ ‘
sp ea r e s l s C e sa r
ju i u

T h e m a ny h ea d ed m ul t it ud e w ere d ra wn
-

’
By B rut us speech , t h a t C aesa r was a m b it i ous,
W h en el oq uent M a rk A nt o ny h a d sh o wn
H i s vi rt ues , wh o b ut B rutus th en wa s vi ci o us ?
’
M a n s m em o ry, with new, fo rg ets th e o ld,
’ ’
O ne t a l e i s go o d unt i l a no th er s t o l d .

M eanwhi le in Str atfor d, w h i l e h e wa s h i m sel f i n

Lo ndon a n , i tem a pp ear s o f hi s r ecovery o f £ 7 fr om
o h n Cl a ton
j y .

1 5 01 . Poeti ca ll Essa i es Sba d ow i ng tbe Tr utlr of Lov e

i n tbe consta nt Fa te of tbe Ph oeni x a nd Tur tle Done by .

fw r i er s
’
tbe best a nd elt eifest o f ou r m od er ne t .

C h p man jonson and M r ton contri buted with

a , , a s
’ ’
Sh a kesp eare to th i s vo l ume of C h ester s Love s Ma r

2 3
 B IOGR A PHY
’ ’
tyr ; and Sh a k esp eare s co ntr i b ution, mysti ca l a nd s m
y
bo lic, sig ned by him , i s a ta ntal izi ng l y i nter esti ng fa ct
i n th e h isto ry o f h i s auth orshi p .

T h is was th e year o f th e rebell ion o f Esse , and in x

London, all aro und Sh a k esp eare, tumul t sur g ed In it .

h is patron So uth a mp to n, a nd a gro up o f no bl es a ll i ed

wi th h i m to th e fort unes o f E sse , were i nvol ved , x
’
a nd t h e ventur o us pl a yi ng o f Rich a rd II, wi th i ts
depo si tion scene, supp ress ed b efor e as h a teful to t h e
q x
ueen, occasio ned t h e e a m i na ti o n o f h i s fell o w pl ayer -

Ph il ips, but Sh a k espeare h i m sel f seems to be cl ea r o f

ta ng l ement , w h a tever h is feel i ngs may h a ve b een .

In Stra tford , i n th e p a ri sh regi ster , i s set do w n

’
1 5 01 ,
F
.
— Septemb 8 . . Mr 7oba nner. Sba kspea r e .

No gr a ve or o t h er memo r ia l of h im rem a i ns i n Str a t

fo r d .

1 5 03 .
‘
xi 7
”
a ly . —
7 Robe r tes —
a mes
En t r ed .

A booke ca lled tbe Rev eng e of Ha mlett as

y t t
w a s
’
la teli e Acted by tbe Lo: Cba mber le y n b i s ser va ntes f
.

T h e ear l i est rem ai ni ng reference to Sh a kesp ea r e b y

nam e i n r el a t io n to th e gr ea t p l ay i s a n i nter esti ng o ne,
’
no t p ri nted , h o wever , ti ll 1 60 4, in D aiph a ntus ,
’ ’
wh er e, a fter p raise o f Si dney s Arca dia , i t i s wri tten
o r t o co m e h o m e to th e vulga r s cl em ent fr i end l y
’
Sh akesp ear e s tragedi es, w h er e t h e co m m cdia n r ides,
w h e n th e t r a g e d i a n s ta n d s o n ti p toe ; Fa i t h , i t sh o ul d
’
p lease a ll, l ike Pri nce Ham l et .

‘
T h e M e r r
y W i v e s o f W i ndsor w a s entered th e

sa m e y e a r ,
e a r li e r . A l o n g w i th t h e r e c o r d o f t h ese

tw o i m p e r f e c t co p i e s o f t h ese pl a
y s , as n o w we
k now th em , co mes th e custo mar y evi dence th a t th e
Poe t r e m e m b e r e d S t ra t fo r d ,
f r o m t h e t i t l e d
-
e e d o f
May 1 , 1 6 0 2 ,
c o n v e y i n g P o w r e
y a r d e l a n d e

b i m i n n h u n d d nd
contey i g n c st a c o o e r e a s ev e n
n y
M
 B IO GRA PHY
acr es fiom
'

j ‘
ohn Com be o f O lde St etfo d ge nr r

tlem an to Wil liam Sh a kesper e o f Stretford uppo n -

’
A vo n gentleman A p urch a se fio m Wa l ter
.
'

G ctley, sti ll firr th er enl a r gi ng th e es ta te h e wa s b ui l d

i ng up at h o m e, w as a l so m a de t h a t Sep tem b er , o f a
co t ta g e a nd g ar den i n C h a p el Lane, nea r N ew P l a ce .

’
1 60 3 . Tbe Play er s Pr i vi ledg e,
f

a nd L i cense o f M a B th e K i ng ’a
y 1 7,
y , ut h o rized
th ese our serva ntes, La wrence Fl etch er Wi ll ia m ,

Sh a kesp eare, Rich a rd

’
Burbage a nd o th er s nam ed
, ,

x
fieely to use a nd e erci se th e ar te a nd fa cult i c o f
'

’
pl a yi ng co medi es , traged i es, h isto rics T h is is th e em i
.

nent mem o r and um o f t h e year fo r Sh a k esp ea re, a l th oug h

h e h ad pl ayed b efo re t h e q ueen i n Febr ua r y a t R i ch
m o nd just befo re h er d ea th i n M a rch .

1 60 4 a 1 605 Ed i Tylney Sunday af t er Ha llow

ma s Mer ry Wyves of Wi ndsor perf by tbe "
’
K s player s Ha lla ma s i n t be B a nguet t i ng
bo . a t Wbi teba ll t be M oor of Veni s
’ ’ .

’
Th is memorandum of M al o ne s (no w p reser ved i n
t h e B o d l eia n Li br a ry, M S Ma ] . w a s b a sed up o n
.

a r ch i ves no t no w a ccess ibl e M S Ra wl i nso n A 2 0 4

. .

’
co nfir m s i t , sh o wi ng t h a t Sh a k esp eare s C o m p a n w as
y
p a i d fo r el even p er for m ances a t Wh iteh al l , No v I .

a nd
4, D ec . 2 6 a n d 2 8 ,
1 60
4 , a n d o n ja n 7 a nd 8 , .

Febr uar y 2 a nd 3 , a nd o n Sh rove Sunday, Mo nday,

a nd T uesd a , 1 60
y 5 .

Wh en th e ki ng m a de h i s tri um ph al entry in Lo ndon

i n th e spr i ng o f t h e sa m e year , ni ne a ctors o f this co m
pa ny w ere na m ed i n th e Accounts as wa l k i ng i n th e
pr ocessio n, Will ia m Sh a kespeare, w i th Bur b age, H em
m i ng e, a nd C o ndell , a m o ng th em , a nd each o f th em
w a s p resented by th e k ing wi t h fo ur a nd a h a l f ya rd s
o f scar l et cl o th .

2 5
 B IOGRA PH Y
Wh atever gl ory came of rank ing wi th th e gr ooms
’
o f hi s Majesty s b edch a m ber th er ea fter Stra tfo r d pur ,

sui ts wer e not l ess fo ll owed as th e sui t th e P oet ,

brough t th at jul y in Str atford against Ph i l i p Ro g ers fo r

th e ba l ance of a deb t of I lz x i xs x d for m a l t bear s
'

wrtness .

1 5 05 ,
j l u y 2 4. Unto tbc say ed Wi lli a m Sha kespea r , for
’
a nd d ur i ng e a ll tbc r esi d e m e o
f b d m
-
t e sa
j e ter e,

was conveyed fo r £440 , a l ease o f a m oi ety o f t h e

Str atfor d ti th es .

T h at spri ng, May 4, Augusti ne Ph i ll i ps wi lled to

m y fello we Wi lli a m Sh a k esp ear e, a 3 0 sh i lli nges peecc
’ E ar l ier , Mar ch 3 , a noth er recor d o f perso
i n go o l d .

nal associ ati o n i s evi denced by hi s acti ng a s g o d fa th er

to Wi ll i am D avenant , so n o f jo h n D avenant , h ost o f
t h e C r o wn Inn i n O for d x .

1 5 05 ,
MrWi lli a m Sba kespea r e bi s bi story e of Ki ng Lea r
.

’
w as pl ayed as th e entry i n th e Statio ner s B o o k s o f
,

t h e ne t year x
s h o ws , b efo r e t h e K i n ge s m a esti c a t
j
‘

’
Wh i teh all uppon St Steph ans nigh t at C hristm as l a st
. .

1 5 0 M
7 ,j un ij 5 y obn
. H a l l g en tlem a n. a nd S usa nna
’
Sba x sper e .

’
Th is D o tice marr i ag e o f Sh a k esp
o f th e s el d er ear e

d a ug h t er i s i n t h e S t r a t fo r d c h ur c h r eg i st e r .

’
T h e noti ce o f h i s br o th er E d mund s dea th , th e
pl ayer bro th er wh o died in Londo n, th e r eg ister a t
-

’ South war k suppli es wi th th e m em or an

St Sa vi our s,
. , ,

du m o f t h e un u s u a l h o n o r a nd e p en se fo r a n a x
c t o r

a tten d i n g h i s b u ri a l , a fo r e n o o n e k n e ll o f t h e g r e a t
’
bell .

M c E d w
‘ B lount Entr ed — a boobe ca lled
260 8 2 0 ay
.
.
‘

Antbony a nd Cleop a t r a .

Th i s in is th e Lo ndon Regi sters . In Stra tfor d

ppear th e
’
birth of Sh a kesp eare s fir st
ch ur ch r eg i ster a
 B IO GRA PHY
gra ndchi l d , Februar . dawgh ter to
2 1 . E lizab eth
h H a ll and on Sep tem ber h e funera l o f
jo n ,
’
9 t

M ayry Sh a ksp ere, wydo we In Stra tfor d , a gai n, .

Sh a kesp eare sto od as g odfa th er t o Wi ll ia m , son o f h i s

fri end , Al derma n H enr y Wal k er .

2 0 Ma y Tba Tborpe Bool e lled

‘ ‘
1 5 09 . . . a ca
’
Sba kespea r e s sonnettes .

T h e Never before Im pri nted li ne of th e ti tl e p age -

i n th e publ i sh ed vol um e a dds to th e fo rego i ng entry

’
in th e Sta ti oners Registers th e l o o k o f i ts bei ng a
‘

l ong buri ed trea sure, not a new event in t h e story o f

-

’
Sh a k espear e s aut h o rsh i p by a ny m eans, but fa ll i ng
’
along in publi c m enti o n w i t h Mer es s su red son
g
’
nets of 1 5 8
9 .

1 61 0. Ma cbetb at tbc Glob, 1 61 0 tbe 2 0 o f Apr i l!

i s t h e beg i nning o f o ne of th e i nter esti ng accounts o f
t h e pl a ys whi ch D r Si m on For m a n saw a cted
. It i s .

ta k en fro m h i s M S Bock e of P l a ies and No tes th erof

. .

T wenty more acr es b ough t o f th e C ombes wer e

a d d ed by Sh a k esp ea r e to h i s Stra tfo r d esta te th i s sam e

ca r .

i6 1 1 . In tbe Wi nter s Ta lle a t tbe Glob,

’
1 61 1 , 1 o M
5 f aye .

O b serve th er h o we Lyo ntes, etc T h us no tes Dr For . .

’
m a n a gai n i n his D i ary T h ere fo ll o ws, a l so , wi th
.

out da te, th i s : O f C i m ba li n K i ng o f Eng land, etc ’

.

’
In Str atford Sh a k esp ear e s na m e a pp ears o n th e
m ar g in o f a sub scri p ti o n l ist star ted o n Sep tem b er 1 1 ,
to war ds th e ch ar ge o f p r o secuti ng th e b i ll i n P ar l i a
m ent for th e b etter r ep air o f th e h ig h w a y
’
.

Ri cba r d La ne, Tboma s Gr eene a nd W i lli a m

‘
1 5 1 3 ,

Sba ckspea r e g entlema n, contr a W Combe . .

x
Th is e tr act i s fio m a i '
o f co m b ll
a i nt o f h ar m to pl
t h e ti t h es by act i on o fth e
’ C b
G reene s i nterest i s
o m es .

sta ted at a ear l y va l ue o f £ 3 ’

Sh a k esp ear e s a t th ree
y ,

27
 B IOGRA PHY
score poundsIt is o f specia l i nterest i n i ts connec
.

ti o n wi th fiI r th er di fi culti es over th e th rea tened i njur y

to th e ti th es by i ncl osi ng o f th e fi el ds h el d i n co m mon

by Str a tfor d ci tizens .

1 5 1 3 .Item, pa i d to j obn Hemi ng es uppon tbc Cow a cells

f wa r r a nt d a ted a tt Wbi teba ll x x °
di e Ma ij ,

T h is fr o m th e
’
treasurer s a ccounts in a m anuscri pt
,

in Bo dl eian Li br r y sh o w s th e
th e a ,
performa nce o f
’
T h e Tempest wi th o th er pl ays at, , t h e mar r ia ge o f
t h e L dy E l iza b eth and P i nce F r ederi ck
a r . T h e l i st
r ea ds : ‘
M uch a do e abo wte no t h i nge t h e T em
pe t s , th e Winters
T al e, Sir jo h n Falsta fe, th e Moo re
’
o f V enice, C ae sar s T ragedye etc A nd .

l a ter , one pl aye ca ll ed a bad d begi ni ni nge m a k es a

goo d endinge o ne o t h er th e H o ts urr , a nd o ne
p
’
o th er ca ll ed Benedi cte a nd Bet ter i s .

T h e sa me spri ng , March 1 0 , Wi ll i a m Sh a k espea re

’
o f Stra tfo r d up o n Avo n, gen tl em a n,
- -
bo ug h t a h o use in
B l ack fr iars, Lo ndo n, i n considera ti on o f th e so mm e
‘

’
of o ne h undred a nd fo r ti c p o unds .

In th e Stra tford ch urch r eg ister i s entered , Februa r y

’
4 , th e fune r a l o f ‘
R i ch S h a ks
pea r c, l ea v
.i n g G i lb er t
t h e o nl y survi vi ng b r o t h er ; b ut th er e i s a n unex pl a i ned

entr o f a funer a l, 1 6 1 2 , F ebr ua r of G i lb er t us

y y 3 ,
’
Sh a kspea r e, a do lesccns .

In june of th e sa m e yea r th e l ast new pl a y o f Sh a k e

’
sp ea r e s w a s pl a yed a t t h e G l o b e, H enry V III, and ’
dur ing i ts p er for m a nce, a s vari ous l et ter s o f th a t surn
m er st i l l r em ai ni ng r el a te, t h e t h ea ter was b urned to
t h e gr o und .

1 7 Now My cosen Sba bspea r e comy ng y ester day

.

’
to tofw ne, I w ent to see bi m bow be d i d .

Much l k foll owed d ur i ng th is visi t o f T h o m as G reene

ta ,

th e Stra tfor d to wn cl er k up on th e m ooted i njury t o

,

28
 BI OGRA PHY
daugh ter judi th 1 5 0 un d es of la wf u l] E ng li h
po s
’
m oney, and ano th er 1 5 0 after th ree years I t pr ovi ded .

for h i s sister jo ne H art and h er th ree sons, a nd l eft

h er th e h ouse wh erein s h e d well eth
’ T o hi s grand .

daugh ter , th en but ei gh t years o ld, all h is pl ate was l eft

‘
x
e cep t m y brod silver and gi l t b o l e
( w hi ch was l eft

t o judi th
) V . q
ar i ous be uests and r emem br ances to

Stratford ci ti z ens fo ll ow : to h is wi fe h is second b est

’ n
bed wi th th e furni ture, a d to m y fell owes, joh n
Hem ynges, Rich ar d B ur b age a nd H enry C undell,
s vi iijd s p eece
’
x xvj .
[ ]
to buy th em r inges T h e r em ain .

der o f h is estate went to h is daug h ter Susanna and hi s

son i n la w Dr oh n H a ll , er h usband, w h o m th e
- -
j h
.

x
P oet al so m ade h is e ecutors Th e marri age of judi th .

to T h omas Qui ncy h a d th en ta k en pl ace, a nd th e

foll o wi ng th ree entr i es o f m ar r i age, funeral , and bap
ti sm i n th e ch ur ch r egi st er cl o se th is year :

M . Fea br ua ry 1 0 Tba Queeny totw j ud i tb Sba bsper e

.

F. Apr i ll 25 Wi ll Sb a ksper e, g ent.

.

’
B . Nov ember 23 Sb a bsper , filli us Th oma s Qu
.
‘
n
yy g, ent .

T h i s grandson d i ed th e ne t year x
T wo later b orn .
-

so ns to judi th died i n 1 63 9 In 1 62 3 Mr s Sh a ke . .

’
sp ear e, Sh a kespeare s w i do w, died , and wa s bur i ed i n

th e ch urch ch ancel wi th h er h usband T h e sa m e .

ear sa w th e p ubl ica tio n o f t h e fi r st co ll ected edi ti o n

y
o f th e P l a s o f Wi lli a m Sh a kesp eare, i n Lo ndon
y .

’
Sh a k espeare s daug h ter Susanna died jul y 1 1 , 1 649 ,
’
a nd th e Poet s onl grandchi l d , E l i zab eth , m arri ed suc
y
cessi vely to T h o m a s N a sh i n 1 62 6, a nd, a f ter h i s dea th
i n 1 647 , to Sir joh n B ar nar d o f Abi ngdon, di ed ch i l d
l ess Februar y 1 7, 1 669 T h e l ast descendant fiom
.
'

h i s si ster jone, joh n Har t , di ed in 1 8 00 .

CH A RL OTT E PO RT ER .

A ug . 8, 1
9 03.

30
 V EN U S
AN D A D O N IS

V IL I A M IRET UR V U L G US : F
M I H I L A V US A PO LLO
P O C U LA CA ST A L I A PLENA M I NIST RET A QUA .

LO N DO N
I M P RI N T ED BY RIC H A RD F IEL D A N D A RE T o BE SO L D
, AT

T HE SI G N E O F T H E W H IT E G REYH O UN D I N

P A U L ES CH U RC H YA R D
-
.

1 593 °
 T O THE RI GH T HO NO RA B LE
H enri e Wr i oth esley Ear l e
, of South a mp ton,
a nd B aron o f T i tch field.

ca t i n m un
fl
Rig b t Honour a ble, I know not bow I s ba ll o end i n dedi
'

oli sbt li nes to our Lor dsbi , nor bow t bc

g y p y p
wor lde wi ll censur e mee for cboosi ng so s tr ong a
e to suppor t so wea l e a bur t ben, one e if
p pp
ro
ly y our

Honour seeme but plea sed, I a ccount my selfe big bly

,

p r a i sed, a nd vowe to ta ke a dva nta e

g o f a ll i dle b au r es ,

ti ll I ba ve bonour ed you wi t b some g r a ver la bour .

But if tbe fir st bei r e of my i nventi on pr ove de for med,

I sba ll be sor i e i t ba d so noble a g od fa t ber : a nd never

fl
-

after ca r e so ba r r en a la nd, for are it eeld me s t i ll

y
so ba d a ba r ves t , I lea ve i t to our Honour a ble sur ve ,
y y
a nd our Honor t o our bea r ts content wbi cb I wi s b
y y
may a lwa i es a nswer e your awne wi sb , a nd t bc wor lds
bope fu ll expect a t i o
.n
Your Honors i n all duti e,
Wi lli am Sh a kespeare.
 VEN U S A N D A D O N IS .

V EN as th e sunne wi th p urpl e co lo urd face,

-

H ad ta ne h is l a st l ea ve of th e w eep i ng morne,
R ose ch eck t Ado nis h ied h i m to th e ch ace,
-

’
H unti ng h e lov d , but l ove h e l augh t to scorne
Sick th oug h ted V enus m a k es a maine unto h i m ,
-

’
A nd l i k e a bol d fac d suter gi nnes to woo h i m .

T h r ise fairer th an m y sel fe, ( th us sh e began)

T h e fi el ds ch i efe fl o wer , sweet abo ve com pare,
Sta i ne to all Ni mph s, m o re l o vel y th en a m an,
Mo re wh i te, a nd red, th en doves, or ro ses are
Na tur e th a t ma de th ee w i th h er sel fe at stri fe,
Sai th t h at th e w orl d h ath endi ng wi th th y l i fe .

Vo uch sa fe t h ouwonder t o a l igh t th y steed,

A nd r aine h is proud h ead to th e saddl e bow ,
I f th ou wi l t daine th i s fa vor , for th y m eed
A t h o usand h oni e secrets sh a l t th o u k no w :
Here come and si t, wh ere never serp ent h isses,
And being set , Ile sm oth er th ee w ith k i sses .

And yet not cl oy th y l ips ’sa ci etie,

wi th lo th d
But rath er fami sh th em am id th ei r plenti e,

5
 VE N US A ND A D O N IS

Mak ing th em r ed , a nd
pol e, wi th fr es h var i et i e

T en k isses sh o rt as o ne, one l o ng as t wenti e t ,

A so m mer s da y will seem e a n h o ur c but sh or t,

B eing wa sted i n such ti m e beguil i ng spor t -
.

With t h i s sh e ceazeth o n h is sw ea ti ng p al m e ,

T he president o f pi th a nd li velyh ood , ,

A nd t r em b l i ng i n h r p si o n ca ll s i t b a l me
e as , ,

E r th s sovcr igne sa l ve to do a godde se go od

a a , s ,

B eing so cnr gd desire do th l end h e fo ce

a ,
r r ,

C o uragi o usly to plucke h i m fr o m hi s h o rse .

O ver lusti e co ursers r a ine,

o ne ar m e t h e

Under h er o th er wa s th e tender boy,

Wh o bl ush t, a nd po wted in a dul l disdaine,
With l eaden appeti te, unapt to toy,
Sh e r ed , a nd h o t , as col es o f g l o w i ng fier ,
H e red for sh a m e, but fr o st i e i n d esi er .

T h e studded b rid l e o n a ragg ed b o ug h ,

N i mbl y sh e fa st ens, ( 6 h o w q ui eke i s l ove !)
T h e steed is sta ll ed up, a nd even no w,
T o ti e th e r ider sh e begi ns to p ro ve :
B ackward sh e push t h im , as sh e woul d be th rust,
And go ver nd h i m i n streng t h th o ugh no t i n l ust .

So was sh e al o ng , a s h e w as do w ne,
so o ne

E ach l ea ning on t h eir elbo wes a nd th eir h i ps

N o w do th sh e strok e h i s ch eek , no w d oth h e fiown, '

And g i ns to ch i de, but soo ne sh e sto p s h i s li p s,

A nd ki ssi ng sp ea k s, w i th lustfirl la ngua ge brok en,
If th o u w i lt ch i de, th y l i p s sh a ll never op en .

2 6. p i dent :
r es p r e ce d e nt —
M A LO N E

6
 VE NUS A ND ADO NIS

Loo ke h ow h e ca n, sh e ca nno t ch use but l ove,

And by h er fa ire im mor ta l] h and sh e sw eares,
Fro m h is so ft b oso me never to rem ove,
Ti ll h e take truce wi th h er co ntendi ng tear es,
Which l ong h ave raind, m a k i ng h er ch eekes a] wet,
And one sw eet ki ss e sh a l pay th is comptlesse d eb t .

Up on th is promi se di d h e rai se h is ch i n ,

Li ke a divedapper peering th ro ug h a wave ,

Wh o being loo kt o n d ucks a s quickl y in

,

So of h e to give w h a t sh e did cra ve,

fer s
But wh en h er l i ps were r ea d i e fo r h i s pa y,
He wi nks, and tur ns h i s l ip s ano th er w ay .

Never di d p assenger in so mm ers h ea t,

More for dri nk e, th en sh e for t h i s good
th i rst t ur ne,
Her h elpe sh e sees, but h elp e sh e ca nnot get,
Sh e b ath es i n w a ter , yet h er fire m ust b urne
fl
O h p i ti e ga n sh e cri e, i nt h ear ted boy, -

T is but a kisse I h egge, w h y ar t th ou coy ?

I h ave bene wooed as I i ntrea t th ee no w ,

E ven by th e Sterne, and direfull god o f warre,
Whose si no wie necke i n ba ttell nere did bo w,
Wh o conq uers wh ere h e comes i n everie jarre,
Yet h ath h e b ene m y cap ti ve, and m y sl ave,
And begd fo r th at wh ich th ou unaskt sh a l t h ave .

O ver my Al tars h a th h e h ong h is l aunce,

H i s b a t tr e d sh i el d , h i s u n c o n t ro l l e d c r e st ,

A n d fo r m y s a ke h a t h l e a r n ed t o sp o r t , a n d d a unce,

T o toy, to w a nt o n ,
d a ll i e, sm i l e , a n d j ,
e s t

Sco r n in g h i s c h ur l i sh d r u m m e , a n d e n s i g ne r ed ,

Ma k i n g m y a r m e s h i s fi el d , h i s t en t m y be
. d
 VE N US AND ADO NIS

T h us h e th at l
over - ru ed , I over - s wayed ,

Leadi ng h i m prisoner in a red r ose ch ai ne ,

Str o ng t emperd steel e h i s str onger str eng th

-
oba
y ed .

Y et was h e servi l e t o m y coy di sdaine,

O h be no t proud, nor brag no t o f t h y m igh t,
For ma istr i ng h er th a t fo yld th e go d o f fi gh t .

T ouch but my li p s wi th th ose f ire lips o f th ine

a ,

T h o ug h mine be no t so faire yet a re th ey red

, ,

T h e ki sse sh albe th i ne o wh e as w ell s mi ne a ,

Wh at seest th ou in th e gr o und ? h o l d up th y h ead ,

Loo ke i n mi ne ey b al s th ere th y beauti e l yes

-
, ,

T h en wh y not l i ps on li p s since eyes i n eyes?

,

’
A r t th o uash a md to kisse? th en w ink e agai ne,
A nd I wi ll w i nk e, so sh a ll th e d ay seem e ni g h t .

Love keepes h i s revels wh ere th ere are but twai ne

Be bo l d to pl ay, o ur sp o rt i s no t i n sig h t,
Th ese blew veind vi ol ets wh ereon w e leane,
-

N ever can bl ab, nor k now no t wh at we m eane .

T h e tender spri ng up on th y tem p ti ng li p,

Sh ew es th ee unri pe; yet m ai st th ou well be tasted ,
M a ke use o f ti m e, let no t a dva nta ge sl ip ,
Bea uti e w i th in i t sel fe sh oul d no t be w asted ,
Faire flowers th at are no t ga th red i n th eir pri me,
Rot, and consum e th em sel ves i n l i tl e ti m e .

Were I h ard favourd , foul e, or w r i nckled old,

-

’
I l nur tur d, croo k ed , ch ur l i sh , h a rsh i n voice,
-

O re- wor ne, desp i sed, rcum a tiq uc, and co l d,

Th ick sigh ted, barren, lea ne, and l acki ng juyce
-

T h en m igh tst t h ou p ause, for th en I were no t for th ee,

But h avi ng no defects, wh y doest a bh or m e?

9
 VENUS AN D ADO N IS

Th ou canst not see o ne wrinckle i n my brow,

Mine eyes are grey, a nd br ig h t , 81 uieke in turni ng . q
My bea uti e as th e spring do th yearelie g ro w , 1 41
My flesh is so ft , and pl um pe, my marr o w b urning ,
My sm oo th m oist h a nd , were i t wi th th y h and fel t,
Woul d in th y pa l me disso l ve, or seem e to m el t .

Bid me discourse, I wi ll i nch aunt t h i ne care,

O r l i k e a Fairi e, tr i p upo n t h e greene,
O r l ik e a Ni mph , wi th l o ng dis h evel ed h eare,
Da unce o n t h e sa nds, a nd yet no foo ti ng scene .

is a sp iri t a ll co m p act o f fire,

to si nk e, but l i gh t , a nd w i ll asp ir e . 1 5 0

Witnesse th is P ri mrose ba nke wh ereo n I lie,

T hese fo rcelesse flo wers li ke stur dy trees supp or t m e
Q T wo strength les do ves w ill dra w me th ro ug h th e s k ie,
Fro m morne till nig h t, even wh ere I l i st to sp or t me .

Is l o ve so l igh t sweet boy, a nd may i t be,

T h a t th ou sh oul d th inke i t h eavie unto t h ee?
Is th i ne o w ne h ea rt to th i ne o w ne fa ce a ffected ?
C an th y ri g h t h and ceaze l o ve upo n t h y left ?
T h en woo th y sel fe, be of th y sel fe rejected
Steal e th i ne o wn fieedo m e, a nd co m plai ne o n th eft
'

Na rcissus so h im sel fe h i m sel fe fo rsoo ke,

And d ied to k isso h i s sh a do w i n th e br oo k e .

To rch es a re l
ma de to igh t , jewe s to wea r e, l
D ai nties to tast , fr esh bea utie for t h e use,
H erb es for th eir smell a nd sappie pl a nts to beare
, .

T h ings gro wi ng to t h em sel ves are gro wth s ab use

, ,

Seeds sp ri ng fr o m seed s 8: b eauty breedet h beauty

, ,

T h o u wast bego t to get i t i s t hy duty

, .

1 5 6
. sbould : s h o u ld s t — 2 - 1 3Q
.
 VE N US A ND ADO NIS

U p on t h e ear th s incr ea se w h y sh oul dst th ou feed ,

U nlesse t h e ear th wi th t h y i ncrease be fed ?
By la w of na tur e th ou a r t bo und breed to ,

Tha t th ine m ay ive, l w h en th o u t h y sel fe

a rt dea d

And so p
i n s i te o f dea th th ou do est sur vi ve,
In th a t th
y lik enesse st i l i s eft a live l l .

By t h i s th e l o ve sicke Q ueene b egan to sw ea te,

-

For wh er e t h ey la y t h e sh a d o w h a d fo rsoo ke t h em ,
A nd Ti ta n ti r ed i n t h e m i dd ay b ea te,
Wi th burning eye did h otl y o ver lo o ke th em , -

Wish i ng Ado nis h ad h is tea m e to guid e,

So h e were l i k e h i m , a nd by V enus sid e .

And no w Adoni s wi th a lazi e sp ri te,

A nd w i th a h ea vi e, d ar ke, d i sl i ki ng eye,
H is l o w t i ng bro w es ore wh el m i ng h is fa ire sig h t ,
-

Li kd m i sti e va p o rs wh en th ey blo t th e ski e,

So w ri ng h i s ch eckes, cr i es , fie, no m o re o f l o ve,
T h e sun do th bur ne m y fa ce I must r emo ve .

q
Ay, m e, ( uo th V enus) yo ung , a nd so unki nde,
’
W h a t bare e cuses m a k st th ou to be gon?
x
Ile sig h cel esti a l ] br ea th , w h o se g entl e w i nde,
Sh all coo l e th e b ea te o f th is descendi ng sun :
Ile m a ke a sh a do w fo r th ee o f m y h ea res,
q
If th ey b ur n too , Ile uench th em wi t h m y tea r es .

T h e sun th a t sh i nes fr o m h ea ven, sh i nes but w a r m e,

And 1 0 I lye bet weene t h a t sunne, and t h ee
Th e h ea t I h ave fio m t h ence do th l i tle h ar m e,
'

T h ine eye da r ts fo r th t h e fire th a t b urnet h m e,

1 84 L i kd : m ispri nt I Q , for L i k e
. . .

1 8 5 So wr i ng : S o u r i ng 2 1 3 Q
.
‘ - -
.

1 9 1 a nd elsewh ere bea r es : h a i r s

.
( h a i reS
) -
1 2- I 3Q .

I I
 V E N US A ND ADO N IS

And were I not i m m or ta l ] , l i fe were done ,

Betweene th i s h ea venl y, and ear th l y sunne .

fl
Art th o u o bdur ate, inti e, h ard as steel e ?
Nay m ore th en fli nt, for stone a t raine r elentcth : 2 0 0
Ar t th o u a wo ma ns so nne and ca nst no t feele
Wh at ti s to l ove, h o w want o f l o ve tormenteth ?
O h ad th y mo th er b orne so h ard a m i nde,
Sh e h ad no t br ough t fo rth th ee, but d i ed unk i nd .

Wh a t am I th a t th ou sh o ul dst contem ne m e th i s ?
O r w h at gr eat da ng er , d wels up o n m y sute?
Wh at were th y lip s th e w orse fo r o ne po o re ki s?
Sp ea ke fai re, b ut sp ea ke fa i r e w o rds , o r el se be m ute
G ive m e one kisse, Ilc gi ve i t th ee againe,
And one fo r i ntrest, i f t h o u wil t h a ve t wa i ne, 2 1 0

Fi e, li vclcss p i cture, cold , a nd sencelessc stone,

Wel l pai nted idol ] , i mag e d ull , a nd dead,
Sta t iIe co ntenting but th e eye a l o ne,
'

Th ing li ke a m an, but of no w om an b r ed

Th ou ar t no man, th ough of a m ans co mpl e i on, x
For m en w i ll kisse even by th ei r o wh e di r ecti on .

T h is i d , i m pa ti ence ch ok es h er pl eadi ng tong ue,

sa

And sw el l i ng passio n do th provo k e a p a use,

Red ch eek s, a nd fieri e eyes bl aze for th h er w r o ng
B eing judge i n l ove, sh e canno t ri g h t h er cause 2 2 0 .

And no w sh e w eep s , 8: no w sh e fai ne w oul d spea k e

And no w h er sob s d o h er i nt end m ents brea ke .

So metim e sh e sh a kes h er h ead , and th en h i s h a nd ,

N o w gazeth sh e on h i m , no w o n t h e ground ;
’
So m eti m e h er ar m es i nfo l d h im l i ke a ba nd ,
Sh e w o ul d , h e wi l l no t i n h er a rm es be b ound
2 0 8 . co m
m a aft er first S p ea k e I
Q.

21 1 . li v clcss: li feless - St a mi n
a
 VEN US A N D ADO NIS

And wh en fiom th ence h e strugg l es to be gone,

'

Sh e l o ck s h er l ill i e fi ng ers one in o ne .

F ondli ng , sh e sai th , si nce

I h ave h em d th ee h ere
Wi th in th e circui t o f th is i vori e p al e,
Ilc b e a par k e, a nd th o u sh a l t be m y dear e
Feed w h ere th o u w i l t, on mountai ne, or i n dal e
G raze on my l ip s, and if th o se h i ls b e d ri e,
Stray l o wer , wh ere th e pl easa nt fountai nes lie .

Wi th in this l i m i t is reli efe

i nough ,
S weet b ottom e grasse, a nd h igh del i gh tful ] pl ai ne,
R ound ri si ng h i llock s, bra k es ob scure, and roug h ,
T o sh el ter th ee fr om tem p est , and fr om raine
T h en be m y deare, since I a m such a par ke, 2 3 9
No dog sh al r o w ze th ee, th ough a th ousand b ar k .

A t thi s Adonis smi les a s i n disdaine,

T h at i n ech ch eck e a ppearcs a prettie di m pl e ;
Love m ade th ose h ollo wes, i f h i m sel fe w ere slaine,
H e mig h t be b uri ed in a to mb e so si m ple,
Fo reknowing w ell , if th er e h e cam e to lie,
Wh y th ere l ove li v d, 8: th ere h e co ul d not die
’
.

T h ese lovel y caves , th ese round i nch a nti ng pits ,

O pend th eir m outh es to swa ll o w V enus l i k i ng

B ei ng m ad b efore, h o w doth sh e now for wi ts?
Strucke dead at fir st, wh a t needs a second stri king ? 2 5 0
Poore Q ueene o f l o ve, i n th ine ow n law fo rlor ne,
T o l ove a ch eck e th a t sm i l es a t th ee i n scorne .

N ow wh i ch way sh a l ] sh e turne? wh at sh all sh e say?

Her wor ds a r e d one, h er woes th e m ore i ncreasi ng ,
T h e ti me i s Sp ent, h er o bject wi ll awa y,
And fro m h er twini ng ar mes do th urge r el easi ng
Pi tie sh e cr i es, som e favour , so me remor se,
Away h e spri ngs, and h asteth to h i s h orse .

1 3
 VE N US AND ADO N IS

But lo fro m forth a copp s th a t nei gh bo rs by,

A b r eedi ng jennet , lusti e, young , and pr o ud,
Adoni s tra m pl i ng C o urser do th esp y :
And fo rth sh e rush es, sno r ts, a nd neig h s al oud .

T h e stro ng neck t steed bei ng ti ed unto a tr ee,

-

Brea keth h is raine, and to h er straigh t goes h ec .

Im peri ousl y h e l eap s, h e nei gh s, h e b o unds,

And no w h is w o ven gi r th es h e b rea ks asunder ,
T h e bea ri ng ea r th wi th h is h ar d h oo fe h e w o unds,
Wh ose h o llo w wom be resounds l i ke h eavens th under ,
T h e yro n bit h e cr ush et h t weene h i s teeth ,
C ontroll ing wh a t h e was contro lled wi th .

His cares up pri ckt hi s b r ai ded h anging m ane

,

Upo n h is com past crest now sta nd o n end ,

H i s nostri l s dri nke th e aire a nd for th a gai ne

,

As fr o m a fo rnace, va por s do t h be send

Hi s eye w h ich scornfull y gl isters l i k e fire,
Sh ewes h is h o te coura ge, a nd h i s h igh d esire .

So metim e h e t ro ts, a s i f h e to l d th e steps,

Wi th gentle majestic, and m odest p ride,
Ano n h e reres upr ig h t , curvets, and lea ps,
AS wh o sh o ul d say, 10 th us m y streng th i s
And th is I do , to cap ti va te th e eye,
O f th e faire br eed er th a t is Stand i ng by .

Wh at recketh be h is ri ders a ngrie sturre ,

H is fla tteri ng h o ll or h i s sta nd I say

a, , ,

Wh a t cares h e no w for curbc o r prick i ng spurre

, , ,

Fo r rich cap ari so ns o r tr appi ng s gay

,

H e sees h is l o ve a nd no t h i ng el se h e sees
, ,

t
For no t h i ng else w i th h i s p roud sigh t agr ees .

1 4
 VE N US AND ADO NIS

H is m aister goet h a bo ut to ta k e h i m ,
testi e
Wh en lo th e unbackt breeder fi ll of feare,
ea l ous of ca tch i ng , s wi ftl
j y d o th forsa ke h i m

Wi th h er t h e H orse, and l eft Adonis th ere

As th ey were m ad unto t h e wo o d th ey h ie th em ,
fl
O utstri ppi ng cro wes, th at strive to over y th em .

All sw olne wi th ch a fi ng , do wne Ado ni s si ts,

B anning h is boystr ous, and unr ul y b east
And no w th e h a ppie season o nce mor e fits
Th at l ovesicke l ove, by pleading m ay be bl est
Fo r l o vers sa y, th e h ear t h a t h trebl e wrong ,
Wh en i t is h ard th e aydance o f th e tongue .

An O ven i s sto p t, or r i ver stayed,

th at
B urneth m ore h o tl y, swelleth wi th m ore rage
So of concea l ed soro w may be sayd,
Free vent of wor ds lo ves fier do th asswage,
But wh en th e h ear ts a tturney o nce i s mute,
T h e cl ient brea kes, as desp era t i n h is sute .

He seesh er commi ng, and b egins to g l o w

E ven as a dying coa l e revi ves w i th wi nde,
And w i th h i s b onnet h ides h is angrie b ro w ,
Loo kes o n th e dull ear th wi th distur bed m inde :
T a ki ng no notice th at sh e i s so nye,
Fo r all ask ance h e h ol ds h er i n h is eye .

O wh at a sig h t i t w as wistl y to view,

H o w sh e ca m e steal i ng to th e w aywar d boy,
T o note th e fi gh ting confl i ct of h er h ew,
Ho w w h i te a nd r ed, ech o th er did destroy
But now h er ch eck e was pal e, and by and by
I t fl ash t fo rth fire, as ligh tni ng from th e skie.
 VE N US AN D ADO N IS

N o w was sh e just before h i m

h e sat, as

A nd l i ke a l o wl y l over downe sh e kneelcs,

W i th one faire h and sh e h eaveth up h is h at,
H er o th er tender h and h i s faire ch eck e feeles
Hi s tendrcr ch eck e, r ecei ves h er so ft h ands
As apt, as new falne snow ta k es any d int .

w h at a l
w ar of ookes was th en betweene th em ,
H er eyes p eti ti oners to h i s eyes sui ng ,
H is eyes saw h er eyes, as th ey h ad not scene th em ,
H er eyes w ooed s till , h is eyes disdaind th e wooi ng
And all th i s d um b e pl ay h ad h is a cts m ade pl ain,
Wi th tears wh i ch C h orus li k e h er
-
eyes did r ai n. 3 60

Full gentl y now sh e ta k es h im by th e h and ,

A l i ll i e pri sond i n a ga i le o f sno w ,

O r Ivori e i n an a llablaster ba nd ,

8 0 whi te a fi end, i ngi r ts so w h i te a fo

Th i s beauti ous com bat wi l ful ] , and unwilli ng,
Sh o w ed l i ke t wo si l ver doves th at si t a bi ll i ng .

O nce m ore th e engi n of h er th ough ts bega n,

O fai rest mo ver on th is m or ta l ] round,
W oul d th ou w ert as I a m, and I a m a n,
M y h ear t all wh o l e as th ine, th y h ear t m y wo und , 3 70
For o ne sweet lo o ke th y h elp e I wo ul d assure th ee,
T h ogh no th ing but my bodies ba ne wo l d cure th ee

G ive me my h and ( sai th h e, ) w h y dost th ou fes l e i t ?

G i ve me my h eart ( sai th sh e, and th ou sh a l t h a ve i t .
)
3 62 . g a i le: g a o l (j aila
)
-
2- 1 3Q.

6
3 3 . a lla bla ster : a la b a s t er - Ewm o .

l
‘
l
 V E NUS A N D AD O N IS

O gi ve i t m e l est th y h a r d h ear t do steel e i t ,

And b ei ng steel d , so ft si g h es ca n never grave i t .

T h en l oves decpc gro nes, I never sh a ll rega rd ,

B ecause Ado nis h ear t h a th m ade mine h ar d .

Fo r sh a m e h e cri es, let go , a nd let m e go ,

M y dayes del igh t i s p ast, m y h o rse i s gone,
A nd tis yo ur fa ul t I a m bereft h i m so,
I p ray yo u h ence, a nd l eave m e h er e al o ne,
For all m y m i nd, m y th o ug h t , m y busie ca re,
Is h ow to get m y p a l frey fr o m t h e m are .

T h us sh e repl i es, th y p a l frey a s h e sh o ul d ,

Wel co mes t h e war m e approch o f sweet desir e,
A ffecti o n i s a co a le th a t m ust be coold ,
E lse suffer d i t wi ll set t h e h ear t o n fire,
T h e sea h a th b ounds , but decp c desire h a th no ne,
T h crfore no m arvel ] t h o ugh t h y h orse be g one .

H o w li ke j dae h e stoo d ti ed to t h e tree,

a

Servi ll y m a i ster d wi th a lea th er ne rai ne,

But wh en h e sa w h i s l o ve, h is yo uth s fa ire fee,
H e h el d such petti e bonda ge i n disdaine
T h ro wi ng th e base th ong from h is bending crest,
E nfranch isi ng h is mouth , h is back e, h is b rest .

Wh o sees h is tr ue l ove in h er nak ed bed

-
,

T each ing th e sh eets a w h i ter h ew then wh i te ,

But wh en h i s gl utto n eye so full b ath fed ,

H i s o th er agents a ym e a t l i k e deli g h t ?
Wh o i s so fa i nt t h at dares no t be so bol d ,

T o to uch th e fier th e w ea th er b eing col d ?

’—
3 8 0 . dayes: d a y s G I LD ON .

1 8
 VE NUS A ND A DO NIS

x
L et m e e cuse th y co urser gentl e bo y,
A nd learne of hi m I h ear til y b eseech th ee,
T o ta ke advantage o n p resented jo y,
T h o ugh I w ere dum be, yet h is pr oceedi ngs teach
O learne t o l ove, th e lesso n is but p lai ne,
And once m ade p erfect, never l os t a gai ne .

q
I kno w no t l o ve ( uo th b e ) nor w il l no t k no w i t,
U nlesse i t be a B oare, a nd th en I ch ase i t,
T is m uch to bo r row , a nd I wi ll no t o w e i t ,
M y l ove to l o ve, i s l ove, but to disgrace i t,
For I h ave h eard , i t i s a l i fe i n dea th ,
T h a t l a ug h s and w eep s, and a ll but wi th a b rea th .

W h o wear es a garment sh apelcsse and unfinish t?

Wh o pl ucks t he bud before one l ea fe put forth ?
I f spri ngi ng thi ngs be anie jo t di m i nish t,
T h ey wi t h er i n th ei r p r i me, p ro ve no th i ng wor th ,
’
T h e co l t th a t s back t a nd burth end bei ng yong ,
x
Lo set h h is pri de, and never wa eth strong .

Y ou h urt m y h a nd wi th wr i ngi ng , let us p a r t,

A nd l eave th is i d l e t h ea m e, th i s b oo tlesse ch a t,
R emo ve yo ur siege from my unyeeldi ng h art,
T o l o ves alla rm es i t w i ll no t o pe th e ga te,
Di sm i sse your vo ws, your fa ined tears, yo ur a ttry, fl
For wh ere a h ear t i s h ard th ey m a ke no battry .

Wh at canst th o u ta l ke ( quoth )sh e

h a st t h o u a t ong ?

0 wo ul d th ou h a dst no t, o r I h a d no h ea ri ng ,
T h y marm aides voi ce h a th do ne m e do ubl e w r ong ,
I h a d m y l o de before, no w pres t wi th bear ing , 43 0

Mellodi o us di scor d, h eavenly tune h arsh so unding,

Eares deep sweet musi k , h ar ts deep sore wounding
l
9
 VE N US AND A DO NIS

Ha d I no eyes but m y ca r es wo ul d l ove,

ca r es,

T h a t i nwar d beauti e a nd i nvi si bl e,

O r w er e I dcafe, th y o utward p arts w o ul d m ove
Ech p ar t i n me, th a t were but sensi bl e,
T h o ug h nei th er eyes, nor car es, to h ear e nor see,
Yet sh oul d I be i n l o ve, by to uch i ng th ee .

Sa y th a t th e sence o f feel ing w ere b ereft m e,

And t h a t I coul d not see, nor h ea re, nor touch , 4 4 0
And no th ing but th e veri c smell were l eft m e,
Yet woul d m y l ove to th ee be sti ll as much ,
x
For fr o m th e sti lli torie o f th y fa ce e cel l ing ,
C orns breath perfirm d, th a t breedeth l ove by smel l
mg l .

q
But o h wh a t ba n uet wer t t h o u to th e tast ,
B ei ng nourse a nd feeder of th e o th er fo ure,
,

Would th ey not wish th e feast migh t ever l ast,

And bi d suspi ti on doubl e loo ke th e d ore ;
Lest jealousie th at sow er unwel come guest,
Sh oul d by h is stea l i ng i n di sturb e th e feast?

O ncem or e th e r ub i -
co lo ur d portal ] opend,

Wh ich to his s p eech di d h oni e p assage yeeld ,

Li k e d m orne t h at ever yet beto kend,

a re

Wracke to th e sea man, temp est to th e field

-

Sorr ow to sh ep h er ds, wo unto th e bir ds,

G usts, and foule fl a wes, to h ear dm en, 81 to

T h is ill presage advisedly sh e mar k eth ,

E ven a s th e w ind is h ush t before i t raineth

44 8.looke: l o ok e— L IN T O TT .
 VE N US AN D ADO N IS

Or as th e wol fe do th g ri n b efor e h e barketh

Or a s th e berr i e brea kes before i t sta i neth

O r l i k e th e dead l y bull et o f a gun

H i s m eani ng str ucke h er ere h i s wor ds b eg un .

A nd a t hi s loo ke sh e fl a tl y fa l leth dow ne,

Fo r lo o kes k ill l ove, and lo ve b loo kes revi veth
A sm rle recur es th e wound i ng o f a fr o wne,
But bl essed ba nkrout th a t by l ove so th ri veth .

T h e si lli e boy beleevi ng sh e i s d ead,

Cl ap s h er pal e ch ecke, ti ll cl appi ng ma k es i t red .

’
A nd a ll a m az d , b a k e o ff h is late i ntent
r ,

Fo r sh r pl y h e di d th i nke to rep r eh nd h e
a e r,

W h ich cunni ng l ove did w i tti l y p event r ,

Fa ire fa ll th e w i t th t ca n so wel l def nd h er

-
a e

Fo r on th e g rasse sh e l yes s sh e w re la i ne
a e s ,

T i ll h is br ea th b e th eth li f i n h er g i ne
r a e a a .

H e wri ngs h er nose h e str i kes h er o n th e ch eckes

, ,

H e b ends h er finger s, h ol ds h er p ul ses h ard ,

H e ch a fes h er l i p s, a th ousa nd wayes h e seekes ,

T o m end th e h ur t , th a t h i s unki nd nesse m a rd ,

H e k isses h er , a nd sh e by h er good w i l l ,
Wi ll never ri se, so h e wil l kisse h er stil l .

Th e ni gh t is tur nd to d a y,
o f so rr o w no w

H er tw o bl ew wi ndo wes fa intl y sh e uph ea veth ,

Li ke th e fai re sunne wh en i n h is fr esh arr ay,
H e ch eeres t h e m or ne, and a ll th e ea rth releevcth
And as th e b rig h t sunne glori fies th e ski s
So i s h er fa ce illum ind wi th h er eye .

Wh ose beames up o n h is h a irelesse fa ce a re fix t ,

A s i f fr om th ence th ey b orro wed all th eir sh i ne ,

21
 VE NUS A ND A D O N IS

Were never fo ure such l a m p s, to geth er m i x t,

H a d no t h i s cl oud ed wi th hi s br o wes repi ne 49 0 .

But h ers, w h i ch t h r o ug h th e cri sta ] tear s g ave l ig h t,

Sh one l i k e th e M oone i n wa t er scene by ni gh t .

0 wh er e a m I ( q uo th sh e, ) i n ear th or h eaven,
O r i n th e O cean dr ench t , or i n th e fire
Wh a t h o urc i s th is, or m orne, or wearie even,
D O I del i g h t to di e o r l i fe d esire?
’
But now I li v d , a nd l i fe wa s dea th s a nnoy,
’
But no w I dy de, a nd dea t h w a s l i vel y joy .

0 th o u di dst k il l m e, k i l l m e o nce aga ine,

T h y eyes sh ro wd tutor , th a t h ar d h ear t of th i ne, 5 0 0
H a th ta ugh t t h em scornfull tr i ck s, such disdai ne,
T h a t th ey h a ve m urdred th is p oore h ear t o f m i ne,
And th ese m i ne eyes true l eaders to th eir q ueene,
But for th y pi teo us l i p s no m o re h a d scene .

Lo ng m ay th ey ki sse ech o th er for th is cure,

O h never let t h ei r cri m son i veri es wea re, l
l
A nd a s t h ey ast, th eir verdo ur sti l l end ure,
T o d ri ve i nfecti on fr om th e da ngero us year e
T h a t th e star gazers h avi ng wr i t o n death ,
-

May say, th e pl ague i s ba ni sh t by th y brea th .

P ure l ips ,
l
i n m y soft l i p s i m p ri nted,
s w eet sca es

Wh at bargaincs m ay I m ak e st il l to be sea li ng ?
T o sell m y sel fe I ca n be w el l co ntented ,
So th ou w i l t b uy, a nd pa y, a nd use goo d dea l i ng ,
Wh ich p urch ase i f th o u m a ke, fo r feare of slip s,
Set th y sca l e m a nuell ; o n m y w a x red l i p s -
.

5 0 0 . e es sbr ow d : ey e s
y
'
s h r ew d— M A L ON E .

2 7.
 VE N US AND A DO NI S

No w desi re h a th ca ugh t th e yeeldi ng p ray,

q uiek e
A nd glutto nli ke sh e feeds, yet never fillcth ,
Her l i p s are co nq uerers, h is l i p s ob ay,
Payi ng w h at ra nsome th e insul ter w il l eth 55 0
Wh ose vul tur th ough t do t h pi tch th e p rice so h i e,
T h a t sh e wi ll dra w h is l i p s ri ch tr easure dri e .

And h a vi ng fel t th e sweet nesse o f th e spo i le,

Wi th bl i nd fol d furie sh e b egi ns to fo rra ge,
H er fa ce do th reeke , sm o k e, h er b l oo d d o th bo ll e,

And ca rclesse l ust sti r s up a desp era t co ur ag e,

Pl anti ng obl i vi o n, b ea t i ng reason b ack e,
Forgetting sh am es pure bl ush , h o nors w racke .

H o t, fa i nt ,d wea r i e, w i th h er h ard i m bra ci ng, 5 5 9

an
’
Li k e a w i l d bi rd b ei ng ta m d w i th too m uch h a nd l i ng ,
fl ’ r’
O r as th e eet fo o t Roe th a t s ty d w i th ch a si ng ,
-

O r l i k e th e fio ward i nfa nt sti ld wi th da ndl i ng

'

H e no w oba ycs, a nd no w no m ore resi steth ,

Wh i l e sh e ta kes all sh e can, not a ll sh e l is teth .

Wh a t wa xe so fr ozen but disso l ves w i th tem p t i ng ,

A nd yeeld s a t l a s t to ever i e l ig h t i m p ressi o n?
T h i ng s o ut o f h o p e, are com p ast o ft wi th ventri ng ,
fl
C h i c y i n l o ve, wh o se l ea ve ex ceeds co m m issi o n
’
A ffect i o n fai nts no t l i k e a p a l e fa c d co w ard ,
-
6
5 9
But th en w oes b est, wh en m ost h i s ch o ice i s fio war d
'

Wh en h e did fro w nc, 6 h a d sh e th en g ave over ,

Such necta r fr o m h i s l ip s sh e h a d no t suckt,
Foul e wordes, a nd fro wncs, must not r ep el ] a l over,
Wh a t th o ugh t h e rose h ave p r ickl es, yet ti s pl uck t ?
Were beautie under twentie l ock s k ep t fa st,
Yet l o ve brea k s th r o ugh , picks t h em all at last.
24
 VE N US A ND A D O NI S

F o r pi tti e no w sh e can no m ore deta i ne h i m ,

T h e poore foole pr ai cs h er t h a t h e m ay dep a r t,
’
Sh e i s resolv d no l o nger to restrai nc hi m,
B i d s h i m farewell , and lo o ke wel l to h er h ar t,
T h e wh ich by C upi ds h o w sh e do th p ro test ,
He carr ies th ence i nca ged in h i s b rest .

Sw eet bo y sh e sai es, th i s ni gh t i le wast i n so rro w ,

Fo r m y si ck h eart co m m a nds m i ne eyes to w a tch ,
T ell m e l o ves m ai ster , sh all we m eetc to mo rro w,
Sa y, Sh a ll w e, sh a ll we, w il t th o u m a ke th e m a tch ?
’ e
H e tell 3 h r no , to m orro w h e i ntends ,
T o h unt th e bo are wi t h cer tai ne of h is freuds .

T h e b oare ( q uo th sh e ) w h erea t a suddain pale,

Li ke la wne bei ng sp red upo n th e b lush i ng rose,
U surpes h er ch eck e, Sh e trem bl es a t h i s tal e,
A nd o n h i s neck h er yoa king a r m es Sh e th ro w es .

Sh e sinckcth d o wne, sti l l h a ngi ng by h is neck e,

’
H e on h er b ell y fa ll s, s h e o n h er b ack e .

N o w i s sh e i n th e very l i sts of l ove,

H er ch a m p io n m o unted fo r th e h ot i ncounter ,

A ll i s i m a gi na ri e sh e d o th p rove ,

H e wi ll not ma nnage h er , l
a th o u gh h e mount h er ,
T h a t w o r se th en T a nta l us i s h er a nnoy,
T o cl i p Elizi um , a nd to l acke h er joy .

’
Even so p oore b irds decei v d w i th p a i nted grap es,
D o surfet by th e eye, and p i ne t h e m a w
E ven so sh e l a ng ui sh eth i n h er m i sh a p s,
A s t h o se p oore bi rds th a t h elplessc b err i es sa w ,
T h e war m e effects wh i ch s h e i n h i m fi nds m issi ng ,
Sh e seekes to ki nd l e wi th conti nual ] ki ssi ng .

7-5
 VE N US A ND ADO NIS

But a ll i n vai ne, good Q ueene, i t wi ll no t bee,

’ ’
Sh e h a th assai d a s m uch a s m ay be pr ov d ,
’
H er pl ea di ng h a t h deserv d a gr ea ter fee,
’ ’
Sh e s l o ve; sh e l oves, and yet sh e i s no t lov d ,
Fi e, fie, h e sai es, yo u cr ush m e, let m e go ,
You h ave no reason to wi th h o l d m e so .

T h o u h ad bin gone ( q uoth sh e

) sweet bo y ere t h i s ,

But th a t th o u toldst m e, th o u woldst h unt th e b oare,

’
O h be advi sd , th ou k no w st no t w h a t i t i s,
Wi th ja veli ngs p oi nt a ch ur l ish swine to goare,
Wh ose tush es never sh eath d , h e w h et teth sti ll ,
Li k e to a m or ta l ] b utch er bent to ki ll .

O n h is bo w back e, h e h a th a ba ttell set,

-

O f brisly p ikes th a t ever t h rea t his fo es, 62 0

H is eyes li k e gl o w w or m es sh i ne w h en h e d o th fret
-

H i s snout di g s sep ul ch ers wh ere ere h e g oes,

’
B eing m ov d h e stri k es, w h a t ere is i n h is wa y,
And wh o m h e strikes, h i s cr o o k ed tush es sl a y .

H i s bra wnie si des wi th h air i e b r istl es armed ,

Are b etter pr oo fe th en th y sp e res p oi nt can entera ,

H i s sh ort th i ck neck e cann t be easil y h ar med

o ,

B eing i cfull on th e l yo n h e wi l l v nter

r , e ,

T h e th o rni e b r m bl es and im bra ci ng b ush es

a , 62 9 ,

As fearefiI ll o f hi m p ar t t h rough w h om h e rush es

, .

A l as, h e naugh t es tee

’
s th a t fa ce of t h i ne,
m
T o wh i ch l o ves eyes p a i es tri b utari e gazes,
Nor th y so ft ba ndes, sw eet l i p s, a nd C h ri stal ] ci ne,
Wh ose full p erfection all th e w orl d am azes,
61 6.
jav eli n s: ja v e l i n s 4 I
g
- -
3Q .

62 8. v enter : v e nt u r e— G I L D O N . 63 2 pa i es: p a y
.
-
M A LO N E.

26
 VE N US A ND A DO NIS

But h aving th ee a t vantage ( w ondro us drea d !

)
Wol d roote th ese beauties, ’
a s h e r o o t s th e m ead .

O h let h i m k eep h i s l oa th so me ca bi n sti l l ,

Beautie h a le fi ends,
C om e no t w i th i n h i s da nger by th y w i ll , 63 9
T h ey th a t th rive well , ta k e co unsel ] of th ei r friends,
Wh en th ou didst na m e th e b o are, not to dissem bl e
I fea rd th y for tune, and m y joynts di d tr embl e .

D i dst th ou m ar ke my fa ce, w as i t not wh i te?

no t
Sa w est th o u not signes o f feare l ur ke i n m i ne eye?
Gr ew I not fai nt, and fel l I not dow ne righ t?
Wi thi n m y b osome wh ereon th ou doest lye,
My bod ing h ear t , p a nts, beats, and ta kes no rest,
q
But l i k e a n ear th ua k e, sh ak es th ee o n my b rest .

Fo r w h ere l ove r ai gnes, disturbi ng jea lo usie,

D oth call h im sel fe affections centi nell ,
G ives false a l ar m es, suggesteth m uti ni e,
A nd i n a p ea ceful ] h ourc do th cr i e, k i ll , ki ll ,
Di s tem pri ng gentl e l ove i n h is desire,
AS ai re, and wa ter d o ab a te th e fire .

T h is sower informer th is ba te breeding spie

,
-
,

T h is canker th at cates up l oves tende spring r ,

T h is carry tal e dissentio us je l usi e

-
, a o ,

T h at so m time true newes som ti me fal e do th bring

, s ,

K nocks at m y h e r t a nd w h ispers i n mi ne care

a , ,

T h at if I l ove th ee I th y d ea th sh o ul d fea e
, 66C r .

And mo re th en so , presentcth to mi ne eye,

T h e pictur e o f a n angr ie ch a fi ng b oare,
7-7
 VE N US A ND A DO N I S

Under wh ose sh arpe fa ngs, on hi s back e doth lye,

A n i m a ge l i k e t h y sel fe, all sta ynd w i th g oare,
Wh ose b l ood up o n t h e fresh fl o wers being sh ed,
D oth m a k e th em droop w i th gr ief, h ang th e bed .

Wh at l d I do seeing th ee so
s h ou , i ndeed ?
’
T h at trem bl e a t th i m agi na ti o n
,

T h e th o ug h t o f i t do t h m a k e m y fa i nt h ea r t bl eed,
And fea r e do th tea ch i t di vi na tio n ;
I prOph eci e t h y dea th , m y l i vi ng sor ro w ,
If th ou i nco unter w i th th e bo ar e to m or ro w .

’
But i f th ou needs wi l t h unt , be r ul d by m e,
Uncoupl e a t th e ti m er ous fl yi ng h ar e,
O r a t th e fo x e wh i ch l ives by subtilti e,
O r a t th e Roe wh ich no i nco unter dare
’
P ursue th ese fear ful ] cr ea tur es o re th e do wnes,
And o n th y w e] brea th d h o rse k eep w i th th y h o und s

And w h en th ou h ast on fo o te t h e p u b l ind

r h are,
M a rk e th e p o ore w r etch h i s tr oubl es, 68 0
to o ver - sh ut
H o w h e outruns th e wi nd, a nd w i th w h at car e,
H e crankes a nd crosses wi th a th ousa nd doubl es,
T h e m a ny m usi ts th r o ugh th e wh i ch h e g o es,
1

Are l i ke a laberi nt h to a m a ze h i s foes 1 bedg e tr a cbs .

-

So metim e h e runnes a m ong a fl o ck e o f sh eepe,

T o m a ke th e cunni ng h ounds m i sta k e t h ei r sm ell ,
A nd so m eti m e w h ere earth d el vi ng C o ni es kcepe,
-

T o sto p th e l o ud p ursuers i n th ei r yell 2

f a lls i n

A nd so m eti m e so r teth wi th a h ear d of d ea re,

2

D a ng er deviseth s h i fts, wi t wai tes o n feare .

’
668 . tb i ma g i na ti on: t h e i m a g i na t i o n— 2 -4
Q .

68 0 . o‘ver - sbut : o v er s h o o t — DY C E. 68 3 musi ts: m u a et s — H UD SO N

. .

28
 VE N US AN D A DO NIS

Fo r th ere h i s sm ell wi t h o th ers b ei ng m i ngl ed ,

fl
T h e h o t sent snu i ng h ounds a re d ri ven to doub t,
-

C easing th eir clam orous cr y, till th ey h ave singl ed

Wi th much a do th e co l d fa ul t cl eanl y out,
’
T h en d o th ey spend th ei r m o ut h s, ecch o repl i es,
AS if an o th er ch ase w ere in th e skies .

By th is p o o re wa t farre o ff up on a h i ll ,
Sta nd s o n h i s h i nder l egs w i th li stni ng ca re,
-

T o h ea rk en i f h i s foes p ursue h i m sti l l ,

Ano n th eir l oud al ar um s h e do th h eare,
And now h i s g ri efe m a y be co m p ared w ell ,
T o o ne sor e si cke, th a t h eares th e p assi ng b ell .

T h en sh alt th o u dea w b eda bbl ed w retch ,

see th e -

T urne, a nd returne, i ndenti ng w i th th e w ay,

Ech envi ous b rier , h i s w ea r i e l egs d o scr a tch ,
Ech s h ado w m a k es h i m s to p , cch m ur mo ur sta y,
Fo r m iser i e i s tro den o n by m a ni c,
’
A nd b ei ng lo w, never releev d by a ni e .

Lye quietl y , an d h eare a l i tl e m or e,

N a y do no t str u ggl e
for th o u sh a l t no t rise,
,

T o m a k e th ee h a te th e h unti ng o f th bo re,
’
U nl i ke my sel fe t h ou h ea r s t m
A ppl yi ng thi s to th a t, and so to
Fo r l o ve ca n co m m ent up on everi e wo .

Wh ere di d I leave? m a tter wh er e ( q uo th h e )

no
Leave m e, a nd th en th e sto ri e a p tl y ends,
T h e nig h t i s sp ent ; w h y wh a t o f th a t ( uo th sh e? ) q
I am ( q uo th h e ) ex pected o f m y fr i ends ,
And no w tis dar ke, a nd g oi ng I sh all fa ll .

In nigh t ( q uo th sh e ) d esire sees b est o f a ll 7 2 0 .

’
69 5 . moutb s: m o ut h s — 44 3 Q .
70 5 . do: d o t h — 4 a
!3 Q
.
 VE N US AN D ADO N IS

But i f t h ou fall , o h th en i m agi ne th i s,

Th e ear th i n l o ve wi th t h ee, t h y foo t i ng tr i p s,
And a ll i s but to ro b th ee o f a ki s,
R ich prayes ma ke true m en th eeves : so do th y li ps-

Ma k e m odest D yan, cloudi e a nd for lo rne,

Lest sh e sh oul d steal e a kisso and d ie forswor ne .

No w o f th i s dar k e ni gh t percei ve th e reaso n

I ,

Ci nth ia for sh a m e, o b scur es h er si l ver sh i ne ,

’
T i ll fo r gi ng na ture be co ndem n d o f trea so n ,

For steal i ng m oul ds fio m h ea ven t h a t were di vi ne 7 3 0

'

, ,
’
t r a m d th ee i n h i e h e vens d e p i g h t
r i n sh e f , a s ,

T o sh a me th e sunne by day, and h er by ni gh t .

’
And th erefore h a th sh e brib d th e desti ni es,
T o crosse th e curi o us wor k m a nsh i p of na tur e,
T o m ingl e bea uti e wi th i nfirm i ties,
And p ure per fecti o n wi th i m p ure defeature,
Ma ki ng i t subject to th e tyra nnie,
O f m a d m i sch a nces, a nd m uch m i seri e .

A s b ur ni ng feavers, a g ues p a l e, a nd fai nt,

L f poysoni ng p estil ence, and fr endzies wood,
i e - 1
74 0

T h e m arr o w ea ti ng si cknesse w h ose a tta int,

- 1 ma d

D isorder breeds by h ea ti ng of th e blood,

Sur fets, i m po stumes, gri efe, a nd da mnd dispaire,
Swea re natur es dea th , fo r fia mi ng t h ee so fai re '
.

A nd no t t h e l east o f a ll t h ese m al a di es,

But i n one m inutes fi gh t bri ngs bea uti e under,
Bo th favour , savo ur, h ew , and ual ities, q
Wh ereat th e th i m par ti all gazer l a te did wonder,
’

Are o n th e sudden w asted , th a wed , and donne,

A s m o untai n sno w m el ts w i th t h e m i d day so nne .

’
72 4. p y ra es: p r ey s — 3 -
I 3Q .
74 8 . tbc tb s t h e- EWI NG.
 VE N US AN D A DO N IS

Lest decei vi ng h armo nic sh o ul d ronne,

th e
q
I nto th e uiet clo sure o f m y br est,
A nd th en m y l i tl e h ear t w ere q ui te undone,
In h i s bed ch am b er to b e b a rd o f rest,
-

No La die no, m y h ear t lo ngs not to gr o ne,

But soundl y Sl eeps, wh i l e no w i t sl eeps a l o ne .

Wh a t ’
h ave yo u urg d, th a t I ca n no t re r ovei p
The l
a th i s sm o o th t h a t ea det h on to d a n er ,
g
I h a te no t l ove, but yo ur devi se i n l ove,
T h a t l ends i m bracem ents unt o ever y str a ng er,
u do i t for i ncr ea se, 6 straunge e cuse ! x
h en r easo n i s th e ba wd to l usts a b use .

C all i t no t l ove, fo r l ove to h ea ven i s ed, fl

Si nce swea ting l ust on ear t h usur pt h i s nam e,
U nd er wh ose si m pl e sem bl a nce h e h a t h fed ,
U p o n fresh bea utie, blo tti ng i t wi th bl a me ;
Wh i ch th e h o t tyr ant sta i nes, soone berea ves
As C a terp illers do th e tender l eaves .

Lo ve co m fo r teth like sun- s h i ne a ter ra i ne,

f
But l u ts effect is tem pe t fter sunne
s s a ,

Loves gentl e p i ng do t h alwaycs fresh t em ai ne

s r ,

Lusts wi nter com es e e som mer h l fe be donne

, r a

Lo ve su fets not l ust l i ke a g l utton dies :

r ,

Lo ve i s all truth l ust full of forged l ies

, .

M ore I co u l d tell , b ut m ore I dare no t say,

x
T h e te t i s o ld, th e O r a tor t oo gr eene,
T h erefor e i n sa dnesse, no w I wi ll a wa y,
My face i s ful l o f sh a m e, m y h ear t of teene,
M i ne cares th a t to yo ur w a nton ta l ke a ttended,
D o b urne th em sel ves, for h a vi ng so o ffended 81 . 0
’
78 1 3Q 8 b r d: b a r r d
( b )
ar d — L1 N T OTT
'
r onne: r u n— —
1
.
4 .
7 4 .a .
 VE N US AN D ADO NIS

Wi th h e brea k et h fro m t h e sweet em brace,

th is
O f t h ose fa i re arm es w h ich b o und h im to h er brest ,
A nd h o meward th r ough th e da rk la wnd r uns a p ace,
Leaves l o ve upo n h er backe, deepl y di strest ,
Lo oke h o w a bri gh t s tar sh oo teth fro m th e Sk ye ;
SO gl i des h e i n th e nigh t fr o m V enus eye .

Wh ich after h i m sh e da r tes, as o ne o n sh o r e

G azi ng upon a l bar ked fr i end

a te em ,

Ti ll w i l de w aves
th e w i ll h ave h i m sc ne no
e m ore,
Wh ose ridges wi th t h e m eeting cloudcs co ntend : 8
So di d t h e m er cilesse, a nd pi tch ie nig h t,
Fol d i n th e o bject tha t did feed h er sigh t .

Wh ereat ’
a m as d as o ne t h a t una w a re,

H a th dr op t a p recio us jewel ] i n th e fl oo d,
O r s toni sh t, a s ni g h t w andrer s o ften a re,
T h ei r li g h t blo wne o ut i n some m i strustful ] wood ;
E ven so confounded i n th e dark e sh e lay,
H aving l o st th e faire discoveri e o f h er way .

A nd no w sh e b ea tes h er h ear t, w h erea t i t g ro nes,

Th a t a ll th e neigh bour caves as seemi ng tr oubl ed ,
M a ke verba l ] repeti ti o n of h er mo ncs,
Passion on pa ssio n, deepl y i s redo ubled,
Ay m e, sh e cr i es, and tw enti e ti m es, wo , wo,
A nd twenti e ccch ocs, tw enti e ti m es cr ic so ,

Sh e m ar ki ng th em , begins a wai l i ng no te,

x
And si ngs e tem p orall y a wofull di tti e,
H o w l o ve m a kes yo ng m en th rall , old m en
‘

H o w lo ve i s wise in foll ie, foo l i sh w i tti e :

H er h eavie anth eme sti ll co ncl udes i n wo ,
And sti ll th e quiet o f ccch ocs answer so .

33
 V EN US A N D A DO NIS

Her song was tedi ous, a nd o ut wo re th e ni g h t,

-

For l overs h o ur es a re l ong , th oug h seeming sh or t,

I f pleasd th emsel ves, o th ers th ey th i nke deli g h t,
I n such l i ke ci r cum sta nce, wi th such l ik e sp or t
Th eir co p ious stori es oftenti m es begunnc,
End wi th out a udience, and ar e never d onne .

For wh o h ath sh e to sp end th e nig h t wi th all,

But i dl e so unds r esem b li ng par asits ?
’
Li ke sh ri ll tongu d T a p sters a nswering everi e
-

q
Soo th ing th e h umor o f fa nta sti ue wi ts,
Sh e sayes ti s so , th ey answer a ll ti s so ,
A nd woul d say a fter h er , i f sh e said no .

L o h ere th e gentl e l ar k e weari e o f r est ,

From h i s moyst cabinet m ounts up on h ie,
And wa k es th e m o rning , fro m w h ose si l ver brest,
T h e sunne ariset h i n h i s m ajesti c,
Wh o do th th e worl d so gl oriousl y beh old,
Th at Ccader tops and h i ls, seem e burni sh t gol d .

Venus l
sa utes h i m wi t h th i s faire go od m orro w,
O h t h o u cleare go d , and p a tro n o f a ll l ig h t, 8 60
From wh om cch la m p , and sh ini ng star doth borr o w,
T h e beauti o us i nfl uence th a t m akes h i m br i gh t,
Th ere li ves a so nne th a t suckt an earth l y m oth er ,
M ay l end th ee l igh t, as th ou doest l end to oth er .

T h is sayd , h asteth to a m ir tle gr ove,

sh e

M using th e m orni ng is so m uch ore wo rne,

-

And yet sh e h ea res no ti di ngs of h er l o ve;

Sh e h ear k ens fo r h is h o unds, and for h is b or ne,
Anon sh e h ea r es th em ch aunt i t l usti l y,
And all in h ast she coasteth to th e cr y.

34
 VE N US AN D A DO NIS

And as Sh e runnes , th e b ush es In th e way,

So m e catch h er by th e necke, so me ki sse h er fa ce,
’ bout h er t h ig h to m a k e h er sta
So m e t wi n d a y,
Sh e wi l dl y brea keth fr o m th eir str i ct i m bra ce,
L i ke a mi lch D oc, w h ose swell i ng dug s do a ke,
H asti ng to feed h er fa wne, hi d i n so me bra ke,

By th i s sh e h ear es th e bounds are a t a ba y,

Wh erea t sh e starts l i ke one th at spi es a n adder ,
’
Wreath d up i n fa tal ] fol ds just i n h i s way,
T h e feare w h ereo f do th m ak e h i m sh a ke, Sh udder ,

E ven so th e ti m ero us yelping o f th e b o unds, 8 8 1

A pp al s h er senses, and h er spi r i t confounds .

For no w sh e k no ws i t i s no g entl e ch ase,

But th e bl unt boa re, r oug h bear c, o r l yon p roud ,
B ecause th e cric r emaineth i n o ne pl ace,
Wh ere fear efully th e dogs ex clai me al oud ,
Finding th eir cnem i c to be so curst,
’
T h ey all stra i nc cur t si e wh o sh a ll cop e h im fi rst .

T h is di sma l ] crie ri ngs adl y i n h er ca re

s ,

T h rough wh ich i t enters to surpri se h er h ar t ,

Wh o o vercome b y do ub t nd bloodlesse fe re
, a a ,

With col d pal e weaknesse mums ea ch f eli ng par t

-
, e ,

Li ke sol diers w h en t h ir cap tai n o nce doth yeeld

e

T h ey b asel y fl
,

i e a nd d a e no t s tay th e fi el d
,
r .

Th us sta nds sh e in a trem bli ng ex tasi e,

T i l] ch eeri ng up h er senses a ll d i smayd ,
Sh e tel s th em ti s a ca uslessc fantasi e,
A nd chi l di sh error th at th ey are affr ayd ,
q
B ids th em leave uak ing , bids th em feare no mo re ,

And wi th th at word, sh e spide t h e h unted b o a re .

’
m i n d : tw i ne—
8 73 . sQ .

3S
 VE N US AND A DO N IS

Wh ose fro th ie m outh bep ainted all w i th red ,

Li ke mi l ke, bl o od b eing mingl ed both to gi th cr

, ,

A second fea re th ro ugh all h er s i newes spred ,

Wh i ch madl y h ur r ies h er sh e k nowes no t w h i th er

, ,

T h is w ay sh e r uns a nd no w sh e wi ll no fur th er
, ,

But b acke reti res to ra te th e b oar e for m urth er

, .

A th o usand spleencs b eare h er a th ousand w a yes,

Sh e treads th e p a th , t h a t sh e untreads a gai ne ;
H er m ore th en h ast, i s m a ted wi th dela yes,
Li k e th e proceedings o f a drunken b r aine,
Full o f r espects, yet naug h t a t a ll resp ecti ng ,
In h a nd wi th all th i ngs, naug h t a t a ll effecting .

H ere kenneld i n a b ra k e, sh e fi nds a h o und ,

And askes th e weari e ca i ti ffe for h is m ai ster ,
And th ere a not h er l i ck i ng o f h i s w ound,
G ainst veni m d sores, th e o nel y sovcraigne pl aister .

And h ere sh e m eets a no th er , sa dl y sko wli ng,

T o w h om sh e spea k s, h e r epl ies wi th h o wl i ng .

Wh en h e h ath ceast h i s i ll di ng
r eso un noi se,
fl
Ano th er apm outh d m ourner , bl acke, a nd gri m , 9 2 0

i e w el k i n, voli es o ut h i s voyce,
Ag a nst t h
A no th er , a nd a no th er , a nsw er h i m ,
Cl app i ng th eir pro ud tailes to th e ground bel o w,
Sh a ki ng th ei r scra tch t eares, bl eedi ng a s th ey go
-
.

Looke h o w, th e wor l ds poore p eopl e are a mazed,

At app ari tions, si g nes, a nd p ro di gi es,
Wh ereo n with fearcfiI l eyes, th ey l ong h ave gazed,
Infusi ng th em w i th dr ea d ful ] p r o p h eci es ;
So sh e a t th ese sa d sig nes, dra wes up h er b reath ,
And sig h i ng i t agai ne, ex clai mes o n dea th .

3 6
 VE N US A ND A DO NI S

H ar d fa vourd tyr ant o ugly meagr e leane

, , , ,

H a teful] di vorce of l ove ( th us ch ides sh e dea th )

,

G ri m gri nni ng g h ost ear th s worm e wh at do st

-
,
-

m ea nc?
To sti fl e be
i a nd to stea l e h is br ea th ?
a ut e,
’
Wh o wh en h e li v d , h is br ea th and bea utie set

G l osse on th e rose, sm ell to th e vi o let .

If h e be d ead , 6 no , i t ca nno t be,

Seei ng h i s bea uti e, th ou sh o ul dst stri ke a t i t,
O h yes, i t m ay, th o u h a st no eyes to see,
But h a tefull y a t ra nd o n doest th ou h i t,
T h y m ar k e i s feebl e a ge, but th y fa l se da r t ,
M i sta kes th a t ai me, a nd cl ea ves a n i nfants h a r t .

H a dst b ut bi d b eware, th en h e h a d sp o k e,
th o u

A nd h earing h i m , th y p o wer h a d l ost h is po wer ,

T h e d est i nies w i ll curse th ee for th is stro k e,
Th ey bi d th ee crop a weed, th ou pluckst a flo wer ,
Lo ves gol den a rro w a t h im sh o ul d h ave ed, fl
And no t dea th s eb on da rt to stri ke hi m d ea d .

D ost th o u dri nk tears, th a t th o u

’
ro vo k st such w ee
p
pi ng l ,

Wh a t m ay a h eavi e grone a dvantage th ee?

Wh y h ast th ou ca st into eterna l ] sleepi ng ,

Th ose eyes th at ta u gh t a ll o th er eyes to see?

No w natur e cares no t for th y mo r ta l ] vigo ur ,

b est ’
Si nce h er wo r ke i s r uin d wi th th y ri gour .

H erc over come a s o ne fi ll o f di spa i re,

Sh e vai ld h er e e-
y l i ds ,
w h o l i k e sluces sto pt
. r a ndon: r a nd o m
940 5 I 3Q
- -
.

37
 VE N US A ND AD O N I S

T h e Ch ristal] tide, th a t fr o m h er tw o ch eeks faire,

In th e sweet ch a nnel ] o f h er b oso m e drop t .

But th rough th e floud g a tes b r ea ks th e si l ver r ain,

-

And w i th h is strong co ur se o p ens th em agai ne 9 60 .

O h o w h er eyes, a nd teares, di d lend , and borr ow ,

H er eye in th e tea res, teares in h er eye,

scene

Bo th ch ristal s, w h ere th ey vicwd cch o th ers sorrow

So rro w , th a t fri endl y si g h s so ug h t st i ll t o dr yc,
But l i ke a stor m i e da y, no w w i nd , no w ra ine,
Sig h s dr ie h er ch eek , tear s m a ke t h em w et againe .

V ari a bl e passions th rong h er constant wo ,

As str i vi ng wh o sh oul d best b eco m e h er griefe ,

A ll cnter taind , cch p a ssion l a b our s so ,

T h a t every present sorr o w seem eth ch iefe,
But none i s best, t h en joyne th ey a ll togeth er ,
Li k e many cl ouds, consul ting for foul e weath er .

By th is far re o ff, sh e h ea res so m e h untsman h all o w,

A no ur ses so ng nere pleasd h er b abe so well ,
T h e dyre i m a gi na ti on sh e di d fo l l o w ,
Thi s sound o f h op e do th l abo ur to e pel] , x
Fo r no w r evi vi ng joy b i ds h er rejoyce,
And fl atters h er , i t i s A do ni s voyce .

Wh erea t h er began to turne th eir tide

tea res ,

B ei ng prisond i n h er eye : l i k e p e rl e in g l sse 9 8 0 a s a ,

Yet som eti m es f l s n or ient d o p b esi de

a a r ,

Wh ich h er ch ecke m el t a sco ning i t sh oul d passe

s, s r

T o wash th e fo ul e f ce o f th e sl utti sh g ro und

a ,

Wh o i s b ut dro nkcn w h en sh e seem eth dr o wnd .

9 62 . e e scene: e y es
y s ee n— 8 -
I 3Q .

9 73 . com m a a ft er t h i s — M A L ONE
 VE N US A ND A DO NIS

O jove quo th sh e, h o w m uch a foole w a s I,

T o be o f such a w ea ke a nd si lli e m i nd,
T o waile h is d ea th w h o l i ves, a nd m ust no t di e,
T ill m ut ua l ] over th r o w o f m or ta l ] k i nd ?
For h e b ei ng dea d , w i th h i m i s beauti e slai ne,
And bea uti e dea d, bl ack e C h aos com es agai ne . 1 020

Fy , fy, fo nd l o ve, th ou a r t a s full of feare,

’
A s o ne wi th tr easur e l a den, h em d wi th th eeves,
T ri fl es un wi tnessed wi t h eye, or care,
T h y co war d h ea r t wi th fa l se b eth i nk i ng g r eeves .

E ven a t th i s w ord sh e h eares a m erry h orne,

Wh er ea t sh e l eaps, th a t wa s but l a te fo rlorne .

As Faulco ns to th e l ure, aw ay sh e fl ies,

T h e g ra sse st o o p s no t , s h e tr ea ds on i t so l i g h t,
And i n h er h ast, unfor tuna tel y sp ies,
T h e foule boar es co nq uest, on h er fair e d el igh t, 1 0 3 0
Which scene, h er eyes are m ur d red w i th th e Vi ew,
’
Li ke sta rs a sh a m d o f day, t h emsel ves wi th drew .

O r as th e sna i le, w h ose tender h om es b ei ng h i t,

Sh rink s b ack w ard i n h i s Sh elli e cave w i th pai ne,
A nd , th ere a ll sm oo th r ed up, i n sh ade d o th si t,
L o ng after fear i ng to cr ecpc for th a gai ne
So a t h is blo o di c view h er eyes a r e ed, fl
I nto th e d eep da r k e cabbi ns o f h er h ea d
-
.

Wh ere th ey resig ne th eir d th ei r l i gh t,

of
fice, an

T o th e disposing o f h er t ro ub l ed bra i nc,

Wh o b id s th em still co nso r t wi th o ugly nigh t,
And never w ound t h e h ear t wi th loo kes aga ine,
Wh o li k e a k ing p erple ed i n h is th ro ne,
x
By t h ei r sugg esti o n, gi ves a dead ly g ro ne .

1 0 2 7. F a ulcons: fa lco n— 5 -
1 3Q
. 1 03 1 . a r e: a s -
3
-
I 3Q
.

40
 VE N US A ND A DO NI S

Wh erea t ech tri b utari e subject q u k e a s,

A s w h en th e wi nd i m priso nd i n th e gr o und ,
Str ugg l i ng for p assage, ear th s fo unda ti o n sh a k es ,
w h i ch w i th co l d t error , do th m cns m i nds confo und
T h is m utini e cch p ar t do t h so sur p ri se, 1 04
9
T h a t fr o m th eir dar k b eds o nce m o re lca o h er ci es .

And bei ng o pend , thr ew unw i ll i ng l ig h t ,

Up o n th e wi de w ound , th a t th e bo e h
d trench t ar a

In h i s so ft fl a nke , wh ose w o nted l il lie w h i te

Wi th p ur pl e tears th at h is w ound wept , h a d drench t
fl
.

N O oure w as nig h , no g ra sse, h earb , l ea f, o r w eed ,

But sto l e h i s bl oo d , a nd sccm d wi th h i m to b l eed .

T h is l m
so em ne s
y a th i e, p p
oore V enus no tet h ,

l
O ver o ne s h ou der doth sh e h a ng h er h ead ,
p
D um b lie Sh e a ssi o ns, fra nti kely sh e do teth ,
Sh e t h inkcs h e co ul d no t d ie, h e i s no t d ea d ,
H er voyce i s stop t, h er jo ynts forg et to bo w ,
H er eyes ar e m ad, th a t th ey h a ve w ep t ti ll no w .

U po n h is h ur t sh e loo kes d fa stl y,

so ste

T h a t h er si g h t dazli ng, m a kes th e wound seem th ree,

And t h en sh e rep r eh ends h er m a ng l i ng eye,
T h a t m a k es m ore ga sh es, wh ere no breach Sh uld b e
H is fa ce seem s t wa in, cch severa ll li m i s d o ubled,
For o ft th e eye m i st a kes, t h e b ra i n b ei ng tr o ub l ed

My g
to n ue ca nno t e xp resse m y g ri efe fo r o ne,
q
A nd yet ( uoth sh e) beh o l d t wo Ado ns dea d ,
1 0 70

M y si gh es are blo wne a way, m y sa l t teares gone,

’
M ine eyes are tur n d to fire, m y h ear t to l ead ,
H ea vic h ea r ts l ead m el t a t m i ne eyes r ed fire,
80 sh a ll I di e by dr ops o f h ot d esi r e .

1 0 54.ba d : w a s 5 9
- -
,
1 1 4
3Q.

41
 VE N US A ND A DO N IS

A l as p o ore wo r l d wh a t trea sur e h ast t h o u l ost ,

Wh at face rem ai ns al i ve th at s wor th th e vi ewi ng ?
’
Wh ose tongue i s musi ck now ? wh a t ca nst th ou boast,
O f th ings l ong since, o r any th i ng insui ng?

’ ’
fl
T h e fl o wers ar e sw eet, th eir co l our s esh , and t r i m ,
But tr ue sw eet beauti e li v d , and di de wi th h i m 1 0 8 0 .

B onnet ,
h
nor vai e elncefor t h no cr e a tur e wear e,

N or sunne, nor wi nd wi ll ever stri ve to ki sse yo u,

Having no faire to l ose, you need not feare,
T h e sun do th skorne yo u, 81 th e w i nd d o th h i ssc you .

’
But wh en Ado ni s li v dc, sunne, and sh a rp e ai re,
Lur kt li ke tw o th eeves, to r o b h i m o f h i s faire .

And th erefore woul d h e put h i s b onnet on,

Under w h ose b ri m t h e ga ud i e sunne woul d p eepe,
T h e wi nd wo ul d bl o w i t o ff, and b ei ng go n,
P lay wi th h is l o ck s, th en wo ul d Adonis weepc 1 0 9 0 .

And str aigh t i n pi tti e o f h i s tender yeares,

Th ey bo th w oul d strive wh o fir st sh oul d dr i c h is
tear CS.

To see h is face th e Li on wa l k t l g
a on ,

B eh i nd so m e h ed ge, beca use h e w o ul d no t fear h i m

T o recrea te h i m sel f w h en h e h a th
so ng ,

T h e T ygrc woul d b e ta me, and gentl y h eare hi m .

If h e h ad sp o k e ; th e wo l fe wo ul d l eave h is p rai e,
And never frig h t th e si llie la m b e th a t daie .

Wh en h e b eh el d h i s sh a do w i n th e b r oo k e ,

T h e fi sh es sp l
r ea d on i t th ei r g o d en, gi ls 1 1 00
Wh en h e wa s by th e birds such pl easur e tooke,
Th at so m e w o ul d si ng , so m e o th er i n th ei r b i l s
Woul d b ri ng h i m m ulb erri es 8c ri p e red ch erries,
-

H e fed th em w i th h is sig h t , t h ey h i m wi t h b erri es .

42
 VE NUS A ND A DO NIS

But th i s foule, gri m , and urch in sno w tcd B oar e,

-

Wh ose do wneward eye sti ll l ooketh for a grave

’
N e re sa w th e bea uti ous li ver i e th a t h e wore,
Witnesse th e inter tainment th a t h e gave .

If h e did see h i s fa ce, w h y th en I k no w,

H e th ough t to kisse h i m , a nd b a th k i l d h i m so . 1 1 1 0

T is true, ti s tr ue, t h us
wa s Adonis slai ne,
H e ran up on th e B oare wi th his sh a r pe sp ear e,
Wh o di d no t wh et h is teeth a t h im agai ne,
But by a ki sse th ough t to p ersua de h i m t h ere
fl
.

A nd no usl i ng i n hi s anke th e l o vi ng swine,

’
Sh eath d una war e th e t uske i n h i s so ft groi ne .

’
H a d I bin to oth d l i k e h i m I m ust confesse,
Wi th k i ssing h i m I sh oul d h ave ki ld h i m first,
But h e i s dea d, and never d i d h e bl esse
M y youth w i th h is, t h e m ore a m I accurst . 1 1 20
Wi th th is sh e falleth i n th e pl ace sh e Sto o d ,
A nd staines h er face wi th h i s co ng ea l ed bl o nd .

Sh e lookes up on h i s l ip s, a nd th ey a r e p a l e,
Sh e ta k es h i m by th e h and , a nd th a t i s col d,
Sh e w h i sp ers i n h i s ca r es a h eavi e ta l e,
A s i f t h ey h eard th e w o full wo r ds sh e tol d
Sh e l i fts th e coffer l i ds th a t C l os
-

sse l ies .

T w o g l asses w h ere h er sel fe, h er sel fe b eh el d

A t h o usand ti m es, and no w no m ore r eflect ,
T h eir ver tue l ost, wh er ei n th ey l a te ex celd,
A nd ever i e bea uti e ro bd o f h i s effect ;
Wonder of ti me ( quo th sh e) th is is m y spigh t,
Th at th ou being dea d, th e day Sh uld yet be ligh t .

43
 VE N US AN D A DO N I S

Since th o u ar t dead lo h er e I pr o ph eci e,

,

Sorr o w o n l o ve h erea fter sh a ll a ttend

I t Sh a ll be w a yted o n wi th jea lo usi e,
Find sweet beginni ng , but unsavoric end .

N ere sctlcd eq ual l y, but h i g h or lo ,

T h a t all l oves pleasure s h a ll no t m a tch wo .

I t sh a ll be fick l e, fa l se, and full o f fra ud ,

Bud , a nd be bl a sted , i n a brea t h i ng w hi l e,
T h e b o tto me p oyso n, a nd th e t o p orc s tra w d
-

Wi th sw eets, th a t sh a ll th e truest sigh t begui l e,

T h e str o ngest b o die sh a ll i t m a k e m os t w ea ke,
Stri k e th e wise dum b e, teach t h e fo ole to sp ea k e

It sh a ll be sp ar i ng , a nd to o ful l o f ryo t ,
Teach i ng decr epi t age to tread th e m easur es,
T h e star i ng r uffia n Sh a l l i t keepc i n q ui et , 1 1 4

Pl uck do w n th e rich , inrich th e poo re wi th treasures,

It sh a ll be ra gi ng m a d , a nd si lli e m i l de,
Ma ke th e yoong old , t h e old b eco m e a ch i l de .

I t sh all susp ect wh ere is no ca use o f fear e,

It sh all no t fear e wh ere i t Sh o ul d m ost m i str ust,
It s h a ll b e m erci ful ] , and too sevear c,
A nd m o st decei vi ng , w h en i t seem es m o st just,
Per verse i t sh all be, w h ere i t sh o w es most to ward ,
Put feare to va l o ur , co urage to t h e co wa r d .

I t sh a ll be ca use o f warre, a nd di re events,

And set di ssenti o n t w i x t th e so nne, and si re,
Subject, a nd servill to a ll disco ntents
As dri e co m b usti ous m a t ter i s to fir e,
L s Si th i n h i s pr i me, dea th do th m y l o ve destr o y,
R
'

l T h ey th at l ove b est, th eir l oves Sh all no t enjoy .

“ 44
c
 VE N US AN D A DO NIS

By th is th e bo y th a t b y h er si d e l aie k i l d ,
Was m el ted l i k e a vapo ur fio m h er sig h t , '

A nd i n h is bl o o d th a t o n t h e gr o und l aie spild,

fl
A p ur pl e o urc spr oo ng up, ch eckr ed wi th w hi te,
Resembling well h is pale ch eckes , and th e bl o od,
Wh i ch i n round drops, upon th eir whi tenessc sto o d .

fl
Sh e bo wes h er h ea d , th e new sp rong our e to smel , l 1 7 1
-

C om p aring i t to h er Adoni s breath ,

A nd sai cs wi t h i n h er boso m e i t sh a ll dw ell ,
Since h e h i mselfe i s reft fio m h er by d ea th ;
'

’
Sh e cro p s t h e sta lke, a nd i n th e b rea ch a ppeares,
G reen dropping sap, wh ich sh e co mpares to tear es
-
.

P oo re fl
our e
( q uo t h sh e
) th i s w as th y fa t h ers guise ,

S weet i ssue o f a m o re sweet ll sme i ng si r e,

For everi e l i ttl e gri efe to w et h is cics,

T o gr o w unto hi m selfe was h is desi re ; 1 1 80
A nd so tis th ine, but k no w i t is a s goo d,
T o w i th er i n m y br est, as i n h i s bl oo d .

H er e was th y fa th er s b ed , h er e i n m y b rest,
x
T h ou art th e ne t o f bl oo d a nd tis th y ri gh t
, .

Lo i n th is h o ll o w cr a dl e ta ke th y rest,
M y th r o bbi ng h ar t sh all rock th ee day and nigh t ;
T h ere sh all not be o ne m i nute i n an h o urc,
Wh erei n I wil no t ki sse my sweet l oves o ur e fl .

Th us we y
ar o f th e wo r l d , y a wa Sh e h i es,
A nd yo k es h er si l ver do ves, by w h ose swi ft a ide, 1 1 9 0
Th eir m istr esse mounted th rough th e emptie sk ies,
q
In h er l i gh t ch ari o t, ui ck l y is co nvai dc,
H o l di ng th eir co urse to Pa ph os, w h ere th eir q ueen,
Meanes to i m m ur e h er sel fe, a nd not be seen .

FI N I S
 ARGUM ENT

A DO N I S, t h e yout h , over o f l
h unt i ng but no t o f l ove,
set s fo r t h Lo ve h ersel f m eet s h i m
a t d a wn t o t h e ch a se .

a nd woo s h i m Th e glo wi ng go ddess p ull s t h e rel uct a nt

.

b o y dow n t o h er fro m h i s h o rse, fa st eni ng t h e b r i d l e deft l y

t o a b o ugh . C
Sh e l a sp s h i m t o h er a nd k i sses h i m In .

r et u r n sh e cr a ves b ut a ki s s a nd l o ng ent rea t s h i m , a ll i n

v a i n.

He frees h i m sel f fro m h er l m ount h i s

c i ngi ng a r m s t o

h o rse .Th e h o rse b rea ks h i s t et h er t o fo llo w a wi l d m a re

i nt o t h e wood s Ado ni s i s fo rced t o st a y a nd t o h ea r ev en
.

t h e fl i gh t o f h is h o rse m a d e i nt o a l esso n t o t ut o r h i m i n
t h e na t ura l ness o f l ove He m eet s h er a rgument wi t h
.

co unter a rgum ent

-
Sh e rej o i ns wi t h a r h a p sod y o f a ll t h e
.

s enses b y h i m a ro used i n h e r D i vi ni ng t h a t h i s resp o nse

.

i s a ga in t o be unfa vo r a bl e, sh e swoo ns a wa y He t h i nks .

h er dea d , but h i s k i nd l y effo rt s t o r ev ive h er, gi ve h er

i ndeed new l i fe Wh en h e a grees t o gra nt h er t h e ki ss
.

S h e cr a ves i f sh e wi ll b i d h i m goo d ni gh t , t h e ki ss o nl y

l ea d s h i m i nt o fresh t oi ls He begs h er t o let h is unri pe

.

y o ut h e x cuse h i m S h e ur ge
. s a m eet i ng o n t h e m o r ro w .

Wh en h e repl ies t h a t h e mea ns t o h unt t h e boa r a t d a wn,

s h e swoo ns a new Sh e p ull s h i m do wn wi t h h er a nd h old s
.

h i m now t h e clo ser t o s a ve h i m fro m t h e per i l h er m i nd

fo resees fo r h i m up o n t h a t m o r ro w Th e i m a ge o f h is
.

d yi ng bod y wo und ed b y t h e b oa r t o r t ures h er eyes In .

v a i n sh e see ks t o co nvi nce h i m o f t h e d a nger t h rea t eni ng

h im . Wi l fully b rea king a wa y from h er, h e l ea ves h er a ll

ni gh t a l o ne m oa ni ng h er l o ve a nd fo rebo d i ng h i s d ea t h .

At d a wn sh e l i st ens for h is h o rn a nd bo und s When .

s h e h ea rs t h e dogs a t b a y j o i ni ng i n t i m o ro us yelp i ng, sh e

49
 VENUS AND ADONI S

l
t oo sure y k nows t h a t t h e ga m e i s d a ngerous Sh udd er i ng,
.

S h e h a st ens a wa y l p
Sud den y sh e co m es u o n t h e h unt ed
.

boa r bl oody a nd fro t h i ng Aga i n sh e fl ees d izzy w i t h

, .
,

fea r a nd p resci ence But h ea r i ng a h unt s m a n h a ll oo S h e

.
,

t a kes h ea rt q ui ck t o bel i eve t h a t i t i s Ad o ni s sa fe a nd

,

so und .

Ligh t l y t h en does sh e fa re fo rt h , b ut st ra i gh t wa y r u ns
up o n t h e bl eed i ng b o dy o f t h e b oy. Mourni ng ove r h i m ,
S h e p ro p h esi es .Fo rever mo re, beca use of t h is so r ro w,
so rro w s h a ll wa i t o n l o ve, woe fo ll ow pl ea sure, a nd p e r

ve rsencss m a r a tt a ch m ent wh en i t i s t ruest . Wh i le s h e

p rop h esies, t h e fa i r dea d fo rm va ni sh es fro m t h e ground .

But wh ere h i s bl oo d la y sp i lled , a p urpl e wh i t e ch ecke red

-

flower Sp ri ngs up Sh e t a kes i t i n h er bosom t o ch er i s h ,

.

a nd , wea ry of t h e wo r l d , sh e m ount s, dove- d r a wn, to

h ea ven .

SO
 SOURCES

T H E m a i n sources o f t h e Ado ni s sto ry , t h a t we m a y

b e v i rt ua lly sure Sh a kes p ea re wa s fa m i l i a r wi t h a nd i n
’
h i s own wa y used , a re Ov id s vers io n .x
’
L d (i S i
‘
5 2 0 o ge s n c lla es a nd sug

ges t i ve a ll usi ons m a de by G reene i n cert a i n l yri cs, a nd by

M a rlowe i n Hero a nd Lea nder
‘ ’
.

’
No doub t h e knew Spenser s use o f t h e Ado ni s s to ry,
a s t o l d d i rect l y ( 1 5 9 0) i n
‘ ’
Th c Fa er ie Queene (Bk iii . .

C a nt o i , St a nz as xxx i v xxx v i ) , a nd a s m o re i nd i rect l y

—

t o l d , a d a p ted t o t h e l a ment fo r Si d ney , esp eci a ll y i nfl uenced

’ ‘
b y B io n s La mcnt fo r Ado ni s, i n Ast rop h el
’ ‘ ’
But t h e fi rst ga ve Sh a kesp ea re no t h i ng no t o t h erwi se
k nown, a nd th e seco nd , t h e el egy, l i nks wi t h h is lo ve
p oem very sl i gh t ly .

“
Even t h e s i x a i n, t h e sp eci a l st a nza
fo rm used by Sp enser, wa s used by ot h ers b efo re h i m u
And t h e double- rh ymes , so m a r ked a d ifierence i n Sh a ke-
’ g
S pea re s m ani p ul a t ion o f t h e m ea sure (a h a h -cc) , a
-

d uci ng q ui te d ist i nct ca d ences, i s mo re cl osel y a ll ied

’
Lo d ge s occa sio na l use o f t h e d oubl e rh yme i n t h e s a
-

s ta ff o f six verses .

’ ’
Const a ble s Shep h erd So ng o f Venus a nd Adoni s i n
‘

a ll i t s i nci d ents cl osel y fo ll ows t h o se of Sh a kespea re s

’
s t o ry
. Ma lone, st rangely enough , t oo k i t t o be ea rli er
a nd sup posed i t t o h a ve i nfl uenced Sh a kesp eare . Yet i t
ca nno t be d a t ed b efo re i t s a p pea r a nce, i n 1 600, i n B od en
’ ‘ ’
h a m s Heli co n, a nd t h a t d a t e a grees wi t h t h e m a rks i t
b ea rs o f being a b a ll a d l i ke ech o o f Sh a kespea re s p oem
-
’ .

Beca use of i t s specia l i nt erest , a s a n echo , i t i s a pp ended

'

h ere a ft er t h e ext r a ct s t o be given fro m better credi t ed

5:
 VE NUS AND ADONI S

Beyo nd a ny an d a ll o f t h e Sources k nown t o Sh a ke

sp ea re s t ret ch es a l o ng l i ne o f Ad o ni s m a t er i a l I t ind i ca t es
.

C
bo t h t h e p a rent a ge o f t h e l a ssi c st o ry a nd i ts d escend a nt s
i n t h e m ed i mv a l a nd Rena i s sa nce p er i o d s t h a t a re m os t
’
a k i n t o Sh a kesp ea re s subj ect m a t t er -
. Y et t h e m o s t r e
m o t e t h ro w l i gh t up o n i t .

Th e d i st a nt p ed i gree b egi ns v a guel y i n Assy r i a n, E gyp

t i a n, a nd Ph oeni ci a n m y t h s o f t h e Sp i r i t o f Li fe i n N a t ur e,
b o rn i n yout h ful fresh ness every yea r t o Lo ve a nd B ea ut y ,
a nd p a s s i ng ev ery y ea r t o ru t h l ess D ea t h . I n t h e fo r m
o f rel i gio us o r ex a l t ed l y p oet i c ex p r ess i o n o f p r a i se a nd

l a m ent fo r Ado na y , t h e m y t h a ppea r s i n ea rly G reek a s

well a s l a t er Al ex a nd r i a n v er se But unfo rt una t el y t h e
fl
.

fra gr a nce o nl y rem a i ns i ns t ea d o f t h e o wer o f s uch

l y rics t o Adoni s a s were w ri t t en i n t h e s ix t h cent ury b efo re
Ch r i s t b y Sa pp h o a nd P r a x i lla Al t h o ugh h i st o ri a ns o f
.

G reek l i t er a t ur e seem t o b e bl i nd ed t o t h e s igni fi ca nce o f t h e

a ll usio ns t o t h e L i no s So ng , fo r ex a m pl e, i n t h e
‘
Ag a
’
m em no n (F i rs t C h o rus) , such t r a ces, l ik e t h e m ent i o n o f
’ ’
s o m e Ad o ni s G a rd en t h c s h o w a t a fes t iv a l , i n t h e
‘ ‘
as
’o f l t o o we t ’ T a ns l a t i n p
Ph aed rus Pa (j t s r o , . d o ub t l ess
refer t o t h e Ad o ni s r i t ua l o f so ng a nd sy m b o l o f wh i ch fu ll er
’
i ll ust r a t io n i s l eft i n t h e I dy l s o f T h eo cri t us In t h e
‘
.

m id st o f t h e l i v el y h um a n d i a l o gue o f t h e t wo wo m en wh o
’
go t o see t h e Ad o ni s cerem o ny , t h e Ps a l m o f Ad o ni s i s
‘

set wi t h t h e a ll ur i ng sp a r k l e o f a n i m p er i sh a bl e a nt i q ue

g e m (I d y l ! V )
O Ap h ro d i t e, t h a t p la ycst wi t h go l d , 10 , fro m t h e
‘

s t rea m et er na l o f Ach ero n t h ey h a ve b ro ugh t b a ck t o t h ee

Ado ni s ev en i n t h e t wel ft h m o nt h t h ey h a ve b ro ugh t

h i m , t h e d a i nt y foo t ed Ho u rs
-
. Here a re bui l t fo r h i m
sh a d o wy b o we rs o f g reen a ll l a d en wi t h go l d en a ni se .

A b r id egroo m o f eigh t een o r ni net een yea rs i s b e, h i s

k i sses a re no t ro ugh , t h e go l den do wn b ei ng yet up o n h i s
li p ! T h ou o nl y , d ea r Ado ni s, so m en t ell , t h o u o nl y
O f t h e d em i go d s d o s t v i s i t b o t h t h i s wo r l d a nd t h e s t rea m

o f Ach ero n . Be gr a cio us no w, d ea r Ado nis, a nd p ro

 SOURCE S

p it i ous even i n t h e comi ng yea r D ea r t o us h a s t h ine a dvent

.

been, Adoni s, a nd dea r sh a ll i t be when th ou com est a ga i n ’ .

’‘ ’
I n B io n s Id yl (I) t h e joy t h us ush ered i n wi th p ra i se
g i v es wa y t o t h e La ment fo r t h e dea t h o f Ad o ni s :

Woe, woe fo r Adonis, h e h a t h perish ed, t h e bea uteous

Ad oni s . Low o n t h e h i ll s i s l y i ng t h e l ovely Ad o ni s , a nd
’
h is t h igh wi t h t h e boa r s t usk , h i s wh i t e t h i gh wi t h t h e
’
bo a r s t us k is wounded, a nd so rrow on Cyp ri s h e b rings,
a s so ft l y h e b rea t h es h i s l i fe a wa y . A cruel, cruel
wo und on h i s t h i gh h a t h Ad o ni s, b ut a deep er wo und i n
h er h ea rt do t h Cyt h erea b ea r . Ap h rod i t e wi t h unbound
locks t h ro ugh t h e gl a d es goes wa nderi ng, —
wret ch ed,
wi t h h a i r unb ra i ded , wi t h feet unsa nd a led , a nd t h e t h orns
a s sh e p a sses wo und h er a nd pl uck t h e bl osso m o f h er sa cred

blood . Th e fl owers fl ush red fo r a ngui sh , a nd Cyt h erea

t h ro ugh a ll t h e m ount a i n knees, t h rough every d ell doth
-

sh ri ll t h e p i t eo us d i rge .

Woe, woe for Cytherea , he ha th per i s hed, the lovely Adoni s .

And Ech o cr ied i n a nswer , He ha th per i s hed, the lovely

‘

‘
A t ea r t h e Pa p h i a n sh ed s fo r ea ch bl ood d ro p o f Ado ni s,
-

a nd t ea rs a nd blood o n t h e ea rt h a re t ur ned t o fl o wers Th e

fl
.

b lood b ri ngs fo rt h t h e rose, t h e t ea rs, t h e wi nd o wer .

Cea se, Cyt h erea , fro m t h y l a m ent a t i ons, t o d a y refr a i n

‘
-

fro m t h y di rges . Th ou must a ga i n b ewa i l h i m , a ga i n

m ust weep fo r h i m a not h er yea r
’.

’
Th a t wi t h st ud ious i m i t a t io ns o f t h e Cl a ssi cs Sh a ke
’
s pea re s poem h a s no t h i ng t o d o , b ut r a t h er t h rows b a ck
‘

’
t o t h e medie va l p oet s use o f Ovid
’ i s a d i scr i m i na t io n
firs t m a de b y Wy ndh a m (Int rod uct io n t o h i s a nno t a t ed
’
ed i t i o n Th e Poem s of Sh a k esp ea re, Si nce t h en
‘

’
v a rious si gni fi ca nt p o int s o f co nt a ct b et ween Sh a k esp ea re s

t rea t m ent a nd t h a t o f a gro up o f I t a l i a n p oet s o f t h e

s i x t eent h cent ury h a ve b een b ro ugh t t o l i gh t b y Lee

( I n t rod u ct i o n t o t h e
‘
F a cs i m i l e o f t h e F i rs t Edi t i o n o f
Venus a nd Ado ni s ,
’ In t h e vers io ns o f t h ese p oet s,
t h e infl uence not onl y of Ov id a nd of fift ee th c n - ent ur
y
53
 VE NUS AN D ADONI S

I t a l i a n wri t ers o f La t i n v er se upo n t h i s cl a ssi c t h em e, b ut

t h a t ofTh eo cr i t us a nd B i o n, i s p ro m i nent . Th i s dy na s t y o f
wri t er s o n t h e Ado ni s s t o ry , such a s Lo do vi co D o l ce ( La
‘

’ ’
Fa vo l a d Adone, G i r a la m o Pa ra b o sco
’ f ’
Lui gi G ro t o i n t h e Ri m e o C icco d H a d r i a
a nd o t h er s i n Sp a i n a nd F r a nce, a s well a s I t a l y ,
’
a re b ro ugh t i nt o li ne, t h ro ugh such t r a ns l a t i o ns o f B i o n s

La m ent , a s t h a t i nt o I t a l i a n by M a r i no , a nd i nt o F rench
b y Mcl i n d e St Gel a i s
. wi t h Ov id a nd t h e Si ci l i a n
p oet s, o n t h e o ne h a nd , a nd wi t h El iza bet h a n Engl a nd ,
o n t h e o t h er . Pa r a bo sco fur ni s h ed Wa ts on ( 1 5 8 2 ) wi t h
’
t wo o f h i s Pa ss io ns lx v a nd C) A
‘
.

t ra ns l a t io n fro m M a r i no a pp ea r s i n t h e
’
D el i a o f 1 5 9 2 ,
a nd M a h a f fy h a s ca ll ed a t t ent i o n t o t h e fa ct t h a t G a s
’ ‘ ’ ’
co i gne s j o ca s t a w a s a t r a ns l a t io n o f D o l c e s v e r s i o n o f
’ ’
t h e Ph oeni ss e o f Eu r i p i des Six Id i ll i a fro m Th co c
‘ ‘ ‘
.

’
r i t us
a pp ea r ed i n Engl i sh ver se i n 1 5 88 . A no t h er It a l i a n
poet , Giov a nni Ta rch a gno t a , wi t h wh o m no l i nks wit h t h e
El i za bet h a ns a re no w m a bl e, i s s i ngl ed o ut by Lee a s

reca lli ng cl oser p o i nt s o f co nt a ct wi t h Sh a kes p ea re , i n t h e

O p eni ng s t a nza o f h i s
’ ’
La F a vo l a d Ado ne
‘
a nd

m o re p a r t i cul a r l y i n s t a nza s t o m ca t h , m o nst ro us

a nd s t r a nge
’
Tu m orte cr ud el, m ostruos a , e s tr a na ) co r
‘ ’
res p o nd i ng t o t h e a dd ress o f Venus t o t h e Ha r d fa v o urd
‘

’
t y r a nt (1 1 9 3 1
. a nd a ga i n i n a d ecl a r a t i o n o f t h e

bo a r m a de t o Venus i n ex cuse fo r ki ll i ng Ad o ni s, m a t ch i ng
’
t h e wo r d s o f Sh a k esp ea re s Venus (1 1 . 1 110 A
t r a ns l a t i o n o f t h e p a ssa ge fo ll ows

I swea r t o yo u , i t never wa s m y wi ll
‘

To wr ea k o ffence upo n SO clea r a l o ver ;

’
Ti s but t h e t rut h , t h a t a s I fi x ed m y ga ze
On a ll t h e b ea ut i es o f h i s na ked b o dy
I w a s enki nd l ed a nd so set o n fire
Th a t bl i nd wi t h fo rce I fo rwa rd p ush ed m y sel f
Onl y t o k i ss t h a t b ea ut y , o pened my h ea rt
Onl y t o q uench t h e a rdo r I wi t h in me fclt ’ .

54
 VE NUS AN D AD ONI S

Pursewi ng ga me o f h urt lcsse so rt a s Ha res m a de l owe

befo re, Or st a ggcs wi t h loft ye h ea d cs o r buck , But wi th
t h e st urd y B o a re, And r a veni ng wo l f, a nd Bea rc wh elp s
a r m d wi t h ugl y p a wes , a nd ee ke Th e cruel ] Ly o ns w hi ch

dely gh t i n bloo d , a nd sl a ugh t er seeke, Sh ee m ed a l ed not .

And of t h eis sa m e sh ee w a r ned a l so t h ee Adoni s fo r t o

sh oo nnc t h em , i f t h ou woo d s t h a v e wa rnéd b ee . Bee h o ld
o n cowa rd s ( Venus s a y d ) fo r wh o so d oo t h a d v a uncc Hi m

sel fe a ga i ns t t h e b o l d , m a y h a p t oo m eet c wi t h sum

m i sch a uncc . Wh erefo re I p r a y t h ee m y sweet e bo y for

b ea rc t oo b o l d t o o b ee, Fo r fea re t h y r a sh ncsse h urt t h y
sel f a nd woo r k t h e wo o f m ee .Enco unt er no t t h e kynd
o f bea st es wh o m na t ure a r m ed h a t h , Fo r d o wt t h ou
b uy t h y p ra y se t oo d ee r e p ro curi ng t h ee sum sca t h . Th y
t end er yout h , t h y b ea wt y b ry gh t , t h y co unt na nce fa y re
a nd b r a v e, Al t h o ugh t h ey h a d t h e fo r ce t oo wi n t h e h a rt

o f Venus , h a v e No p o w r e a g a i nst t h e Lyo ns , no r a g a i ns t

t h e b ri st l ed swy ne . T h e ey es a nd h a r t s o f s a v a ge bea st s
doo no ugh t t oo t h ei s i ncly nc . Th e cruell Bo a res b ea re
t h und er i n t h cy r h oo ked t us h es , a nd Ex ceed i ng fo rce a nd
fcercencse i s i n Lyo ns t o wi t h st a nd . And sure I h a t e
t h em a t m y h a r t . Too h i m d cm a und i ng wh y ? A m o n
st ro us ch a unce (q uo t h Venus ) I wi ll t ell t h ee by a nd by ,

Th a t h a p ned fo r a fa ul t . But now unwoo nt ed t oy le h a t h

m a d e th ee weerye a nd beh o lde, i n t y me t h i s Po pl a r
wi t h h i s sh a de Alluret h , a nd t h e gro und fo r cowch d oo th
serve t o rest up p o n . I p r a y t h ee let us rest us h eerc .

Th ey sa t e t h em do wne a no n, And ly i ng up wa rd wi t h h er
h ea d up p on h i s l a pp e a lo ng, Sh ee t h us b egun : a nd i n h er
’
t a l c sh ee b ussed h i m a m o ng .
[Th e st ory o f At a l a nt a a nd
Hi pp o m enes fo ll ows , a nd t h e revenge of Venus wh en
Hi pp o m enes ga v e t h e godd ess nei t h er t h a nk s no r offeri ngs
o f i ncense i n t ur ni ng t h em i nt o fi er ce Li o ns t h a t h a unt
‘

’ ‘
t h e wood . Sh e t h en cont i nues Sh o nnc Th ese h ea s t es,
d eere h a rt : a nd no t fro m t h ei s a l o nel y sec t h ou ro nne,
But a l so fro m ech e o t h er bea st t h a t t urnes no t b a cke t oo
fl i gh t , But offrct h wi t h h i s boyst ows b rest t oo t ry t h e
56
 SOURC E S

ch a unce of fy gh t Anem is l ea st t h y v a lla nt nesse bee

:

h urt ful] t o us bo t h T h i s wa r ni ng given, wi t h yo ked

.

swa nncs a wa y t h ro ugh a i re s h e go t h . But m a nh o d by

a d m o ni sh m ent r cs t rey ncd co ul d no t b ee By ch a unce h i s
.

h o und s i n fo llowi ng o f t h e t ra cke, a B o a re d i d see, And

ro wsed h i m . And a s t h e Swy nc wa s co m m i ng fro m t h e
wood Adoni s h i t h i m wi t h a d a r t a s kew, a nd d rew t h e
b lood . Th e B o a re st r eygh t wi t h e h i s h oo k ed groy ne t h e
h unt ing st a ffc out d rew Best a y ned wi t h h i s bl o od , a nd o n
Adoni s d i d p ursew And b yd i ng i n h i s cod d s h i s
t us kes a s fa rre a s h e co ul d t h rust He la yd h i m a ll a l o ng
fo r dea d uppo n t h e yello w d ust . .D a m e Venus i n h er
C h a r io t d r a wen wi t h swa nncs wa s sca r ce a rr ived At Cypr us ,
w h en sh ee k new a fa rre t h e sy gh o f h i m d cp ryved Of ly fe .

Sh ee t ur ud h er Cygnet s b a cke, a nd wh en sh ee fro m t h e

S k ye Beeh illd h i m d ea d , a nd i n h i s bl oo d bewelt red for

t o lye Sh ee lea p ed d owne, a nd t a re a t o nce h i r ga r m ent s

,

fro m h er b ri st , And rent h er h ea re, a nd bea t e up po n h er

s t o m a ch wi t h h i r fist , And bl a m i ng so re t h e d est nycs,

s a i d : Y i t sh a ll t h ey no t o b t ei ne t h ei r wi ll i n a ll t h i ngs
.

O f t h y greefe rem em b r a nce sh a ll rem ay ne (Adoni s ) wh y le

t h e wo r ld do t h l a s t .F ro m y eere t oo yeere sh a ll growe A
t h i ng t h a t o f m y h ea v i nesse a nd o f t h y d ea t h sh a ll s h owe
t h e l i vely lik enesse . fl
I n a ow rc t h y bloo d I wi ll b est owe .

H a d st t h ou t h e p o wre P ers ph onee r a nk sent ed M i nt s t oo

m a ke Of wo m ens l i m bes ? a nd m a y no t I ly ke p owre
u ppo n m ec t a ke wi t h o ut d i sd ci ne a nd s py gh t , t oo t ur ne
fl
Ad oni s t oo a o wre ? Th i s sed , sh ee sp ri ncklcd Nect a r
o n t h e bl oo d , wh i ch t h ro ugh t h e p o wre t h erof d id swell
l i ke bubbles sh eere t h a t ryse i n wea t h er cl eere On wa t er .

A nd befo re t h a t full a n h ow re ex py rcd weere, Of a ll o ne

co l o ur wi t h t h e bl oo d a fl o wre sh e t h er e d i d fynd , Even

fl
l i ke t h e owre of t h a t sa m e t ree wh ose i rut e i n t end er
r ynd e Ha ve pl ea sa nt g r a y nes i nclo sde Howb eet t h e
.

u se o f t h em i s s h o r t Fo r wh y t h e l ea ves d oo h a ng so
.

looce t h rough li gh t nesse i n such so r t , As t h a t t h e wi nd es

t h a t a ll t h i ngs per cc, wi t h every l i t t l e bl a st D OO sh a k e

57
 VE NUS AN D ADONI S

t h em o f a nd s h ed t h em so , as th at t h ey ca nno t l a st ’
Th e ! V Roo kes o f P Ov idi us Na so , ent y t uled Me t a
.

mo rp h osi s, t r a ns l a t ed o ut e o f La t i ne i nt o Eng l i sh m eet er

’
b y Art h ur Go l di ng Gent lem a n Th e Tent h Boo k e
. .

Ed i t i o n o f
’
A co py o f Ovi d s M ct a m o rp h o scs,
‘ ’
p ri nt ed by Aldus i n 1 5 02 , p reserved i n t h e Bod l eia n
Li b r a ry , Ox fo rd , bea rs t h e s i gna t ure Wm Sh r o n t h e
’
.

t i t le p a ge, a nd O pp osi t e, i n a sevent eent h cent ury h a nd , i s

-

wr i t t en : Th i s l i t t le Boo ke o f Ov i d wa s given t o m e b y
W Ha ll wh o sa yd it wa s o nce Wi ll Sh a ks peres T
. . .

‘
He t h a t h a t h scene t h e sweet e Ar cadi a n boy
Wi p ing t h e purpl e fro m hi s fo rcéd wound ,
Hi s p rct ie t ea res bet o keni ng h is a nnoy,
His si gh es, h is cri es , h i s fa ll i ng o n t h e gro und ,
Th e Ecch ocs r i ngi ng fro m t h e rockes h i s fa ll ,
Th e t rees wi t h t ea res rep o r t i ng o f h i s t h r a ll

And Venus st a rt i ng a t h ir lovem a t es cr ie,

‘

Fo rci ng h i r bi rd s t o h a st h i r ch a ri o t o n ;
And full o f gri efe a t l a st wi t h p i t eous eie
Scene wh ere a ll p a l e wi t h dea t h h e la y a lo ne,
-

Wh ose bea ut ie q ua i ld a s wont t h e Li llies d roo p

Wh en wa st full wi nter wi ndes doo m a ke t h em st oop
‘
Hi r d a i nt ie h a nd a d d rest t o d a we h i r d eere,
Hi r resca ll li p a lied t o h i s p a le ch ecke,
Hi r si gh es a nd t h en hi r loo kes a nd h ea vi e ch eere,
Hi r b i t t er t h rea t cs a nd t h en h er p a ssio ns m ecke ;
How o n h i s senseles co rp es sh e la y a cry i ng
As i f t h e b oy were t h en b ut new a dyi ng ’ .

( Sci lla cs
‘
Met a m o rp h o si s :Ent erla ccd wi t h t h e unfo r
t una t e l ov e o f Gla ucus .Wh erunt o is a nnexed t h e delec
t a bl e d i sco ur se o f t h e d i s co nt ent ed Sa tyr e : wi t h sund r i e
o t h er m o st a b so l ut e Poem s a nd s o nnet s By Th oma s
Lodge o f Li nco lnes I nne, G ent l em a n
58
 VE NUS AND ADONI S

Upo n t h y Venus t h a t must d ie,

I e sous en pr ie, pi tie me
’
N 9 ser es sous mon bel mon bel,
, ,
’
N ar er es oous , m on bel a my ?

See h ow sa d t h y Venus l i es,

‘

’ r
N ose es sous , mon bel a my ?
Love i n h ea rt a nd t ea res i n eyes
I e sous en pr i e, et c .

‘
Th y fa ce as fa i r Pa p h os b roo k es,
as
’
N oseres oous , mon bel a my ?
W h erei n fa ncie b a i t es h er h o u kcs,
I e oous en, et c .

Th y ch eck cs l i ke ch err ies t h a t doo growe

’
N oser es s ous , m on bel a my ?
Am ongst t h e West ernc m ount s o f snowe,
I e oous en pr i e, et c .

Th y l i p s verm i l ion, full o f love,

‘

’
N oseres oous , mon bel a my ?
Th y necke a s si l ver, wh i t e a s d ove,
I e s ous , et c .

‘
Th ine eyes l ike fl a mes o f h olie fi res
,
’
N oseres sous , mon bel a my ?
B urnes a ll m y t h o ugh t s wi t h sweet d esi res,

I e oous , et c.

All t h y bea ut ies st i ng my h a rt ,

‘

’
N oseres oous , mon bel a my ?
’
I m ust d ie t h ro ugh Cup i d s d a rt ,
I e oous , et c .

‘
Wi l t t h ou let t h y
Venus d ie
’
N cr eres oous ; m on bel a my ?
Ado n were unk inde, s ay I .

I e oous , et c .

60
 SOUR C E S

To let fa i re Venus d ie for woe,

’r
N a eres sous , m on bel a my ?
Th a t d ot h lo ve sweet e Ado n so
’
I e oous, et c .

’ ’
M a r lowe s co nt ri but io n t owa rd Sh a k esp ea re s m a t er i a l
is o f th e s l igh t est , yet h i s m ent io n i n h i s t r a ns l a t io n o f t h e
’of
‘
Hero a nd
Lea nder Muse us of t h e ca reless a nd d i sd a i n
‘

’
ful eyes o f p ro ud Ado ni s is suggest ive o f j ust t h e h a r a c C
t eriz a t i o n m a de b y Sh a kes p ea re so p ecul i a r l y h i s own It .

fo rm s no p a rt o f t h e G reek o f Muse us, a nd i t woul d seem

t h a t ei t h er Sh a kesp ea r e no t i ced t h i s s p eci a l d escr i p t io n
a nd bu i l t up o n i t o r M a r l owe, b efo re h e d ied , j une 1 , 1 5 9 3 ,

s a w Sh a kesp ea re s p oem I t wa s cer t a i nly co m po sed a t

.

l a t est by Ap ri l , i t. i s m ent io ned a s i n ci rcul a t ion i n jun

’
a nd m a y h a ve b een seen i n M a y Hero a nd Lea nd er wa s
‘
.

’
e nt ered i n t h e St a t io ners Regi st ers , Sep t 2 8 , 1 5 9 3 , a nd
.

t h e unfi ni sh ed fra gm ent l eft b y Ma r l owe, t h e fi rst a nd

’
seco nd Sest y a d s , wa s fi r s t p ri nt ed wi t hout Ch a p m a n s
a d d i t i ona l Sest ya d s i n 1 5 9 8 .

Th c Men o f wea l t h y Sest os every yea re

‘

Fo r h i s sa ke wh o m t h ei r goddesse h el d so dea re
’
Rose ch eek d Ado ni s, kep t a so lem ne fa st
-
.

T h e out sid e o f h er ga rm ent s were o f l a wa e,

T h e l i ni ng p urple si l ke wi t h gi l t st a r s d a wne ;
Her wi de sleeves greene a nd bo rdered wi t h a grove
Wh ere Venus i n h i r na ked bea ut y st rove
To pl ea se t h e ca rel ess a nd di sd a i nfu l eyes
Of p roud Ado ni s t h a t before h i r l ies ’
.

‘
TH E SH E PH EA RD S SO N G or VE N US A ND A DON SI

Venus fa i r d i d ri de !
‘

Si lver doves, t h ey d rew h er

By t h e plea sa nt l a wns,
61
 VE N US AN D AD ONI S

Ere t h e sun d i d ri se .

’
Vest a s bea ut y ri ch
Op ened wi de t o v iew h er,
Ph i lo m el reco rds
Plea si ng h a r m o nies
‘

Every b i rd o f Sp r i ng
C h eerfull y d i d si ng
.

’
Pa p h os God dess t h ey s a lut e .

’
Now Lo v e s Queen so fa i r,
H a d o f mi r t h no ca re ;
Fo r h er so n h a d m a de h er m ut e .

I n h er b rea st so t ender ,
He a sh a ft d i d ent er ;
Wh en h er eyes beh el d a bo y .

Ad o ni s wa s h e na m éd ,
By h i s m o t h er sh a m éd
’
Yet h e now i s Venus jo y .

Hi m a lo ne sh e m et ,
Rea dy b ound fo r h unt i ng ;
Hi m sh e k i nd ly greet s,
And hi s j o urney st a ys .

H i m sh e seek s t o k i ss,
NO dev i ces wa nt i ng .

Hi m h er eyes s t i ll woo ,
Hi m h er t o ngue st i ll p ra ys .

He, wi t h bl ush i ng red ,

Ha nget h down t h e h ea d
No t a ki ss ca n h e a fford
Hi s fa ce i s t urned a wa y ,
Si l ence sa i d h er Na y
St i ll sh e wooed h i m fo r a wo rd
Sp ea k , sh e sa id , t h o u fa i rest !
”

B ea ut y t h ou i mp a i rest !
See m e I a m p a le a nd wa n
Lo vers a ll a do re m e
I fo r l ove i m pl o re t h ee !
C ryst a l t ea rs, wi t h t h a t down ra n .

62
 VENUS AND AD ONI S

Every Nym p h on t h e sh a ll t end

All t h e God s sh a ll lo ve t h ee
Ma n sh a ll no t rep ro ve t h ee
Lo ve h im self s h a ll be t h y fri end

Wend t h ee fro m m e , Venus !

I a m no t di sposed
’
Th o u wr i ng s t m e t oo h a rd
Pr i t h ee let m e go !
Fie wh a t a p a i n i t is,
Th us t o be enclosed
If love begi n wi t h l a bo ur ;
I t wi ll end i n woe
Ki ss m e ! I wi ll lea ve
Here a ki s s receive
A Sh o rt k i ss I d o i t find
Wil t th ou lea ve m e so
Y et t h o u sh a l t no t go
B rea t h e o nce mo re t h y b a l my wi nd
I t smellet h of t h e my rr h t ree,
-

Th a t t o t h e wo rl d did b ri ng t h ee !
Never wa s perfume so sweet ! ”

Wh en sh e h a d t h us spo ken
Sh e ga ve h i m a t o ken ;
And t h ei r na ked b o so ms meet ,
’
Now, h e sa i d , let s go !
”

Ha r k , t h e bo unds a re cryi ng !
G ri sly bo a r i s up
Hunt smen fo ll ow fa st ! ”

At t h e na m e o f bo a r ,
Venus seem ed d yi ng !
D ea d l y co loured p a le,
Ro ses o ver ca st .

Sp ea k , sa id sh e, no m o re
”

Of fo llowi ng t h e bo a r ;
Th o u, unfi t fo r such a ch a se
Co urse t he fea rful h a re
64
 SOUR CES

’
en son do !
V no t sp a re
If th ou wi l t yiel d Venus gra ce,
Sh un t h e bo a r , I p r a y t h ee !
Else I st i ll wi ll st ay t h ee l
”

Herei n, h e vowed to pl ea se h er m i nd ;
Th en h er arms enl a rged l
Lo th sh e him d i sch a rged .

Fo rt h h e went , a s swi ft a s wi nd

’
Th et is, Ph oebus steeds
In t h e west reta i ned ,
Hunt i ng sport wa s p a st ;
Love h er Love d i d seek !
Sigh t of h i m t oo soo n,
Gent le Queen, sh e ga ined !
On t h e ground h e la y,
Blood h a d left h i s cheek,
Fo r a n o rpcd swi ne
Smi t h i m i n t h e gro i n
Dea d ly wound , h i s dea t h did ri ng b .

Wh ich wh en Venus found,

Sh e fell i nt o a swound
And awa ked, h er h a nd s d id wri ng !
Nym p hs a nd Sa t yr s s k i pping,
Ca m e t oget h er t ri pp ing.
Ech o every cry exp rest .
Venus by h er power
Turned h i m t o a flower ;
W h ich sh e wea reth in h er crest .
(Henry Const a ble ) .

See l a ddit iona l p assa ges from Ovid

a so a nd Lo dge i n
o t es fo ll owi ng o n ll 3 63 43 3 45 0 443 448
.
,
-
, , , 61 9 622 , 83 0
-

65
 DURATION OF THE AC TION

WH E N t r a ce o f i t is loo ked fo r , t h e p a ssa ge o f t i m e is

’
s h own t o b e cl ea r l y m a r ked i n Venus a nd Ad o ni s
‘
.

Wi t h one d a wn i t begins, a nd with a second da wn it

end s (11 1 6 , 8 5 3 862 ,
—
-
.

An i nt erveni ng d a y a nd ni gh t a re no t m erel y t o be t a ken

fo r gr a nt ed . Th e d a y i s put befo re t h e m i nd b y m ea ns of
t h e m ent i o n o f t h e ch a nge i n t h e s h a d o ws a nd t h e i ncrea s
i ng h ea t o f m i dd a y a nd a ft er noo n (ll 1 76— 1 78 , 1 9 0
.

fo ll owed by t h e endi ng i n t h e wes t b y t h e Sun o f h i s d a yes ‘

’
h o t t a s ke (11 5 29. Th en t h e sh ri ek of t h e owle ‘

( ni gh t s t h e s h eep go i ng t o t h e fo l d , t h e b i r d s to
t h ei r nes t s , t h e d a r keni ng cl o ud s , t h e goo d ni gh t ki ss (ll .

" ’
po i nt out t h a t t i s veric l a t e Th e ni gh t is
531 .

’ ’
p i ct ured a s sp ent , d a rk , moo n o b scured a nd bl a ck
‘ ‘
-
‘

’’
fa c t (7 1 7 72 8 ,
—
Ado ni s p a sses t h ro ugh t h e d a rk
l a wn l i ke a b ri gh t st a r fro m t h e sky (8 1 3 8 1 6) wh en h e goes
—

a wa y . He lea ves Venus co nfounded i n t h e d a r ke (8 2 7

‘ ’
8 2 8) wea ri ng o ut t h e m erci lesse, a nd p i t ch i e ni gh t wi t h
‘ ’
l a ment a t i o n (l 8 2 1 ) a nd spendi ng i t wi t h ech oes (840
.

before th e l a r k mount s up And wa kes t h e mo rni ng .

’
 VE NUS AND ADONI S

Two a llusions i n t h e Poem h av e b een t a ken t o i nd icate

co rro b o r a t i o n o f a d a t e o f co m p osi t io n sh o rt l y befo r e 1 5 9 3 .

‘ ’
Th e fi rst i s t h e a ll usio n t o t h e pl a gue a nd t h e d a ngerous
‘

’ ll T h i i f nt em po r a ry wi t h t he
y e a r e ( .
5 0 8 s , co

recent event , refers t o 1 5 9 2 , wh en t h e pl a gue wa s severe .

It was no t so i n 1 5 86, t h e o t h er nea rest a nd ea r l ier pl a gue

y e a r
. T h e t h ea t r es w er e C l o se d i n 1 59 2 o n a cco u nt of
t h e pl a gue fro m jul y t o D ecem b er , a nd i t t h us seem s not
unl i kel y t h a t Sh a kes p ea re wro t e h i s p oe m d ur i ng t he
v a ca t io n fro m t h ea t ri ca l wo r k t h us o cca sio ned .

’
Th e seco nd a ll usio n i s t h a t t o t h e na ked b ed (1
‘
.

Ta ken t o refer t o a m uch q uo t ed l i ne i n a n ex t r emely

‘ ’
po pul a r Pl ay, t h e fi rst jero ni mo , i i v : Wh a t o ut cry
.
‘

’
ca ll s m e fro m m y na ked b ed , t h i s po i nt s t o a d a t e of
co m pos i t io n nea r t h e y ea r 1 5 9 2 , wh en t h a t Pl a y wa s
’ ’
a ct ed b y Sh a kesp ea re s co m p a ny , Lo rd St ra nge s m en, at

t h e Rose t went y t wo t i m es
-
. Th e fa ct seems co nvi nci ng ;
’
b ut t h e freq uent m ent io n o f na ked bcd , i n wr i t i ngs of
‘
-

va ri o us ea r l y d a t es wit h r eference t o t h e ni gh t go wnless

cust o m o f t h e six t eent h cent u ry, forb i ds cert a i nty (see

No t e fo llowi ng o n 1 .

68
 EARLY ED ITIONS

I N 1 5 9 3 t h e fi rst ed i t io n o f Venus
‘
a nd Ado ni s
’wa s
p r i nt ed .

T h e ded i ca t o ry l et t er p refa ci ng i t , wr i t t en a nd signed

b y Wi ll i a m Sh a kesp ea re, just i fies t h e i nference t h a t t h e
p ubl i ca t io n of t h is vol ume by h i s fellow t o wnsm a n of -

St r a t fo r d , Ri ch a r d F iel d , wa s a ut h o ri zed by t h e Poet

h i m sel f T h i s ca n be sa i d o f no o t h er i ssue o f h i s, sa v e
.

’
h i s o t h er na r r a t ive p oem , Lucrece
‘
.

H i s Pl a ys were t h e p ro p er t y o f h i s fellows of t h e st a ge
co m p a ny t o wh o m h e so l d t h em a nd fo r wh o m h e w ro t e

t h em . H i s Poem s were h i s ex cl usiv e p ro p er t y t o p ubl i sh

a s h e ch o se .

B efo re t h e close o f t h e sevent eent h cent ury t hi rt een

’
i s sues o f Venus a nd Adoni s a pp ea red , a s fo ll ows :
‘

IQ [ O m l p] V E N V S A N D AD ONI S Vi li a
fl
. r n a e n t a t o

m i r etur oulgus mi hi a uus

’
I
Apollo P ocula Ca sta li a
p le na m i n i s tr ei a q u a .
[ P r i n t c r s D e v i ce : A m ed a ll i o n
’
used by Va ut ro lli cr , F i el d s p redeces so r , rep resent i ng a
h a nd rea ch i ng fro m t h e clo ud s a n a nch o r l a urelled a nd
sur ro unded b y t h e m o t t o AN CHORA SPEI] LOND ON I
I m p r i nt ed by Ri ch a r d F iel d , a nd a re t o be so l d a t t h e si gne
o f t h e wh i t e G rey h ound i n I Pa ul es Ch urch ya rd -
.
I 1 593 .

20 .
[Sa m e t i t le, 1 5 94 .

3 Q .
[A n o c t a v o i n s h a p e i n t h i s a n d fo ll o wi ng i s s u e.s

Sa me t i t l e, et c , but d i fferent o r na m ent a l t o p

. . Sa m e
Anch or dev i ce b ut redesi gned ] I m p r i nt ed a t Lo ndo n by
R F fo r Ijoh n Ha r i so n
. . . 1 5 96 .

Q [O m l d i ff i f m h p d i g]
fl
4 . r n a e n t a t o p e r ng r o t os e re ce n
V E NV S AND AD ON I S
I . Vi li a m i r etur oulgus : mi hi a uus
Apollo P ocula Cas tal i a plena m i nstr et a q ua I[Orna m ent ] |
I .

69
 VENUS AN D ADONI S

I m p ri nt ed a t Lo nd o n fo r Wi ll i a m Lea ke, dwell Ii ng i n

Pa ules Ch urch ya rd a t t h e si gne o f t h e G reyh o u nd 1 5 99 I . .

5Q [ t.i t le -
pa ge l a cki ng] 1 600 (
OQ [Or na m e nt a l d i ffere nt ] VENV S AND I
fl
. t op .

ADON IS I Vili a m i r etur vulgar m iit i a uus Apollo P oculo

.
, I
Cas ta lid m i nis tret a q ud [Pri nt e rs D evi ce : A sq ua re e ncl os
.
I
i ng a wi nged l a urel w rea t h ed S k ull , a bo ve i t a n h o u r gl a ss
- -

b a cked by a n open boo k i nscri bed , I l i ve t o dy I dy t o .

l ive bel ow i t a glo be sh o wi ng t h e Wes t ern h em is p h ere]

,
'

Im p ri nt ed a t Lo ndo n fo r Willi a m Lea ke s d well i ng a t t h e I

s i gne o f t h e Ho l y G h o s t i n Pa ules C h urch ya r d 1 60 2
, I -
. .

A rei ssue o f sa me wi t h co l o n i nst ea d of co m m a a ft er

vulgus 1 60 2
. .

Q [ O m l d iff ] V E N V S I I AD O N I S

fl
7 . r n a e n t a t o p e re n t A N D

I Vil i a m i retur vulgus : m i hi a uus Apollo F oca la Cas I

ta l i a plena m i ni str et a q ua [T h i s mo t t o pl a ced b et ween
.
I
p a r a llel rules ] LONDON, Pr i nt ed fo r W B [Wi ll i a m
I I . .

B a rret ] 1 61 7 . .

8Q [Orna ment a l t o p d i fferent ] VENVS IA N D AD ONI S I

fl
.

I Vili a m i retur vulgus m i h i a uus Apollo P ocula Cas

, I
ta li a plena mi nis tr et a qua , [ B et ween p a r a ll el r u l es]
I I
LO N D O N , Pr i nt ed fo r I P [j o h n Pa r ker]
I . . 1 620 . .

9 0 VENVS A N D AD ONIS [One rul e a cro ss p a ge]

I I I I
fl
.

Vili a m i retur vulgus , m i h i a ous Apollo P ocula Ca s ta li d I

p le n a m i n s t r et a q ud [ D e.v I
i cc z A Ph oe n i x i n a nes t o f
fl am es] ED INBURG H P ri nt ed by I ohn Wr ei ttown, a nd
I .
I I
a re t o bee so l d i n h i s Sh o p a l i t l e be nea th th e s a lt Tr oue I .

1 62 7 .
[ Th e e n t i re t i t l e p a g e i s -
e n c l o sed i n a n o r na m e n t a l
bo rder ] .

1 00 [ P . r i n t e r s D e v i ce o f C u p i d t h r o w i n g d o w n h i s

bo w ] Pri nt ed by j H [j o h n Ha v il a nd] a nd so l d by
. . .

F r a nci s Coules 1 63 0 . .

’ ’
Th e 1 709 Li nt o t t ed i t io n o f Sh a kesp ea r e s Poem s , i n
‘

t h e B a rt o n Co ll ect i o n, B o st o n, gi v es a t i t l e p a ge o f t h e -

s a m e d a t e, 1 63 0 , wi t h a Pr i nt ers D evi ce a nd t h e m o t to
’
S ua La urea Phe ba
‘
.

1 IQ An i m p erfect co p y , l a ck i ng t i t l e p a ge, b ut sh ow
.
-

70
 VENUS AND ADONI S

Th ree Co p ies o f t h e sixt h , 1 60 2 : t h e B ri t i sh Museum

Co py , wi t h t h e co mm a a ft er vulgus i n t h e t i t l e p a g e m o t t o ,
-

bough t by Stecvcns i n 1 79 0 for ei gh t sh i ll i ngs a nd by

Da niel i n 1 84 1 fo r £40 ; t h e B od l ei a n, b eq uea t h ed t o t h e
Li b r a ry by Ro bert B urt o n i n 1 640 ; t h e co p y b el o ngi ng t o
t h e Li b r a ry o f t h e Ea r l o f M a cclcs ficld a t Sh i r b urn C a s t l e .

One co p y o f t h e sevent h , 1 61 7, l eft b y wi ll t o t h e Bod

lei a o b y Ca l d eco t t i n 1 8 3 3 .

C
One o py o f t h e ei gh t h , 1 620, l eft by C a p ell t o Tr i ni t y
Co ll ege o f Ca m b rid ge Uni vers i t y .

C
Two o p ies o f t h e ni nt h , 1 62 7 : t h e B ri t i sh M useum
co p y , bo ugh t i n 1 845 fo r £3 5 ; a nd a m uch bet t er co p y ,
,

bo ugh t by Pi ckeri ng fo r £1 1 5 , a nd now i n t h e Li b r a ry of

M r Ro bert Hoe of New Y o r k
. .

One co p y ea ch o f t h e t ent h , 1 63 0, a nd t h e elev ent h ,

bo t h i n t h e Bod lei a n Li br a ry .

Two co p i es o f t h e twel ft h , 1 63 6 : t h e B ri t i sh Museum

Co p y , wi t h m ended l ea ves , bo ugh t fo r £1 1 4s , i n 1 8 2 9 ; .

a very m uch b et t er co p y , so l d i n 1 8 5 6 fo r £49 1 0s , t h e .

nex t y ea r fo r £5 6, a nd l a t er fo r $ 1 3 5 0 a nd i n 1 8 9 1 , fo r

$ 1 1 5 0 , a nd i s now i n t h e Li b r a ry o f M r M a rsden j Pe r ry
. .

o f Prov i d ence, R I . .

Two co p ies o f t h e t h i rt eent h , 1 675 One o f t h ese, h o w

.

ever , i s p r a ct i ca ll y no l o nger ex t a nt I t w a s m ent i o ned

.

’
i n t h e ca t a l o gue o f Ma l o ne s boo k s i n t h e B od l ei a n Li b ra ry ,
i n 1 8 3 6, a nd a l so i n i t s ca t a l o gues si nce t h en a nd a t t h e
p resent t i me, but wi t h o ut sh el f num b e r , a nd o n a ppl i ca t i o n
-

fo r i t fi rst by t h e C a mb r id ge ed i t o rs, i n 1 864, a nd a ga i n,

i n 1 9 0 5 by Lee, i t wa s
‘
i na ccess i bl e
’ ‘
I na ccessi bl e
.
’
t ra nsl a t ed i nt o Am er i ca n L i b ra ry t er m s wo ul d d e no t e,
’ ’
lo st o r st ol en Fo r t h e
und er such ci r cum s t a nces ,
‘ ‘
.

p resent , i t wo ul d a ppea r, a t a ny ra t e, t h a t t h e o t h er co p y
o f t h i s i ssue i s uni q ue It wa s so l d , i n 1 8 24, fo r £2 5 s
. .

6d , a nd i n 1 889 , fo r £1 4 1 0s
. It i s no w i n t h e po ssessio n
.

of Mr H C . . Fo l ger , jr , of New Y o r k
. . .

’
Ent r ies i n t h e St a t i o ner s Regi s t ers Sh ow a ssignm ent s
a ft er t h e p r i nt i ng o f 2Q a s fo ll o ws :
.

72
 E ARLY E D I TIONS

25 Jun!) [ 1 5 94]
Ma ster Ha rri so n Assi gned over unt o h i m from Ri ch a rd
seni o r F iel d i n O pen Court h o l den t h i s D a y a
d
boo k ca lled Venus a nd Ado ni s vj

Th e wh i ch wa s b efo re cut t ed t o Rich a rd

F iel d 1 8 Ap ri l i s 1 5 9 3 .

2S Jum J 1 [ 5 9 6]
Willi a m Lea ke . Ass i gned over unt o h i m fo r h i s CO p ie
fro m m a st er h a r r i so n t h elder , i n full
Co urt h o l den t h i s d a y by t h e sa id m ast er
h a r ri so ns co nsent A boo kc ca ll ed Ven s
a nd Ad o ni s
q
1 6
°
Feb r 61 6, a nno regi s 1 4 [ 1 61 7]
. 1
°

M r B a rret t
. . Ass igned over unt o h i m by M r Lea ke a nd .

by o r der o f a full Court e t h e ri gh t e i n Co p i es

fo llowi nge v i z Pa lm cr i n o f Engla nde 3 d
.

p a rt e Venus 81 Ado nis x i ii j

8
°
Ma rt rj 1 61 9 [ 1 620]
Pa rker Assigned h i m wit h t h e co nsent o f
over unt o

M r B a r ret t a nd o rder o f a full Court h o l den

.

t h i s d a y a ll h i s ri gh t i n t h ese o p i es fo lC
lowi nge viz Pa l m er i n o f Engl a nd 3 d p a r t e
.

” d
Venus 8c Ado ni s v iij vj

7
°
Mal l] [ 1 626]
j oh n : Ha v i l a nd Assi gned o ver unt o t h em by m a s t er
j oh n Wri gh t Pa r ker a nd by co nsent o f m a st er I s l i p
wa rden A b oo k e ca ll ed Venus a nd
d
Ado ni s vj

°
4 d i e Sep t em b r i s 1 63 8 [ 1 63 9 ]

M a st er jo h n Ent rcd fo r t h ei r Co p ies a cco rd i ng t o

Ha v i l a nd not e u nder t h e h a nde a nd Sca l e o f t h e
a nd jo h n s a i d M a s t er H a v i l a nd a nd sub scr i b ed b y

W ri gh t senior M a st er Mea d wa r den t h ese Co p i es a nd

p a rt es of Co p i es fo ll owi ng t h e sa m e b ei ng
73
 VE NUS AND ADONI S

th e p ro per Co p i es a ndp a rt s of Co p i es o f
th e sa i d M a st er Ha vi l a nd l
s a vo ju r e
cuiuscunq uc

Venus a nd Ado ni s

4
°
A p r i l i s 1 655
Will i a m Gi lbert s o n Assi gned o ver unt o h i m by Ed wa r d
Wr igh t Venus a nd Ado ni s .

74
 VE NUS AND ADONI S

’
of poet s, h i s ro m a nce j a ck Wi l to n, a l so t h e o p eni ng
’ ‘

a nd cl os i ng so nnet s o f h i s Poem T h e Ch oo si ng o f Va len

‘

’
t i nes a nd Flo ri o ded ica ted t o h i m h i s m o num ent a l I t a l i a n
’
,

Engl i sh D i ct io na ry, A Wo r l d o f Wo rdes , 1 5 9 8 Rowe

‘
.

reco rd s o n t h e a ut h o r i ty o f Si r Wi ll i a m D a vena nt t h a t t h e

Ea r l ga ve Sh a kespea re a t h o usa nd po und s t o ena bl e h i m

‘

t o go t h ro ugh wi t h a p urch a se wh i ch h e h ea rd h e h a d a
’ in e
m i nd t o . S c So ut h a m p t o n i s t h e o nl y p a t ro n o f
Sh a kespea re, p o si t ivel y k no wn, Lee (fro m wh ose a cco unt
i n t h e Di et Na t B io g t h i s o ne i s co ndensed ) a rgues t h a t
. . .

h e wa s t h e p a t ro n o f t h e So nnet s , a s well a s o f t h e p resent

’
poem a nd Lucrece, a nd t h a t i n a ge, a nd a ll o t h er ci r
‘

cum st a nces , t h i s h a nd som e bl ue eyed , a ub ur n h a i red so n o f

- -

p ro m ise best sui t s t h e req ui rements of t h e ca se Refusi ng.

’
t o m a r ry h i s G u a r d i a n s ch o i ce fo r h i m , L a dy El i za bet h
Vere, a nd ca r ryi ng o n a n a rdent a mo ur wi t h El iza
’ ’
bet h Verno n, a cousi n o f Essex s a nd o ne o f t h e Queen s
wa i t ing wo men, wh o m h e secret l y m a r ri ed i n 1 5 9 8 , sh o rt l y
C
b efore t h ei r h i l d wa s bo rn, h e b a rred h im sel f fro m ro ya l
fa vo r, a nd wa s for a t i m e i m p ri so ned . He d i st i ngui sh ed
h i msel f under Essex a t C a d iz a nd t h e Azores ( 1 5 9 6 81
i n I rel a nd i n 1 5 99 ; b ut wa s i m pl i ca t ed i n t h e t roubl es o f
Essex o n t h ei r ret urn . He t h en sent a m essa ge a nd fo rt y
s h i ll i ngs t o t h e G l o b e Pl a yers fo r a p ro d uct i o n o f Ri ch a rd
‘

’ ’
II , s h owi ng a k i ng s dep osi t io n Al t h o ugh , wi t h Es sex ,
.

a r rest ed a nd co nv i ct ed o f t rea so n, t h e dea t h p ena l t y w a s

co m m ut ed i n h is ca se t o l ife i m p r i so nment , a nd o n t h e

a ccess i o n o f j a mes h e wa s set fr ee, m a de a Kni gh t o f t h e

G a r t er , t e crea t ed Ea r l , a nd m a de C a p t a i n o f t h e I s l e o f
-

Wi gh t a nd lo rd l ieut ena nt o f Ha mp sh i re His favo r wi t h

.

t h e Queen i nfl uenced h i s fur t h er a dv a ncement unfa v o r

a bly , unt i l 1 6 1 9 wh en h e wa s m a d e a p r ivy co unci ll o r
, .

Mea nwh i l e b e d i st i nguis h ed h i m sel f a s a p i o neer in co l o ni

’
He eq ui pp ed c mout h s Vi rgi ni a ex p ed i t i o n,
za t i o n
.

wa s i nst rument a l i n send i ng o ut Hud so n, h i m sel f b eca m e

a m em b er o f t h e Vi r gi ni a a nd o f t h e Ea s t I nd i a co m

p a nics After beco m ing p ri vy co unci llo r h e cl a sh ed wi t h

.

76
 LITERARY I LLUS TR ATIONS
’
the Ki ng s fa vo r i t e, B ucki ngh a m a nd led i n t h e o pp o sit io n
,

t o bo t h B uck i ngh a m a nd B a co n a nd t o th e p o l i cy o f

j a m e s t o w a r d t h e e l e c t o r P a l a t i n e a nd P r i nc e ss E l i za b e t h .

He wa s a ga i n ( 1 62 1 ) i m p r i so ned . Al t h ough soo n rel ea sed ,

h e rem a i ned i r reco nci l a ble wi t h Co ur t p o l i ci es . I n 1 624

h e wi t h h i s el der so n led a t roo p o f Engl i sh v o l unt eers
a ll i ed wi t h t h e Net h erl a nd s . Th ere bo t h were st r i cken
wi t h fever a nd died . Hi s i nt erest i n Li t er a t ure wa s l i fe
l o ng He beq uea t h ed boo ks a nd M SS t o h i s co ll ege
. . .

1 0 .
g r aoer la bour : A c r i t i ci s m o f t h e p resent p oem a s
l i g h t seem s t o be i m pl ied Th e na t ure o f t h e gr a oer la bour
.

’
p ro m i sed h ere a nd t h e nex t yea r p ubl i sh ed i e Lucrece , . .
‘
,

a pp ea r s t o i ndi ca t e t h a t t h i s cr i t i ci s m wa s bo rn o f t h e
’ ’
po et s co nscio usness t h a t Venus a nd Ado ni s wa s O p en t o
‘

’
t h e o bj ect io n o f ov er sens uo usness Lucrece suppl e
‘
-
.

m e nts t h e fi rst poem a nd b y p ut t i ng em p h a si s up o n O p

p o s i t i o n t o l u, s t p o i n t s t o t h e c o ncl us i o n t h a t t h e i nt erest

o f t h e Poet i n t h e co m pl em ent a ry p i ct ur es h e p a i nt s wa s

p r i m a r i l y a r t i s t i c a n d o b je c t i v e .

1 1 .
fi r s t h e i r e: M a l o n e t oo k t h i s t o m ea n t h a t t h e p resent
’
p o e m w a s S h a k e s p e a r e s fi r s t l i t e r a ry co m p o s i t i o n H. a ll i
’
w ell co nst rues i t t o m ea n t h e fi rst co m pl et e wo r k recko n
‘
,

i ng o ut h i s a l t era t i o ns o f t h e d r a m a t i c i nvent io ns o f o t h er s
w h i ch a s ea r ly a s 1 5 9 2 h e i s k no wn t o h a ve been enga ged
‘
,
’ ’
t hi s b ei ng h i s fi r st o r i gi na l wo r k s t r i ct l y so ca ll ed
‘
on ,
-
.

’
M a lo ne s v iew p reva i led a mo ng t h e ea r l i er edi t o rs a nd led ,

t o t h e i nference t h a t t h e p oem wa s wr i t t en a s ea r l y a s 1 5 89 .

’
H a ll iwell s h a s p rev a i led a m o ng m o re m o der n ed i t o rs wh o ,

i nfer t h a t i t wa s co m po sed sh o rt l y befo re t h e i nscri p t io n t o

So ut h a m p t o n wa s v ent ured . D o wden suggest ed a t h i r d
v i ew t h a t set t i ng pl a y s a l t o get h er a p a r t wh i ch were no t
‘
, ,
’
lo o ked up o n a s l i t er a t u re i n a h i gh sense o f t h a t wo r d
, ,

t h e Poet ca ll s i t h i s fi rs t p o em b eca use h e h a d wr i t t en no

‘

’
e a r l i er na r ra t i ve o r l y ri ca l verse
‘
. Lee s a ys t h ese wo rds
ca n o nl y m ea n t h a t t h i s p oe m wa s h i s fi rst l i t er a ry desi gn
’
cert a i nl y fi rst t o be p ubl i s h ed . Th e d r i ft o f t h e wri t er
i s perh a p s r a t h er t o b e fel t t h a n p roved a s t h a t o f o ne wh o
, ,

77
 VENUS AND ADONI S

sh a red t h e l i tera ry p rej ud ices o f h i s t ime i n fa vo r o f mere

p oe t ry a s t h e h i gh es t t yp e o f a r t i s t i c crea t i o n H ence .
,

fo r h i m i t ma y h a ve seem ed t h a t t h i s p oet i c wo r k o f h i s
o wn ch o i ce d o ne up o n h i s o wn i ni t i a t i ve a l o ne co unt ed
, ,

as i nventi on, a nd wa s q ui t e t o b e d i st i nguish ed fro m t h e

p rescri bed d ra m a t i c wo r k fo r h i s Co m p a ny .

co r e : Pl o ugh : To ca re t h e La nd, t h a t h a t h so me
‘
1 4 .

’ ’
h O pe t o grow ( Rich II I II i i A s i lv er s a ucer
‘ ‘
. . . .

’ ’
wa s ca red up by a pl ough (H a rri so n s D escr i p t i o n of
‘

’
Engl a nd ,
1 8 . ex pecta ti on : Refer r i ng t o t h e unusua l p ro m i se of
y o u n g So u t h a m p t o n
. B e fo r e h e w a s e i gh t h e w a s m a d e
’
by h is fa t h er s d ea t h t h e h ea d o f h i s h ouse, a nd a t t h i s t i me
h e h a d no t yet rea ch ed h i s t went iet h b i rt h d a y . T h e p ro m
i se o f h i s p ra i ser i s now seen t o be fa r mo re rem a r k a bl e .

He h a d j ust rea ch ed h i s t h i r t iet h , b ut t h e bul k of a ll h e

d id wa s a h ea d o f h i m .

Venus a nd Ad oni s , 1 .
p p
u r le -
co lou r e d Th e re d d e n e d
l a venders O f t h e d a r k sky suffused wi t h t he fi rst a pp ro a ch
o f d a wn . Rea l i st i c effect a nd m yt h a re h a pp i l y bl end ed .

Auro ra begged Zeus t o gi ve i m m o r t a l i t y t o h er m o rt a l

l o ver wh o m sh e h a d sto l en fro m ea rt h But sh e fo r go t t o
.

a sk fo r et er na l yo ut h , a nd Ti t h o nus fo rever g rows a g ed i n

h er a rm s . So wi t h i mm o rt a l fresh ness d well s i m m o rt a l

Hor a ce, Odes 1 2 2 ; 2 ’
a ge (Ho m eri c Hy mn t o Venus
‘
. . .

M a rlowe h a s a si m i l a r i m a ge : Now h a d t h e m o rn
‘

es p ied h er l over s st eed s , Wh erea t sh e st a rt s , p ut s o n h er

’ ’
p urple weeds ( Hero a nd Lea nder, Seco nd Sest y a d ,
‘

87
2. weepi ng : Li t er a lly, a reference t o t h e m i st y o r sh o w
ery m o r ni ng ush er i ng i n a fa i r d a y ; fi gur a t i v ely , t o t h e

t ea rs o f Auro ra Auro r a h a l fe so fa i re h er sel f d i d never

‘
.

s h o w Wh en fro m o ld Ti t h o ns bed , s h ee weep i ng d i d a ri se

M ’ ’
(
‘
T h e M o u r n i ng u se o f T h c s ty les fo ll o w i ng
‘
A s t r o p h e
. l
Edi ti o n o f
’
3. R os e c h-
ee k t : S e e q u o t a t i o n fro m M a r l o w e s
‘
H e ro a nd
’
Lea nd er i n So urces .

78
 VE NUS AND ADONI S

has l
a ny a t er ed i t i o n fro m t h ence o n, i ncl udi ng
’
Lee s
res t o red it .Th e o m i ssio n d ue t o t h e ed i t o r s ,
no t t h e t ex t,
o cca sio ned cri t i ci s m Ma lo ne sa ys : We m igh t bet t er
.
‘

rea d (a s D r F a r m er o b ser ves t o m e) t h a n dov es a nd roses

.

a re . I t h i nk i t p ro b a ble, h owever, th a t fo r t h i s sl i gh t
’
i na ccur a cy t h e a ut h o r a nd no t t h e p r i nt er i s a nswer a bl e .

T h e nex t ed i t o r a ft er Ma lo ne, W C Oul t o n . . seizes

t h e ch a nce t o suppl em ent t h i s

’
I n a ll p ro b a b i l i t y , h e
‘
.

sa y s, i t wa s t h us wri t t en b y Sh a k esp ea re, a s m a ny g rea t er

‘

v i o l a t io ns o f d i ct i o n a pp ea r i n h i s wo r k s ; b ut let i t be

reme m b ered , t h a t w r i t er s o f h i s d a y were no t s uch ni ce

a d h erent s t o p ro p r iet y a s a t p resent

’
Unfo rt una t el y for.

t h e ed i t o rs , t h e p oet i s h ere t h e ni cer a d h erent t o p ro p ri ety .

1 1 . wi th heryelfe a t Jtr ife : Em ulo us o f o ut do i ng h er

sel f i h h i s crea t io n St eevens sa w i n t h i s d i fferent idea
.

t h e s a m e o ne a s t h a t o f t h e co nt es t b etween Na t u re a nd Ar t
’
ex p ressed i n Ty m I i 5 2 H i s i na ppl i ca bl e q uo t a t io n
‘
. . . .

h a s been co m mo nly rep ea t ed Na t ure is no t a t st r i fe wi t h

.

Art , h ere, b ut herselfe T h e i ll ust r a t io n a ppl ies, l a t er

.

(1 .

no fa m i r h
. a m id plentie : So C leo p a t ra , a s econd
Queen of Love, wa s sa i d t o m a ke h ungry Wh ere m o s t sh e
‘

’‘ ’
sa t i sfies ( Ant 81 Cleo I I 1 1 2 76
. . . .

26 id A f i g gn o f vi t a l fo rce
i P res
‘
.
p r es e n t : o r e ru nn n s .

’ ’
i dent a nd p recedent were no t d i st i ngui sh ed i n E l iza
‘

beth a n spell i ngs (see Lucrece, ’ ll fi

O ‘ h
‘
t e o nd s i n
t h e m o i st h a nd o f Desdemo na a n a r gum ent o f frui t fulnesse
’
a nd l i b er a l ] h ea r t II I i v .T h e soo t h s a y er
.

’ ’
( Ant 81 Cl eo I 1 1 5 3 ) t a kes a n o i ly p a l m t o be a fr uit
‘ ‘
. . . .

’
full P g r o n os t i ca t i o n And com p a re, h ere, 11 1 42 1 44
.
—
. .

3 5 3 6 fier dey i er : Th ese wo rd s were m ea nt t o be

—
.

p ro nounced i n t wo syll a bles ; t h e repea t ed m od i fi ca t i o n

o f t h e rh yt h m b y t h e i nt ro d uct i o n a t i nt erv a l s o f do u bl e

r h ym es a nd wea k endi ng sy ll a bl es , es p eci a ll y a t t h e co upl e t ,

m a kes t h i s cl ea r l y a pl a n o f t h e Poet H i s ed it o r s a nd .

even h i s rep r i nt ers , h owever , h a ve not p er m i t t ed h i m t o

ret a i n t h i s l i nger i ng ca d ence ; a nd i n t h e C h a ts wo r t h

80
 LI TERARY I LLUS TRATIONS
Co ll ot yp e fa csi m i l e, fier a nd des ier a re l i st ed by Lee a m o ng
t h e ca rel ess di s crep a nci es wh i ch ch a r a ct er ize t h e sp ell i ng
‘

o f co mm o n wo rd s ,
’
a nd cons t i t ut e a
‘
seri o us awfl ’i
n the
t ex t Wh ere t h e si ngle rh yme i s wa nt ed , e g ll 3 86 3 88 ,
. . . .
—

49 4 49 6, t h e usua l spell i ng i s gi ven, co nfi rm i ng t h e i nt en

-

t io na lness o f t h e doubl e r h ym e a nd s p ell i ng h ere .

3 7 Jtudded : St udded wi t h gl i st eni ng p o i nt s o f m et a l o r

.

gem s We a re led t o i m a gine no o rd i na ry h o rse h a rness

. .

39 s ta lled : Pro no unced i n t wo sy ll a bl es

. .

’
hea res : Go l d i ng rep ea t ed l y spell s h a i r, h ea re
‘
52 .

’
ei t h er wh en rh ym i ng wi t h
‘
bea re, o r by i t sel f (see Th e ‘

’
Tent h B oo ke, 11 1 09 , 1 1 0,
. Sp enser , l i ke Sh a kes p ea re,
’
usu a ll y sp ell s i n sy m p a t h y wi t h h i s r h ym e, e g fa i re,
‘
. .

’‘ ’ ’‘ ’
h a i re, t ea re, h ea re ( F a erie Queene, Bk i i i C a nt o x i i
‘
. . .

St a nzas x iv , Sh a kespea re not a l o ne h ere, t a k i ng,

’
a s M a l o ne p ut s i t , a l i bert y fo r t h e sa ke of rh ym i ng wi t h
‘

tea r ex, b ut rep ea t ed l y (ll 1 47, 1 45 , 1 9 1 , 1 9 2 ) i n Lucrece

‘ ’
.

(11 1 1 3 0 ,
. h um o rs sp ell ing t o sui t rh y m e, wh i le h ere
’
( ll 48 7, a nd i n Lucrece (11 400, 9 8 1 ) h e uses t h e
‘
. .

’
s pell i ng h a i re wh en t h ere i s no q uest i o n o f m a t ch ing t h e
‘

r h y m e, t h us a ssur i ng t h e co ncl us i o n t h a t t h e El i za be t h a n

s pell i ng o f t h e m o st a r t i st i c p oet s i s, a l t h ough m o re v a r i

a bl e t h a n m od er n spe ll i ng, cl ea r l y no t t h e res ul t o f s h eer

ca reless ness a nd h a p h a za r d .

5 2 fa n a nd blow : Sh a kesp ea re p ut s m o re cl ea rl y wh a t
.

’ ’
s eem s t o be Sp enser s m ea ning i n As t ro p h el (1 1 1 75 1 8 2 )
‘ —
.

‘
Her yellow locks t h a t sh o ne so b r i gh t a nd l o ng, Sh e fier sly
t o re And h er fa i re b rest t h e t h rea sury o f jo y Sh e spo y ld
t h ereo f, a nd filled wi t h a nnoy . H i s p a lled fa ce i m p i ct ured
w i t h d ea t h , Sh e b a t h ed o ft wi t h t ea res a nd d r ied o ft
’
.

53 m i n e: Used a s a noun fo r fa ul t i ness

. M a lo ne
.

ci ted
‘
s a l v i ng t h y a m i sse
’ xxx v
. a nd
‘
Pa le b y
’ ’ ‘
m y loo kes t o wi t ness m y a m i sse (Ly ly s Wo m a n i n t h e
’
M oo ne, Acco rd i ngly M a l o ne t oo k t h i s fo r a co n
t r a ct io n o f a m i n e a nd m o derni zed t o
" m i ss
’
. Ed i t o r s
g e n e ra ll y c i t e t h e sa m e i ll us t r a t i o.n s W y nd h a m , h o w e v er ,
’‘ ’
referri ng t o Mi ns h eu s Gui de i nt o To ngues, wh i ch gi ves

81
 VENUS AND AD ONI S

’
m isse o r erre , co rre ctly t a kes m i sse t o be t h e no un
‘
to
d eri ved fro m t h i s ver b , wh i ch h e ca ll s o b so let e
‘ ’
But .

wh y ? Do we no t h ea r t h e no un ever y d a y i n a l m o s t a ny
’
m f fa ul t Ro l fe a l so p ro t est s : I t i s no t a co n
‘ ‘
g a e o r a .

’
t r a ct i o n o f a m i sse Nei t h er , we m a y a dd , i s i t o b so let e
‘
. .

’
An yuch e i n a mi sse i s a s goo d a s a n ell (C a m d en Re
‘

m a i ns , 1 6 1 4) i s ext a nt i n A m i s s i s a s goo d a s a m i l e
‘ ’
In .

t h e se nse o f a w ro ng do i ng t h e New Engl is h D i ct i o na ry

ci t es
‘
A ne o ul d e wo m a n t h a t i s Li ch e rus wy l no t lefh i r m ys ’

( 1 5 00 Berna rd de cur a rei i n t h e sense o f fa ul t

‘
.

o r d e fect D efer no t ( mo s t d ea re So ver a i ne) t h e re fo r m a

‘
.

’
t io n o f t h ys m i sse ( 1 5 46 Suppl i ca t io n Poo re
.

Wi t h o ut a nie gret m isse i n t h e h a rd es t po i nts ( 1 5 68 .

’
Asch a m Sch o le m a st e r , II
‘
. .

’
5 4 m ur ther s : Co rr up t ed t o s m o t h ers fi rs t i n 5 Q a nd
‘
. .

re pea t ed i n t h e Li nt o t t , G i l d o n, D a r b y , Sewell , Ev a ns , a nd

J ef fery ed it io ns , a nd t h ence o n Th e o ri gi na l t ex t wa s .

’
m ur d ers b y M a
res t o red , a l t h o ugh t h en m od ernized t o
‘

lo ne, wh en edi t ing t h e poem , fo r t h e seco nd t i me , i n 1 79 0 ‘

He q uo t ed a p t l y : M urt h er t h y b rea t h i n m idd l e o f a wo rd

‘ ’
’ ’
( Rich III II I v Oulto n s , t h e fi rs t Am eri ca n a nd
‘
. . . .

’
seco nd a nd t h i rd B os t o n ed i t io ns , a nd C h a l m er s re t a i ned

t h e co r ru p t io n, a nd no t unt i l t h e repet i t io n o f t h e co rre ct i o n

i n Va rio rum o f 1 8 2 1 ca n t h e o r i gi na l t ex t be s a i d t o be
’
reés t a b li sh ed Sm o t h e rs wa s used , l a t er, i n t h e fi rst
‘
.

New Yo r k ed i t io n, a nd b y H a zl i t t G r a nt h i t e went
. W
fu rt h er t h a n Ma lo ne a nd ga ve t h e m o re poe t i c a nd eu
p h o n i o u s w o r d o f t h e o r i g i na l m ur th er s .

5 5 .em pt i e E a g le : T h e s a m e fi gure o f a fa s t i ng Ea g l e,

ea ger t o t ea r i t s p rey wi t h i t s be a k , bel o ngs t o t wo P l a y s

2 Hen VI
’
I II i 2 5 9 , 3 Hen VI I i
’
o f t h i s t im e
‘ ‘
. . . . . . . .

—
3 0 1 3 02 .

61 . Fo rced t o co nt ent h er a l t h o ugh h i m se l f

content : ,
’
t a ki ng no a ct i ve p a rt t h e p r o no un h er b ei ng und er s t o o d
‘
, .

M a l o ne i nt erp ret ed t o t h e sa m e effect t i ll t h e ev i l m i nd ed ,

-

St eevens pl a yi ng o n t h e wo rd i n t h e sense o f ent i rel y sa t i s

,

fyi ng o bj ect ed : I t i s pla in t h a t Venus wa s no t s o ea s i l y

‘
,

82
 VE NUS AND AD ONI S

71 . k
r a n e: Ma lo ne fi rst ci t ed , a p t l y, t h e use of r a nk ‘

’ wi t h t h e i m pl ied sense o f a v io l ent excess :

‘
l i ke a
ness
ret i red Fl ood , Le a v i ng o ur r a nk nesse a nd i r regula r
’
V iv 5 7 Co ll ier q uo t ed : F et ch ing
‘
co urse, . .

’ ’ ’
full t i des, l ux ur io us, hi gh , a nd r a nk (D ra yt o n s B a ro ns
‘

’Bk
Wa rs, .

78 best : All t h e ei gh t eent h cent ury edi ti o ns u p t o

.

’ ’
Ma lo ne s fi rst a gree i n co r rup t i ng t h i s t o
‘
b rea st ,
fo llo wi ng t h e er ro r fi rst m a d e i n H Q a nd m a k i ng m o re
.

s i ng ul a r t h e l onel y co r rect io n t o best i n t h e ef J

fery ed i t io n .

Th e fi rst Ameri ca n edi t io n k new no t M a lo ne, a pp a rent l y,

s i nce h ere a ga i n i t rep ri nt s a co r r up t i o n Oul t o n i s wil
.

fully i nco r r igi ble He no t es : I n t h e ed i t i on o f 1 5 9 6 it

‘
.

’
is h er best i s b et t er d ; wh i ch , a s Sh a kes pea re wa s fo nd o f
pl a yi ng upo n wo r ds , wa s, I d oub t no t , t h e wa y h e wro t e it .
’
He t h en uses h i s ed i t or i a l t a st e t o p refer th e co r ru p t ion
’ ‘ ’
i nst ea d o f t h e Poet s wa y o f wr i t i ng .

86 d i ve da pper : Knigh t ca ll s t h i s t h e poet i ca l na m e o f

.

B Fl et ch er s ’
t h e d a b ch i ck a nd q u o t es ea um o nt a nd
’ ‘ h m i ser o f m a n m a fi
‘
Wom a n Ha t er : T e y y t ly b e co m

p a red to a di d a pper, wh o , wh en sh e i s under wa t er p a st

-

o ur s i gh t , r i ses a ga i n, s h a kes b ut h ersel f a nd i s t h e

’ H a ll iwell sh o ws t h a t i t wa s a n o ld fo l k
sa me sh e wa s .

na me fo r t h i s l i t t l e wa t er b i r d , wh o se h a b i ts a re so gr a p h i
-

ca ll y m a de use o f t o s h ow h o w Ado ni s r a i s ed a nd d uck ed

He ci t es : A d a b ch ick, a di d a pper, o r d o uck e r
‘ ’
h is ch i n .
- -

’
K l ssa ry M S L a nsd a nd So m e fo l k y s
‘
( e nn e t t s G o . .

’
ca l h er a d yve d a pp er o r a do pp e ch yck ( D i a lo gues o f
‘

He a dds t h a t i t i s st i ll a co m m o n
‘
Crea t ures
’
b i rd i n Engl a nd , a nd, i n Sh a kes pea re s t i me, wh en th ere
were so m a ny m o re r eed y p ieces o f wa t er , must h a ve been
’
ex t remel y so . I t i s k nown a s t h e l i t t l e grebe (P od i ceps
mi nor ) .

9 0. w i n /es : A w o r d gi vi ng t h e v ery l oo k of t h e q ui ck
wi nc e a n d t u r n a s i d e o f t h e gl a nce
.

b a t h es : I n t h e r a i n o f h er t ea rs (11 8 2
94 .
.

w T h w i ng o f Venus b y Ma rs i s
9 8.
g o d o f a rr e : e oo

84
 LI TERARY I LLUS TRATIONS
to ld by Ovi d Bk . iv ) , a nd by Ho m er
Bk .

’
Th e ch a nge t o m a de i n t h e ed i t i o n o f
‘
1 06. toy : coy
1 5 9 6 i s a co rr up t io n fo ll owed uni ver sa ll y, unt i l t h e Va r i
o ru m o f 1 8 2 1 , wh erei n M a lo ne h a d rest o red t h e o r i gi na l

wo rd .

1 1 0 r ed r os e ch a i ne :
. Th e Poet a ppl ies t o Venus a nd
M a rs a n i m a ge a ppl ied by Ro nsa rd t o t h e Muses a nd Cup i d :
‘
Les Muses li er ent a n jour De ch a i nes de r oses , Amour ’
’
Bk iv 2 3 , a p a ra p h ra se o f Ana creo n s Ode, x ix )
. . .

T r a nsl a t io ns o f Ro nsa rd a re co m pl a i ned o f by Put t enh a m

i n 1 5 89 : F i nd i ng
‘
Pynda r us a nd Ana cr eons Odes
v ery well t ra nsl a t ed b y Rouns a rd , o ur m i nio n t ra ns
’
l a t es t h e sa m e o ut of F rench i nt o Engl ish ( Art e o f Eng ‘

l ish ‘
Rons a rd t r a velled i n Engl a nd Queen .

El i za bet h ga ve h i m a d i a m o nd , co m p a ri ng i t s wa t er t o t h e
p uri t y of h is ver se ( yndh a m ) W .

1 20 eyes i n eyes : Th i s t ell s t h e st a ge b us i ness, s k i l full y ,

.

a s so o ft en i n t h e Pl a ys .Th e p reced i ng l i nes p ut befo re

us t h e p i ct ur e o f t h e do wn loo k i ng b o y a nd t h en t h e ch a nge
-

o f po st ure, s h o wi ng t h a t h e h a d o b eyed t h e co mm a nd o f

t h e go ddes s Th ey were no w fa ce t o fa ce pl ungi ng t h ei r

.

’
g l a n ce s i nt o e a c h o t h er s ey es H er s s.u re l y wer e n o t
d roo p i ng o r p a ssi ve, h ence t h e fi t ness o f i n It wa s co r
.

’
r up t ed t o fo llo wi ng Q, i n a ll ed i t io ns unt i l t h a t o f
‘
o n,
’
Ha zl i t t , l a t er, ga ve o n, b ut a s h e a l so p ers i st ed i n
‘
1 82 1 .

’ ’
t h e co rrup t i o ns coy fo r toy (l 1 06) a nd s mo t h ers fo r
‘ ‘
.

murther (l . i t m a y be co ncl uded t h a t h e used o ne o f

t h e ea r l i er v er sio ns t o p r i nt fro m , a nd ed i t ed ca rel ess l y .

1 25 blew vei nd : Ba r nfield uses t h e sa m e a dj ect i ve fo r

.
-

t h e Vio l et , i n t h e nex t yea r ( 1 5 9 4) i n h i s Afiect io na t e

‘

’
Sh ep h erd .

1 26 nor
. not : Th e do ubl e nega t i v e d i st ur b ed t h e
sense o f g ra m m a t i ca l p ro p r i et y a s ea r l y a s 1 600 , fo r t h en, a s
’
Ma lo ne not ed , t h e l i ne wa s ch a nged t o no r know t h ey
‘
.

1 30 Bea uti e
. wa sted : La t er th i s do ct r i ne i s a m
pli fied (ll 1 63 .

85
 VENUS AND ADONI S

’
1 i n li ttle ti me : Ro nsa r d s ex p ress io n o f t h i s fi gure
3 2.
m uch used b y p oet s o f t h e Rena i ssa nce clo sel y a pp ro a ch es
’ ‘ ’
Sh a kespea re s vo s b ea ut ez, b i en q u ell es so ient fieu r ies,

En peu de t em p s sero nt t o ut es fia i t r ies, Et , com m e eurs,

’
fl
peri ro nt .

’
1 33 ha rd fa vour d : Li t er a ll y , una t t ra ct i ve, t h a t i s, wi t h
.

a fa v our o r l oo k t h a t i s fo r b id d i ng , h ence ugl y .

1 35 r euma ti q ue : St res sed o n t h e fi r st sy ll a bl e b y Sh a k e

.

s p ea re, a s i t st i ll i s b y o ld cro nes i n t h e co unt ry Th at

‘
.

’ ‘ i s ’
Rh eum a t i cke d i sea ses doe a bo und ( M d Ni gh t D r II . . .

i.

1 40 r
g y
. e : C o m p a re w i t h l
.
4 8 2. E y es g y
r e o r bl u e a r e

freq uent ly ei th er o ne o r t h e ot h er a cco rdi ng t o t h e l i gh t

o r t h e i nt ensi ty o f feel i ng ex p ressed i n t h e gl a nce .

1 45 i nch oa nt : T h e v er se i s lov el ier i f t h e p ro nunci a t io n

.

s ui t t h e s p ell i ng Hence i t s h o ul d be a ssum ed t h a t t h e

.

Poet h a s b y t h e sp ell i ng i nd i ca t ed t h e so und d es i red .

I nch a nti ng, l a t er (1 . ferent sense, t h a t o f

su i t s t h e d i f

a sp ell or ch a r m , i ns t ea d o f a so ng, a s h ere, a nd ca ll i ng fo r

a co rrespo nd i ng p ro nunci a t i o n . Th e m od ernized tex t s

sp ell b o t h a l i k e Lee l i st s i ncho a nt a nd i nch a nti ng a mo ng
.

’ ’
t h e ca rel ess d i s crep a nci es o f t h e Poet s s p ell i ng Th ey
‘
.

a re, o n t h e co nt ra ry , a m o ng t h e ca reful di s t i nct i o ns .

no footi ng s eene : Elves t h a t o n t h e sa nd s wi th

‘
1 48 .

p r i nt lesse foo t e D oe ch a se t h e ebb i ng

-
N ep tu n e, a nd d oe
’ ’
fiie h i m Wh en h e co mes b a cke ( Th e Tem p V i 40
‘
. . .

T h o u m ust h a v e wo rd s co mp a ct o f fire
‘
1 49 com pa ct :
.

’ ‘
T h e F rench m a n i s wh o ll y
a nd r a ge
’ ’‘ i
co m p a ct o f d ecei v a bl e co urt s h i p (Na sh e s P erce Penni

1 54 . Co r rup t ed fi rst i n t h e M a lo ne Va rio rum ,

ti ll :
whi ch rea d s t o
‘ ’ Kni gh t a nd B a rry Co rnwa ll fo llo wed
. .

Co ll ier res t o red ti ll .

’
Po ssi bl y l eft wit h o ut t h e end i ng st , fo r
‘
1 56 s hould :
.

’ ’
eup h o ny s s a ke Co m i ng next i nt o t ouch wi t h t h o f
‘
.

’ ’ ’
th i nbe, sh o ul d st i s l ess smoo t h t h a n sh o ul d (see foo t
‘ ‘

no t e, p .

86
 VE NUS AND ADONI S

1 67 bea uty breedeth : Co m p a re with t h i s a rgum ent i n

.

t h ese s t a nza s t h e So nnets 1 1 7, esp eci a ll y 4, a l so Ro m

— ‘
.

’I i
8c Jul . 2 23 2 2 8
. .
-
.

1 73 i n spi te of: Cert a i nly i t i s m a rt i net izi ng t oo fa r

.

’
t o co unt i t , a s Lee d oes , a ca r eles s di screp a ncy t o use i n
‘

’
s pi te of h ere a nd des pi gh t of i n l 75 7 Th e Poet s ca r h a s
. .

ch o sen r i gh t l y i n bo t h ca ses , a nd a s i n s pi te (l 1 73 ) a nd .

spi ght (l . s pi te i s fit ly a sso ci a t ed wi t h th e m a l i ci o us

s p i t e o f D ea t h .

1 77 Ti ta n : Th e ch a ri o t eer o f t h e Sun, Hyp er i o n, wa s

.

a Ti t a n Th e sun i s freq uent l y so ca lled by Sh a k es pea re

. .

’
Let T i t a n ri se a s ea r l y a s h e d a re ( T ro 8cC res V x
‘
. . . .

’ II I v a nd as
co m m o n ki ss i ng Ti t a n
‘
-
. .

’
t h e ch a ri o t eer i n Ro m 8cJ
‘
ul II i ii 5
. . Boswell ex p resses
. . .

’
t h e ex t ra o rd i na ry i d ea t h a t T i t a n ti r ed i s Ti t a n a t t i red ,
‘

a nd t h i s i s co m m o nl y r ep ea t ed b y l a t er ed i t o rs Surel y .

’
t i re d (t h e t i m e o f t wo sy ll a bles i s req ui si t e fo r t h e l i ne)
‘

h ere mea ns t h a t t h e v ery sun go d wa s wea ry wi t h t h e

-

noo n h ea t , i m p a t i ent wi t h h i s t a s k , a nd rea dy t o a b a ndo n i t

’
fo r Venus s sa ke .

1 81 s pr i te : Lee rega rd s t h e sp ell i ng o f s pr i te h ere, a nd

.

s pi r i t i n l 88 2 , a s d ue t o ca rel essness
. I t woul d ra t h er
.

seem t o be d ue t o a n i nst i nct i ve ni cet y i n sui t i ng so und a nd

sense a nd co nv ey i ng t h em t o t h e eye Th e ca reless ness o f

.

’
t h e m od ernizers i n s p ell i ng s pr i te, s p r i gh t , seem s t o be
‘

’
m o re o bv i o us t h a n t h e Poet s ca relessness .

1 84 1 8 5
—
Li kd . So wr i ng : Two a pp a rent m i s p r i nt s .

Th e l a t t er i s d ue m erel y t o a n i nt er l o p i ng q ua d b et ween t h e
’ ’ ‘ ow ’i ‘ ’
o a nd w, a s s ri ng n Lucrece (l 69 9 ) cl ea r l y s h o ws
‘ ‘
. .

’ ’
unki nde : M i l t o n s D o ct r i ne o f D iv o r ce i s q uo t ed
‘
1 87 .

b y Kni gh t a s a ffo r d ing t h e s a m e sense o f t h e wo r d : Th e

‘

d es i re a nd l o ngi ng t o p ut o ff a n unk i nd ly so li t a ri ness by

u ni t i ng a no t h er b o d y , b ut no t wi t h o ut a fit so ul , t o h i s ,
i n t h e ch eer ful so ci et y o f wed l o ck ’
Com p a re unki nd
.

(l. On t h i s Wy nd h a m h a s a n ex cell ent no t e, b eg in

ni ng wi t h M a l o ne s
’
Th a t i s , unna t u ra l Ki nd a nd .

na t ure were fo r mer l y sy no ny mo us

”
MALONE. s p el t

88
 LI TERARY I LLUSTRATIONS

unk i nd e, l . 871 wh i l s t h ere [L 204] we h a ve unki nd, a l

t h o ugh r h ym i ng t o mi nde . I a m persua ded by t h e sense o f
t h e coupl et a nd s p eci a lly by t h e but, t h a t t h e wo rd i s
no t t h e a dj ect ive, b ut a p a s t p a r t i ci pl e, wh i ch woul d now
b e Sp el t unbi nned , wi t h o ut o ffsp r i ng . Th e Poet p ro b
a bl y pl a yed o n t h e d oubl e m ea ni ng Cf Ha m l et : A
‘
. .

l i t t le m o re t h a n ki n a nd less t h a n ki nd ’
.

2 05 20 7
-
. thi s a lei s : Th i s k i nd ness St ecvcns a nd
.

I OQ , wo ul d sp o i l i t , by ch a ngi ng t o
.
‘
t h us
’ Th e rh ym e
.

wi t h lei s h as i nfl uenced t h e sp ell i ng o f t h e l a t t er wo rd , a s,

l a t er, in rh ym i ng ll 5 3 6 a nd 5 3 8
. .

21 1. li velesse : No t q ui t e t h e sa m e a s l ifel ess (See foo t

‘ ’
no t e, p . Mea nt fo r wi t h out a l iveness
‘ ’ .

21 3. Sta tii e : A wo rd t h en recent ly int rod uced I t is .

i t a l i ci zed i n Sonn 1 5 5
‘ ’. . . Th e m a rk over t h e u seem s
‘ ’
’
m ea nt not t o d i vi de t h a t fro m t h e e, but t o d eno t e a st ro ng
‘

st r es s, m a k i ng t h e wo rd a spo nd ee .

i ntendments : But I , sp yi ng h i s i nt endm ent s di s

‘
2 22.

’
ch a r g d m y p et ro nel i nt o h i s bo so m ( o nson s Every Ma n J ’ ‘

’
i n h i s Humour ) I : a nd sa i d no t h i ng b ut wh a t I p ro t est i n
‘

t end m ent o f do i ng
’ IV i i . .

2 29. F ondli ng : Fo nd l i ng h i m , sh e sp ea k s, Si nce, et c ‘ ’ .

W y n dh a m p o i nt s o ut t h a t t h e C a m b r i d g e t ex t er r s i n
q uo t i ng Fondli ng, a s i f i t were a t erm o f end ea r ment .

23 0. i vor i e pa le : Th e enclo sure o f h er ivo ry a rm s,

locked round h i m by h er i nt er l a ced fi ngers.
23 6. bottome gr a ss : So t h e l uxur i a nt gr a ss growi ng i n
a v a ll ey i s ca ll ed .

r owse : You sh a ll sa y uh k ennell t h e Fox e, Rowse

‘
2 40.
-

t h e H a rt , Bowlt t h e Co ni e
’
Th ese a pt t ermes o f Hunt
‘
.

’ ’
i ng a re giv en i n Guillim s A D i spl a y o f Her a ld r ie, Enl a rged
‘

b y t h e Aut h o r h im selfe i n h i s l ifet im e : Toget h er wi t h h i s

o wne Add i t io n o f ex pl a i ni ng t h e Term es of Ha wki ng a nd
’
Hunt ing (2 d ed i t ion, 1 63 2 , ci t ed by W
ynd h a m ) .

2 43. if h i ms elfe : So t h a t i f h e h i m sel f, et c .

2 5 7 . r emors e: I n t h e sense of rel ent i ng h i s fo rmer h a rsh

ness .

89
 VENUS AND ADONI S

2 60. J en na : B lu nd e v i ll i n h i s b oo k o n
‘
Th e fo ure
Ch iefy s t o fficer belo ngyng t o Ho rsem a ns h i ppe ( 1 5 65 , 1 5 80)
enumera t es a mo ng t h e v a r i o us k i nd s o f h o rses h o m e b red

o r i m po rt ed a t t h i s t im e, t h e
‘
J
ennet o f Sp a i ne
’
.

bea r i ng ea r th : Th inko wh en we t a l k e o f Ho rses,

‘
2 67 .

’ ’
t h a t yo u see t h em , Pr i nt ing t h ei r p rowd Hoo fes i t h t e
’‘ ’
ce i vi ng Ea rt h ( Hen V Pro l 2 7 . . .

’
co mpos t : Arch ed o r cur ved ; Sh e ca m e t o h i m t h
‘
2 72 .

’
o t h e r d a y i nt o t h e co m p a s t wi nd ow [t h e bo w wi nd ow]
’
(
‘
T ro .G t C res .I 1 1
. 1 1 1 . Th e h a i r s o f h i s m a ne,
s t a ndi ng o n end upo n hi s neck , being used i n t h e pl ura l , t h e

2 75 .
f
s cor n ully g l i ste rs : A n i nvers ion i n met r e, t o be
st ressed scor nfii lly gl i s t ers .

’
2 79 . lea ps : I n Sh a k es pea re s t i m e sa i d t o b e p ro no u nced
’ ‘ ’ ’
‘
lep. B urning a ll wi t h r a ge He to h i m lep t (Sp enser s
’
‘
Fa erie Queene, Bk i ca nt o iv st a nza xxx ix )
. . . .

’ ’
2 8 4. holIa : Mea ni ng Ha l t , ho lei (F rench , t h ere ) or
‘ ‘
-

’
wh oa , t h ere, a s Co t gra v e s F rench D i ct i o na ry s h ows
‘
Ho l a , i nt erj ect i o n Eno ugh , so ft , so ft ; no m o r e o f t h a t
.

’
if yo u l ov e me .

2 85 .
pr i cki ng spurre : Pecul i a r ly a pp ro p r i a t e a s a ppl i ed
t o t h e Ro m a n s p ur , a cco r di ng t o F a i r h o lt , q uo t ed b y H a ll i
well It wa s never m a d e wi t h a rowel , b ut si m ply : wi t h
‘
.

’
a s i ngl e go a d . A cut i s gi ven sh o wi ng t h i s pr i cki ng s purr e
a s i ll us t r a t ed b y a p a i r o f Ro m a n s p ur s fro m t h e M useo

B o r bo nico a t Na ples .

29 1 . Ar t a t s tr ife : See p reced i ng No t e o n I 1 1 . .

Round hooft, et c : I n t h e ch a p t er ent i t l ed Wh a t

‘
29 5 .
-
.

’ ‘ a i st e r
s h a p e a goo d h o r se o ugh t t o h a ve in M Thom as
’
Blundev ill h i s bo ke o n h o rsem a ns h i ppe ( 1 5 80 ) h i s p o i nt s
’
a re gi ven i n a greement wi t h Sh a kes p ea re s wo r d s t h us , a s

ci t ed b y M a dd en : Ro und h oo fe ; p a st er ns sh o rt ; h i s
‘

j o int s grea t wi t h l o ng fea wter lo cks beh i nd wh i ch is a s i gne

o f force ; h i s b r ea s t l a r ge a nd r o und ; h i s eyes grea t ; h i s

j a w e s s l en d er a nd l e a n o ; h i s no s t r i l s so o p en a nd p uf
f ed up

a s yo u m a y see t h e rea d wi t h i n, 0 p t e t o recei ve a i re ; h i s

90
 VE NUS AND AD ONI S

the Ro ma ns fro m G reece wa s t h e o nl y fo rm a do p ted

i n bo t h co unt r ies b y t r a veller s ; h ence i t wa s co nv ent io na lly
used b y t h ei r a rt ist s t o i nd i ca t e a p er so n o n a j o urney ;
a nd i s a l wa ys wo r n b y Mercur y a s messenger t o t h e god s .

I n t h e Pa na t h ena i c p rocessio n fro m t h e Pa rt h eno n, now

i n t h e B r i t i sh M useum , t h e h o rsem en occa sio na lly wea r t h e
’
Pet a sus, secured below t h e ch i n b y a b a nd .

359 3
-
6 0. d u m b e p yla C h o r u s-
li k e: T h e P a n t o m i m e

o p eni ng t h e Pl a y fo und i t s co mm ent i n t h e Ch o r us ,

t h e a ssem bl y o f h er t ea rs .

3 63 . A li lli e i n a ga i le, et c : I n li qui d i s tr a nslucet

.

a qui s , ut ebur ns ea s i qui s Si gna tega t cla ro, vel ca nd i d a lili a ,

’
vi tr o In t h e t ra ns p a rent wa t er , t h e bo y s wh i t e b od y
‘
.

sh i nes l ik e i m a ges o f i vo ry o r wh i t e l i l i es enca s ed i n cl ea r

l ’ O d M ’
O G l d i
( i i
‘
g a s s v , e t
. v.
354 r a s o ng t r a n s

l a t es t hi s p a ssa ge, descri b i ng h ow t h e fa i r, d i sd a infu l b o y

wi t h wh o m t h e nym p h Sa l m a ci s fell i n l ove, swa m i n h er
s i gh t i n a goo d l y p oo l : i n t h e wa t er clea re h i s bo d i e
‘

fa i re a nd wh i t e do t h gli st r i ngly a p p ea re, As i f a m a n a n

Ivori e I m a ge o r a Li ll i e wh i t e s h o ul d o ver l a y o r cl o se wi t h
’
g l a s s e t h a t w e r e m o s t p u re a n d w h i t e
.

h h i h l ’ b w
i S w T
‘
6
3 7 .e n g n : ee t o u c t e e n g n t a t o v e s o
’ ’
d o t h bend (Ov i d , B a nq uet o f Sence, t r a ns by C h a p
‘
.

ma n . A fa vo ri t e t erm i n t h e younger wo r k o f
’
Sh a kesp ea re : 0 t h a t d el i gh t ful ] engi ne o f h er t h o ugh t s
‘

’
( T i A d III i
‘
t . n . . .

397 n k d b d A p h a se p e ser v i n g t h e c o m m o n cus

j
. a e e : r r

t o m i n Engl a nd fro m t h e t h i rt eent h t o t h e fi ft ee nt h cen

t uri es t o sl eep wi t h out a ny clo t h i ng I n st ret ch y ng fo r t h
‘
.

’ ‘ ’
m y slo ut h full li mm es a m i d m y na ked b ed ( G r a nge s
’1 H ll ll J d
G a rden, i d b i w )
‘
5 77 , c t e y a e ; e n n y e v e r u s e t o
’ ’‘
lye na ked a s i s t h e use o f a num b er (Ar m i n s Nes t o f
’
‘
Wh en i n m y na ked b ed m y l i m bs I la y
(
‘
M i r r o r f o r S ee D a t e o f C o m p o si t i o n
.

4 1 2 .M y l o ve, e t c
. M y l o v e t o w a r d l o v e i s o n l y t h e l o v e

I h av e o f sco rni ng l ov e .

2
4 4 .a lla r m e s : T h e c a r e o f a s p a i n s t a ki n g a n e d i t o r a s

92
 LI TERARY I LLUSTRATI ONS

M a lo ne even is no t eno ugh top revent corrup t ion

in a
m o der nized t ex t Thi s i s . ex em pl i fi ed i n t h e fa ct
t h at
‘
a l a rm
’ wa s sub st i t ut ed fo r alla r mes i n a ll t h ree o f h i s
ed i t io ns , a s i n a ll o t h ers fro m 5 0 o n Co ll ier fi rst ch a nged
. .

a l a rm s
’ ’
to
‘
Ha zl i t t kep t a l a rm b ut ga ve a foo t no t e
.
‘

ex pl a i ning t h e m et a p h o r :
‘
Al a rum ; t rum p et sum mo ns ’
.

But t h is sense a ppl ies bet t er t o t h e Poet s o wn wo rd , used

’
i n th e pl ur a l ‘
Be rea d ie t o d i rect t h ese h o me Al a rmes
.
’
’
( Ri ch II I i
‘
. . . .

ma r ma i des voi ce: Th e m er m a yd en h ygh t e Si rena

‘
4 29.

i s a sea bea st e wo nderl y s h o p e a nd d ra wet h s h yp m en t o

ll b w
’ B l p p
f S ( h m d i
‘
p e ry y s e t e n es o o n ge a r t o o eu s e r o r et a
’ ’
t i b us Rerum , Sh a kesp ea re s a ll us io ns t o m er
m a i d s, h ere (1 777) a nd el sewh ere Co m
‘
. 1 41 1 , .

o f Erro rs ,
’ I II i i 47) a lwa y s a t t r i b ut e t o t h em t h e en
. .

ch a nt i ng q
ua l it i es o f t h e si ren .

’
43 0 pr ess d : Sh e bo re l o a d enough i n h er h ea rt b efo re
.

h ea r i ng t h e m usi c o f hi s vo i ce Now sh e i s p ressed d own

.

wi t h t h e burden .

’
43 2 Ear es : Co rrup t ed t o Ea rt h s in 4Q , a nd no t
‘
. .

co r rect ed , unt i l 1 8 2 1 , by Ma l o ne No ne of t h e ea r ly
.

Am eri ca n ed i t io ns needed M a lo ne s co rrect io n ;

’
Nei t h er
d i d Ha zl it t i n 1 8 5 2 Kni gh t , t h e fi rst p rom i nent Engl i sh
.

ed i t o r a ft er M a l o ne t o i ncl ud e t h e Poem s , fi rst ga ve t h e

co r rect io ns by Ma l o ne, a l so l a t er B a r ry Co rnwa ll ,

a nd Co ll ier .

43 4 43 6 i nvi s ible i nsens i ble : L i ke for thee a nd

—
.

a bh or me (ll 1 3 7 . a nd one, a nd bone (ll 2 9 3 29 4) t h ese .

-

a re fo r p reci si a ns, o bj ect i o na bl e r h ym es But l i ke o t h er

.

a b a t em ent s fro m t h e p oet i ca lly no rm a l , such o cca si o na l

i m p erfect i o ns m a y seem a t t r a ct ive, l i ke b i t s o f co m b i n t h e

h o ney . Ma lo ne fi rst ca lled a t t ent ion t o t h e r h ym i ng o f
i nvi s ible a nd i ns ens ible, si m i l a r ly , i n Lo ves V 11
‘
. .

2 8 7 2 89
-
. St ecvcns, a st i ck l er fo r fo r m , b ut no t fo r t h e
poet i c, a s t h e fo llowing evi dence sh ows, t h ough t t h a t fo r ‘

t h e sa ke o f bet t er rh y m e a nd b et t er sense, we sh o ul d rea d ,

’
i nvi nci bl e .
 VENUS AND ADONI S

eeli ng :Fro m 5 0 on ’a ppea rs h ere ia

f
‘
4a . . rea so n
’ ’
s tea d o f jeeli e g
‘
wi t h o ne ex cep ti o n —
ef J
fery s ed i t i o n,
unt i l Ma lone resto red t h e ri gh t wo rd Aga in, t h e t h ree
.

’
ea r ly Am e ri can edi ti ons a nd Oult o n s, bet ra y t h e ca r eless
,

ness o f t h eir t ex ts .Th ey rep ri nt t h e corr up t io n .

—
43 3 45 0. no eyes d i stu r be, et c : Th ese t wo sta nza s
.

cond ense a nd a pp ly t o t h e p resent s i t ua ti o n t h e ent i re out

’‘
li ne or a rg ument of Ovi d s B a n uet o f Sence q ’ Th ey con
.

elude wi t h fea ri ng th e i nt err up t i o n o f t h e fea st o f Lo v e by

’
t he unwelco me guest (1 . Ovi d s poem i s st o pped by a
si m ila r i nterr upt io n o f t h e fea st by t h e sud d en s i gh t of
’
o t h ers loo mi ng upo n t h e view As a wh o le, Sh a kespea re s
fl
.

’
s t a nza s h a ve t he e ect o f a li t era ry a llusion t o O i d s l o ve
v
feas t o f t he five senses I t must h a ve been a pp reci a t ed
.

’
a t t h e t i me by t h os e k no wi ng Ovi d s poem bo t h fo r t h e

sa ke o f t h a t , a nd beca use o f t h e young Engl i sh Poet s

’
fres h t rea t ment o f it .As p resented by Ch a p m a n ( 1 5 9 5 )
t h e senses o f h ea ri ng, Auditus ; s mell ing, Olfa ctus ; seei ng,
Vi r us ; ta ste, Gu it a r ; a nd t o uch , Ta cti cs , a re successi vely
gr a t i fied befo re t h e i nterr up t i o n comes Ovid , newl y
‘
.

’
enam o ur d o f j uli a (d a ugh ter t o Octavi us Augus tus Ce s a r
’
a ft er by h im ca ll ed Corynna ) secret l y co nva y d h i msel fs

int o a Ga rden o f t h e Em pero urs Court : I n a n Arbo ur

wh ereo f Corynna wa s B a t h ing, pl a yi ng upon h er Lut e, a nd
’
singi ng : whi ch Ovi d o v er b ea r i ng, wa s ex ceed i ngl y p lea s d

wi t h t h e sweet nesse o f h er voyce, a nd to h im selfe ut t e red

t h e co m fo rt h e co nceived i n h i s sense o f Hea ri ng Th en
.

’
t h e Od ours sh ee us d i n h er B a t h , b rea t h i ng a r i ch sa vo ur
h ee ex presset h t h e joy h e fel t in h i s sense o f Smelli ng .

Th us growi ng mo re deepl y ena moured , i n grea t co nt ent s

t io n wi t h hi m selfe, h ee vent ers t o see h er i n t h e p ri de of h er
na k ed nesse : wh ich d oi ng by st ea l th , h ee d iscovered t h e
co m fo rt h ee co nceived i n Seei ng, a nd t h e g lo ry o f h er

Beauty No t yet sa t isfied h ee uset h a ll h i s Art t o m a ke

.

k no wne h i s being t h ere, wi t h o ut h er offence : o r (b ei ng

necess a ri l y o ffended ) t o a ppe a se h er : wh ich do ne, h ee i n
t r ea t s a ki sse t o serv e fo r s a t i s fa ct i on of hi s Tas t, wh i ch h e

94
 VE NUS AND AD ONI S

48 2 blew wi nd ows : Wh et h er m ea nt for eyel i d s o r eyes

.

’
benea t h i s so m et i m es d o ub t ful Li d s a r e m ea nt i n Cymb
‘
. .

’
II 1 1 2 8 29 , a nd Rom 8t Jul IV i 1 0 3 Y et ev en wh ere
— ‘
. . . . . . .

wi ndows seem s m ost a p t fo r t h e l i ds i nst ea d o f t h e eyes, it

m a y b e t h a t Sh a kes pea re so met i m es t h i nks o f t h e eye i t sel f
a s t h e wi nd o w wh ence t h e s p i r i t p eers fo rt h H ere t he
.

co m p a r i so n wi t h t h e s un a nd t h e clos i ng l i ne (486) m a ke it

unm i st a k a bl y cl ea r t h a t t h e eye i tsel f i s m ea nt (see 1 .

488 s hi ne : As a n ex a m pl e of t h e no un, M a l o ne cites

.

’
Psa l m x cv u 4 : Hi s l i gh t ni ng ga v e sh ine unt o t h e wo rl d
‘
. .

’
5 06 wea r e : As la st (1 5 07) s h o ws, m ea ni ng we a r out
‘
. .

lxx v ii .

’
5 0 7 verdour : F resh ness t o cure t h e sum m er s h eat
. .

A p ra ct ise o f t h e a ge i s a ll uded t o , Ma lo ne sa y s , t o p revent

i nfect io n i n t i me of pl a gue by st rewi ng th e roo m s o f t he
h o use wi t h rue a nd od o ro us h er bs .

5 09 5 1 0 s ta r ga zer s
—
.
-
p gla u e : T h e a l l u s i o n t o t h e

p gla u e a n d t h e d a n ge r ou s ye a r e b e i ng co u pl ed w i t h t h e t e r m
’
s ta r ga zers suggest s t h a t a s t ro l o gi s ts eyes h a d seen p o rt ent s
-

’
a s Venus s eyes h a d , wa r ni ng t h em t h a t t h e yea r wo ul d be

d a ngerous a nd pl a gue st r i ck en Wyndh a m h a s po i nt ed

.

o ut t h a t t h e d a t e o f t h e p oem m a y be i nd i ca t ed b y t h is

reference t o t h e pl a gue (see D a t e o f Co m p o s i t i o n, p reced i ng) .

5 1 1 b a
. r ga i n e s se a li n g :
‘
P erso n a l se a l s w e r e u se d i n

pl a ce of a ut ogra ph s m p a st t i mes , a nd a ccep t ed a s creden

’
t i a ls fro m m es senger s .
(Fa i r h o lt q uot ed b y H a ll iwell ) .

Hence t h e pert i nence of l ega l document s, co nt r a ct s or

ba rga i nes bea ri ng sea l s i n wax o f t h e s i gnet r i ngs o f t h e
co nt r a ct o rs , a nd h ence t h e i m a ge h ere o f t h e red l i p s , l i ke

wa x so ft t o t h e i m p ress o f t h e k i ss v owi ng l o v e .
‘
My
’ ‘
,
’
k i sses Sca les o f l ov e b ut sca l d i n va i ne ( M ea s for .

’ ’
Mea s IV i 78 , a l so So nn cx l i i
. . .
‘
. .

5 5
1 s.li p s : C o u n t e r s o r m e t a l di s k s u se d a s c o u n t er f e i t

co i ns ; em pl o yed b y Sh a kes pea r e freq uent l y a s a p un o n

’
a no t h er ki nd o f sl i p Yo u ga ve us t h e co unt er fei t , s a ys
‘
.

’
Mercut io .
‘
Wh a t count erfei t , a s ks Ro meo Th e sl i p ‘
.

’ ’ If I co uld
s i r t h e sl i p ( Ro m 8: Jul I I iv 45
‘ ‘
. . . .
,

06
 LI TERARY I LLUSTRATIONS

’
h a v e rem em b red a gui l t count erfei t , t h o u wo ul d s t no t h a ve
’‘ ’I
s lipt ( Tro 8r Cress I i i i 2 5
. . . .

non pa i ment double : Th e poet wa s t h i nk i ng,

‘ ’
5 21.
-

’
s a y s M a l o ne, o f a co nd i t io na l b o nd s b eco m i ng fo r fei t ed
‘

fo r no n p a y m ent ; i n wh i ch ca se, t h e ent i re p ena l t y (usu

-

a ll y t h e d o ubl e o f t h e p r i nci p a l sum l ent wa s fo r m er l y

’
r eco ver a bl e a t la w .

5 22. Is tr ouble : Wh a t a n ea r ch a r m i ng l i ne ! Fi t
-

fo r t h e k i ss seek i ng l i p s o f Love h er sel f No wo nd er t h e

-
.

b o y unbends a nd a p o l o gizes fo r h i s st i ffness .

5 68 lea ve ex ceeds comm i ss i on : Th e p r iv i l ege l o ve t a kes

.

o ver p a sses t h e t er m s o f t h e p e rm i ss io n g r a nt ed .

5 7 0 woes bes t, et c : Wh en t h e ch o sen o ne i s t h e m o s t

. .

u ny i el d ing, t h en l o ve, o pp os i ng O pp os i t io n, woo s b est o f a ll .

5 71. had g a v e : Wh a t a ch a nce fo r co r rect ion t h e

’
e d i t o r s h a ve let p a s s ! I t is a wo nd er , s a ys Ro l fe, t h a t
‘ ‘

’
t h ey h a v e a ll let ga ve a l o ne h ere .

5 78 poor e joale : So m e sco r n o f h i m a nd envy o f h i s

.

ch a nce s pea k s i n t h i s end ea ri ng t erm I t m a kes t h e rea der

.

s h a r e t h e sy m p a t h y .

’
by Cupid s bow :
‘
I swea re t o t h ee by Cup id s
’
5 81.

’ ’
s t r o nges t bo w Mi d Ngh t D r I i
. . . . .

5 89 a p a le : A p a ll o r A cc o r di n g t o t h e envi a bl e
fl
. .

ex i b i l i t y o f Engl i sh , a s Sh a kesp ea re used i t , a nd i n h i s

t i m e, no uns, v er b s , a nd a dj ect i ves were ca p a bl e o f t ur n

i ng int o o ne a no t h er a t pl ea sure .

5 9 0 la wne
. upon r ose :
‘
F i rst red a s Roses t h a t
o n La wne we l a i e, Th en whi t e a s La wne t h e Ro ses t oo k e
’
a wa i e 11 2 5 8
. Th e co nt r a st a s ex p ressed
’
i n Lucrece i s h ei gh t ened , b y fi rst l a y i ng t h e red ness upo n
‘

t h e co l o r l essness a nd t h en wi t h d r a wi ng i t Here i t i s .

d i fferent , und er t h e p a llo r t h e ro se i s so ft ened i n co lo r .

595 . li sts : Th e t ech ni ca l t erm fo r t h e t i l t ing field, a nd -

t h e b a rr i ers encl os i ng t h e t our na m ent ground Wh erefo re .

co m es t t h o u h i t h er B efo re Ki ng Ri ch a rd i n h i s Roy a ll

no perso n be so bo l d t o t ouch t h e l ist es ex cep t t h e

‘
lis t s
’ ’
m a rsh a ll Ri ch II I iii 3 7 3 8 , 48
. . . .
—

97
 VE NUS AND ADONI S

59 7 . ma nna ge : Aga i n, a t ech ni ca l t erm a s i n li s ts , for

t h e di sci pl ine of t h e h o rse by t h e ri der t h a t m a k es him
res po ns i ve : h i s h o rses a re b red bett er , fo r
‘
t h ey a re
’ ’
t a ugh t t h ei r m a nna ge ( As Y o u, I i 1 3 Sh ees not
‘ ‘
. .

’ ’
p a c at e, yet, you m ust wo r ke h er t o yo ur m a nna ge
’
Per IV vi 5 7
. . .

5 99 . Ta nta lus : Wh ose sufferi ngs i n H a d es were wit

’B
nessed by Ul ysses Od y ssey, k x i) : I s a w l i kewise
‘
.

s t a nd up t o t h e Ch i n, a m i d s t a l i q ui d l a k e, Torm ent ed

Ta nta lus ; yet co ul d no t sl a ke Hi s b ur ni ng Th i rs t . Oft

’
a s h i s sco rnfull cup Th o ld m a n wo ul d t as t e ; so o ft t wa s

s wa llo wd up ; And a ll t h e bl a ck e ea rt h t o h i s feet e d es cr i ed ;

D i v i ne po wre (pl a gui ng hi m ) t h e l a ke s t i ll d ri ed . A bo ut

h i s h ea d , o n h i gh t rees, cl ust er i ng h ung Pea res, Apples,
G r a net s, Ol i ves , ever yo ng ; Del ici ous F i gs, a nd m a ny fr uit e
’
t rees m o re, Of o t h er b urt h en ; wh ose a ll ur i ng s t o re, wh en t h
’
o ld so ul e st r i v d t o pl uck , t h e wi nd s fro m s i gh t , I n glo o m ie
’ ’
va p o urs, m a de t h em v a ni sh q ui t e (C h a p m a n s t ra ns l a t i o n) .

’
600 Eli zi um : Th e Pa ra d i se, a s Ph a er ca ll s i t , o f t h e
‘
.

Pa ga ns .Th e wo rd i s used i n t h e o p eni ng l i nes To t h e ‘

’ ’ ’
Rea der i n C h a p m a n s Ho mer : He i n Elyzi um , et c
‘
. In
t h ese gl a dso m e feeldes a m o ng t h e La u rell woo d s , a nd
‘

s mell i ng fl o nres of a r be rs s weet e, Wh ere b ubbl i ng so ft wi t h

’
so und t h e r iver fresh do t h b y t h em fl ect e, i Enea s wa s led
’
by t h e Si byle t o seek h is fa t h er s gh o s t ( T h e s ix t B oo k e of
‘

’ ’
t h e {Enei do s o f Vi rgi ll, Ph a er s t r a nsl a t i o n,
60 1 i n t d r a pes : So v i vi d were t h e g r a p es p a i nt ed by
p a e g
fl
.

Zeux i s t h e G reek t h a t t h e v ery b i r d s o f t h e a i r e

‘
ew
’
flocki ng t h i t h er fo r t o be p ecki ng (Ph i lemon Ho ll a nd s ’
Pl i ny , Bk xxx v ch
. . . Th e sa m e a ll us io n a pp ea rs i n
Th erefo re t h e bee d i d seek t h e p a i nt ed fl ower , And b i rd s
‘

’ ’
J
o f gr a p es t h e cunni ng sh a d o w p eck ( o h n D a v i es s
‘
No see
’ Of t h e ch a nge i n t h i s l i ne o f Even s o t o
t ei p sum ,
Even a s, wit h co m m a a ft er m a w, Wyndh a m sa ys : Th e
‘ ’ ‘

fi r s t a l t er a t i o n b rea ks t h e rh yt h m , a nd t h e seco nd
m a kes t h e co nst ruct io n a wkwa rd i n l 604 . . Lee res t o res
s ,o b ut n o t t h e c o l o n a ft er m
. a w
98
 VENUS AND ADONI S

‘
His
did gl i st er b lud a nd fire
ei es

ri gh t d re a d q wa s t o see Hi s b r a wned neck e, ri g h t d red full

wa s hi s h a i re wh i ch grew as t h i cke Wi t h p ri cki ng po i nts as
o ne o f t h e m co uld well b y o t h er st i cke And l i k e a front
.

o f a rm ed Pi kes set close i n b a t t ell r a y , T h e s t urd i e b r i stles

o n h is ba ck s t oo d e s t a ri ng up a l wa y A grea t er t ush
.

t h a n h a d t h i s Boa re ye sh a ll no t l i gh tly find e Such .

l igh tni ng fl a sh ed fro m h i s ch a p pes , a s sea red up t h e gra sse .

No w t ra m pled h e t h e s p ind l ing co m e t o gro und w h ere he

d id p a sse , No w ra m p ing up t h ei r ri ped h O pe h e m a d e the
’
Plo wm en wee pc And ch a nk t t h e kernell i n t h e ca re
. .

’
I t is no ti cea ble t h a t Sh a kes pea re s l a nd sca pe b a ckg ro und is
’
no t t h a t o f t h e pl owmen o f wh o m t h i s d escri p t i o n s pea ks,
‘

b ut O pen wood l a nd a nd wild .

62 6 pr oofe : Armo r o f p roof, i m per vi o us t o t h e s peares

.

p o i nt .

’
63 6 r oot s : Th e a pos t ro p h e s h o ws t h e el i sio n o f t h e e
.

i n roote, a nd t h e ca re t o m a r k t h e sy ll a ble a s si ngle .

63 7 ca b i n : Used t o deno t e a d en, l i ke a b ur ro w o r h ol e

. .

La t er , 1 1 0 3 8 , i t i s used fo r t h e eye socket s a s h o us i ng t he

.

eyes .

63 9 with i n hi s da nger : Wi t h i n rea ch o f h i s d ea t h - d eal

.

’
i ng tusk Y o u st a nd wi t h i n hi s d a nger do yo u no t ?
‘
.

’
( Mer o f Ven IV i
‘
. . . .

65 2 Kill, kill : Th e a ll usio n t o t h e senti nell a nd t h e wh ole

.

co nt ex t s ui t t h e sudd en sei zu re o f a t o wn b y t h e enemy .

’
Th e cry Ki ll , Ki ll i s t h e usua l cry o f t h ose a bo ut t o s a ck a
‘

c1 t y .

65 5 ba te br eedi ng : B reedi ng d issensi on

.
‘
Wh en M istris .

J ’
Qui ckl y decl a res t h a t o h n Rugby i s no b reed e b a t e
‘
-

’
( Mer Wives , I i v 1 2) sh e m ea ns no mi sch i ef m a ker, no
‘
. . .

fo ment er o f q ua rrel s .

65 6 ca nker
. s pr i ng : Sp ri ng i n t h e sense o f t h e s p ro ut

sp ri ngi ng fo rt h t h a t t h e ca nker o r worm fi nd s a so ft m o rsel

t o devo ur .

65 7 ca r ry tale : Kno wi ng a fo reh a nd o f our m er ri m ent

‘
.

’
Some c y t a l e ( Lo ves La b V i i 5 1 4 I n t h is
‘
a rr - . .
 LITERARY I LLUSTRATIONS

ca se t h e ca rr y t a e
-
l
is t h e p resent im ent o f evi l , th e very
t end erness o f love i n t h e goddess crea t i ng t h e fea r t h a t gna ws
a t h er h ea rt a nd t ea ch es i t h o w t o d i v i ne h er a pp ro a ch i ng

so rro w .

’ ’
668 th i ma gi na ti on : Th e el i sio n of t h e, h ere t o get h er
‘
.

wi t h t h e El iza bet h a n p ro nunci a t io n o f i m a gi nati on t o

r h ym e wi t h di vi na ti on, bot h bei ng p ro nounced i n four
sy ll a bl es , i s req ui red t o give t h e ri gh t r h y t h m Th e.

ch a nge i n t h e m od erni zed t ex t (see foo t no t e, p 2 8) s po i l s .

t h e effect .

674 Uncouple : Lo ose t h e h ound s fro m t h e l eash co up

.

li ng t h em t oget h er Uncoupl e i n t h e West er ne va lley,

‘
.

’
let t h em goe ( M id s Ni gh t D r IV i
‘
.
’
. . .

67 7 downes : Sh a kespea re seem s t o be t h i nk i ng o f t h e

.

Co t swo l d downs Th e b est soy l

‘
. such a s i s ra t h er

h i lly t h a n pl a i n, full o f downes, a Co t swo l d county

bei ng m o st co mmodi o us fo r h a wking, h unt i ng a nd a ll
’ ’
m a nner o f plea sures (B urt o n s Ana t o my o f
‘

679 pur bli nd h a re : Th e h a re, a cco r di ng t o D a m e ul i

. J
a na B a r nes , i n h er boo ke o f sp o rt i ng, i s t h e m er vellest
‘

beest t h a t i s i n a ny lo nd e Th a t beest Ky ng sh a l be ca l d e
.

’ Th e h unt i ng o f t h e h a re i s a bove fox o r

o f a ll Venery .

b a d ger h unt i ng sa ys Gerva se M a r kh a m i n h i s Count ry ‘

’
C o nt entm ent s, beca use i n t h em , t h ere i s no t so m uch
‘

’
a r t a nd cunni ng .

680 over s hut : St ecvcns suggest ed

.
-
‘
overs h oo t ,
’ a nd

D y ce a d op t i ng it , i t h a s t a ken t h e pl a ce o f t h e o r i gi na l
wo rd (see foo t no t e, p a l t h o ugh i t h a s no wa rr a nt i n t h e
.

t ech ni ca l t erm s o f sp o rt i ng, a nd no p a rt i cul a r j ust i fi ca t io n,

’
t h erefore, fo r b ei ng p referred t o Sh a kesp ea re s wo rd Ma .

’
lo ne s a id t h a t i n Sh a kesp ea re s a ge, over s h ut m ea nt t o co n ‘

’
el ud e, but h e ga ve no ex a m pl e of i t In New Engl a nd
.

co unt ry regi o ns we s t i ll o cca si o na ll y h ea r t o get s h ut of a

‘ ’
t h i ng fo r t o get d one wi t h i t Hudson, wh o i s a l mo st a l one
.

i n r et a i ni ng over s h ut, h a d not ed t h e sa m e usa ge

-
Co ll i er ,
.

’ ’
a l t h o ugh co nsi d eri ng M a l o ne s ex pl a na t i o n a l i t t l e st ra i ned

a lso sa w no reason fo r a b a ndo ni ng t h e t ext Overs hut i s

.

1 01
 VEN US AND AD ON I S

gi vcn in t he New English Di cL as an h rm d

o beok te
’
o vers h oo t , o n t h e s t ren t h o f t his ex a
‘

g m p le a nd 001: 01 k :
,

ea r l y ci t a t i o n : Th e h o und es h a d o ver s h et t e h yl a i lk
‘

And were upo n a defa ult y fa lle ’

( ’
C h a ucer s Detll
‘

Bla u ’
nch e,
683 mer its : A ga p o r mus i t in a h ed e ’ Co t ur e).
‘
.
g ( u
Th e ro und h o le m a de in a h edge th ro ug h wh i ch t he hue
t r a ces h er r un ; d eri ved fro m t h e Fre nch n am e, a 110k.
,

a nd t h e d i m i nut i ve mussette a l i t tle h o le ‘

G o od and ap
.
,

p ro ved h o und s wh en t h ey h a ve found t h e h are, make

s h ew t h ereo f t o t h e h unt er wi nd i ng t o th e h a res m ’
’ ’
(To psell s Fo ure Foo ted Bea stes,
‘
IVi t h hare
‘

p yp es set i n a m usi t h o le, Wi l t t h o u d ecea ve t h e d eep-earth

del vi ng co ney fl ’
( Th e A ecti o na t e Sh eph erd , 1 5 9 4, cited
‘

b y Hal li well) . Knigh t q uot es : We t erm t h e p la ce where

‘

sh e si t t et h h er fo rm ; t h e pl a ce t h ro u h wh i ch s h e oes to
g g
’
re l ief [ i e fo r sh elt er fro m o bser va t io n] h er m us i t
. .
(Mark
’ ’ ’
h a m s Gentlemen s Aca dem y ,
‘
M a lo ne restored
’
t h e re a d i ng o f t h e o ri gi na l i n 1 7 80 , L i nt o t t s U m fits or
‘ ’
’‘ ’
G ildo n s umsi ts a ppea ri ng befo re, a l so i n O ul t o n and the
ea r l y Ameri ca n edi t i o ns a ft er wa rd s .

68 7 Coni es : Ra bb i t s
. . Ma ll i n t h e Co ne y g reen or
ra bb i t wa rren ( Two Angry
‘
W
omen of Ab i ng t o n,
’
IV i ) , .

Good Lo rd , wh a t p ret t y t h i ngs t h ese co n i e s be !

‘
sa ys :

How fi nely do t h ey feed t i ll t h ey be fa t , And t h e n what

sweet m ea t a co ney i s And wh a t smoo t h ski ns t h ey h a ve,
bot h bl a ck a nd gra y . And t h ey put ferret s i n t h e h oles
fie, fie And t h ey go up a nd down wh ere co nies li e ’ .

69 4 cold fa ult : Th e scent no l o nger b ei ng wa r m , be

.

’
ca use o f t h e h a re s cunni ng i n i nt er rup t i ng t h ei r t r a ck of
i t , t h e h ounds a re a t fa ul t , a nd a t m uch a do t o p uzzl e o ut
t h e t r a i l a ga i n Ma dden s a ys : Th e scent o f d eer i s m uch
.
‘

m o re power ful t o ca ni ne p er cep t io n t h a n t h a t o f fo x o r

h a re. I n h unt i ng t h e h a re t h ere m ust be m a ny cl a m o r
’ ‘
o usly dem a nd i ng h i s s h a re o f t h e fun ( Th e D i a ry o f
’
W
Ma st er i ll i a m Si l ence, p
’
.

69 5 s pend thei r m outh s : A h unt i ng t er m fo r t h e cry of

.

1 02
 VENUS AND AD ONI S

d i M f ’
f’ w d d i woo d
‘
740 . ren z es o o : a r e n z i e s , r a g ng
Hen VI IV vi i
. . . .

75 2 . L o ve -
l a c ki ng V e s ta l s ,
e t c : Th e O pp os i t i o n o f t h e
.

i nfl uence of Venus to t h a t o f t h e Moo n god dess und er l ies

t h i s decryi ng of h er ch a s t e i nfl uence o v er Ado ni s Know
‘
.

if Yo u ca n end ure t h e Li verie o f a Nunne, F o r aye

’
t o b e 1 n sh a dy Cl o i s t er m ew d , To l i ve a b a rr en s i s t er a ll

yo ur l i fe, C h a nt i ng, fa i nt h y m nes t o t h e co l d fr ui t lesse

’‘ ’
Moo ne ( Mids Ni gh t D r I i 77. . . .

A h i f m f
‘
b ’ A l
7 66 . r ea ve s : n a r c a c o r o er e a v e
. s ng o
’
Sa xo n reofa n, t o d ep r i ve, wh ence co me t h e m o d ern fo rms
‘
,
’‘ e f ’ nd ‘ ere a ves ’
‘
reft , b re t a b .

7 68 .
g o ld m o re g o ld b e g e ts : T h i s i s a l s o o n e o f L e a n
’
d er s a rgument s t o p er sua de Hero : Trea sur e is a b usd
‘

Wh en m iser s keepe i t : bei ng put to l o a n In t i m e i t will

’‘ ’
ret ur n us t wo fo r o ne (M a r l owe s Hero a nd Lea nd er , F i rst

Ses ty a d ) .

769 Ada n : Fo r t h ilke l o ve t h o u h a d dest t o A do n,

‘
.

H a ve p i tee o n m y b i t t er t eres sm a rt (Ch a ucer s Kni gh tes ’ ’ ‘

’
T a l e, 2 22 7
7 77 . M a r m a i d s : S ee p r e ce d i n g N o t e o n 4 . 2 9 I n di
rect ly , i t i s t o b e g a t h ered t h a t Ado ni s co nsi ders h er vo i ce

a l so sweet a nd p eri l o us .

7 8 2 .
q u i et c los u re :
‘
W i t hi n t h e g e n t l e c l os u r e o f my
’
b rest x l vi i i .

79 7 bereaves : An a ct ive use o f t h e verb

. . Here i t m ea ns
’
‘
lea ves deva s t a t ed .

80 7 i n s a dnesse : In ea rnest , i n a ll seri ous ness In

‘
. .

’ ’ W ’
g oo d s a d n e ss e I d o n o t k n o w (
‘
A ll s e ll , I V . i
. i i
’
8 08 teene : Of s i gh es , o f gro nes, o f so rrow, a nd o f t eene
‘
.

’
( Loves La b IV i ii
‘
. . .

8 1 3 la wnd : Abo ut t h e m i dd le o f t h e La und a r i sing

‘
.

’
g r o u n d ,
f ro m w h en c e a m a n m i g h t o v e r loo k e t h e field es
’
( G o l d i n g s O v id ,
B k v i ii
. 1 0 0
.
9
‘
T h e i r co m ly
’
co ursi ng s t eed es a l o ng t h e l a und es d oe feede u nb o und
’
(Ph aet s Vergil , Bk v i) Fo r t h rough t hi s La und a no n
‘
. .

’ ’
t h e Deere wi ll co me Hen VI, II I i . . .

m4
 LITERARY I LLUSTRATIONS

’
8 1 5 s ta r s h ooteth : As sh oo t s a st rea m i ng st a r m
.
‘
W i nter s
’‘ ’
N i gh t , ( Pecle s Ta l e o f Tr oy ,
8 2 6 m i str us tfull : Full o f m i s t r us t , a fo rest full o f fea r
.

fo r t h e nigh t wa nderers .

8 3 0 8 40 the nei ghbour

-
. ca ves eech oes so So
Lo d ge m a kes Sci ll a wa ke t h e ech o es wi t h h er l a m ent a t io n
’
o v er h er l over s co l d ness : Ecch o h er selfe wh en Sci ll a
‘

cr i ed o ut , 0 l o ve ! Wi t h p it eo us vo i ce fro m o ut h er h o l

lo w den Ret ur nd t h ese wo rds , t h ese wo rd s o f so r row, (no ,

lov e) NO l ove (q uo t h sh e) t h en fie o n t ra i t erons m en, Th en
fie o n h o p e : t h en fie o n h o p e (q uo t h Ecch o ) To ever ie
wo rd th e nim p h d i d a nswere so . Fo r everi e s i gh t h e rockes
r et u rne a s i g h : Fo r e ev e r i e t ea r e t h ei r fo unt a i nes y iel d a

d r o p ; Ti ll we a t l a st t h e pl a ce a pp ro a ch ed ni gh , And h ea rd
t h e ni m p h t h a t fed o n so r rowes so p m a ke woo d s , a nd wa ves ,
a nd ro ckes , a nd h i ll s a d m i re, T h e wo ndero us fo rce O f h er
’ ’
u nt a m d d es i r e (ll 69 7
fl
.

848 p . a r a s i ts : H a n ge r s o n , c o u r t i er—
a tt er ers wh o h o l

lo wly a nd t h erefo re a s it seem s m o cki ngl y ech o h er own

’ o t ke t h
wo r d s Th eo b a l d r a sh l y p ro p osed wi gh t s t
‘
. a e
’
p l a c e O f w i t s (
.l 8 5 0 ) i n o r d e r t o r h y m e w i t h
‘
p a r as i t es
’‘
i n t h is m od er nized fo rm ( o r t i n s M i scell a neous Ob serva
J
’
t i o ns o n Aut h o rs ,
849 . Ta ps ters : Lik e F r a nci s , a nd h is fello w d ra wer s of
’
‘
1 Henry IV . II i v , wh o co nst a nt ly cry t h e sa m e t h i ng t o
.

’
ev eryb o dy , Ano n, a no n, si r
‘
.

85 1 . ti s s o ti s s o : A v a r i a t i on l i ke t h e fo rego i ng
’
u po n Lod ge s G l a ucus (q uo t h sh e) i s fa i re
‘
s t a nza s :

wh i lst Ecch o si ngs G l a ucus i s fa i re : b ut yet h e h a t et h

Sci ll a T h e wret ch rep ea t s : a nd t h en h er a rm es sh e wr i ngs
W h i l st Ecch o t ell s h er t h i s, h e h a t et h Sci ll a . No h o p e
(q u o t h s h e ) : n o h o p e (q u o t h B ec h o ) t h en ,
T h e n fi e o n
’‘ ’
m en ; wh en sh e s a i d , fie o n m en ( Sci lla e s Met a m o rp h o si s
Ent er la ced wi t h t h e unfo r t una t e lo ve o f
8 5 4 moyst cabi net : H i s dewy nest , a l i t t l e ca b i n, i n t h e
.

sense a l rea d y no t i ced o f a r o unded ca vi t y . No t e on 1 63 7

. .

8 5 5 wa kes the mor ni ng : Hea r ke, h ea r ke t h e La r ke a t

‘
.

1 05
 VENUS AND ADONIS

Hea vens ga t e s i ng ’
a nd Ph oebus gi ns a ri se I I iii . .

23
8 5 8 Ccad er tops : The pecul i a r bea ut y o f go l den l i gh t
.

o n t h e l us t ro us green o f t h e ced a r t o p s s i ng l es o u t t h ese

t rees a s fit t o m a t e wi t h t h e h i ll s t h a t a l so t a ke t h e gl ory
o f t h e l i gh t , wi t h t h e bur ni s ht l oo k no t ed .

863 s onne
. ea r thly mother : Mea ni ng Ado ni s wh om
s h e p ra i ses i n co m p a ri so n wi t h t h e g od o f l i g h t His .

’‘
ea rt h l y mother wa s My r r h a , a s i s t o l d i n Go l d i ng s Tenth
’ ’
B oo ke O f Ovid s Met a m o rp hosis .

865 m i r tle grove : Th e m y r t l e wa s sa cred t o Venus

. .

Sh a kespea re m a y m a ke h i s go d dess m i nd ful a m o ng t h ese

t rees o f t h e m y rr h t ree wh ence Ad o ni s wa s bo r n His .

m o t h er , My r r h a , a s k i ng p a rdo n O f t h e god s fo r t h e p a ssion

Venus h a d st i rred i n h er a nd wh i ch sh e h a d i nd ul ged,
begged th em t o d eny h er bo t h l ife a nd d ea t h Heed i ng h er .

p ra yer sh e wa s t ur ned i nt o a t ree d ro pp i ng m y r rh fo r t ea rs .

Her so n, Ad o ni s, grew i n t h e t ree t runk t i ll t h e b a r ks

-
‘

d ev idi ng m a d e a wa y And yeeld ed o ut t h e ch yld a lyv e

’ .

8 7 0 coa s teth : Sk i r t i ng a bout t h e ed ges o f t h i ck et s , a nd

.

o b st a cl es i n t h e d i rect wa y , for wh i ch s h e m us t l i k e a

vessel a lo ngs h o re co a s t a nd t a ck Th e Ki ng
‘
.
pe r
’
ceives h i m , h o w h e co a s t s And h ed ges h i s o wne wa y ( Hen
‘
.

’ ‘ ’
Po st et h wa s sub sti t ut ed i n
VIII III ii 5 2
. . .

a cl um sy a nd i nt ent i o na l so rt of ch a nge, m uch li k e a n

’
ed i t o r s .

8 7 1 8 7 2 s he r unnes , the bus hes i n the wa y, s ome, et c

-
.

As sh e runs, t h e b ush es bei ng i n h er wa y , et c W

y nd h a m
.

co mm ent s upo n t h e o m i ssi o n o f t h e co mm a a ft er wa y, i n

m o d er n ed i t i o ns , t h a t t h i s m a kes t h e nex t p h r a se a wk
‘

’ He o m “
i t s t h e co mm a a ft er r uns, bel i evi ng t h a t
‘ ”
wa r d .

v er b t o b e t r a nsi t i ve, a s i n t h e p h r a se t h e fox r a n t h e

’
m ea dows Nei t h er o m i ssio n seem s especi a lly des i r a bl e
.

wh en t h e sense i s so well sh o wn a s i t st a nd s .

8 7 2 8 73 ca tch
—
. h i sse twi nd : Th e use fi rs t o f t h e
p resent , t h en t h e p a st , seem s t o be int ended by t h e Poet .

I t sui t s t h e bea ut y o f t h e p i ct ure t o supp o se t h a t so m e of t h e

1 06
 VENUS AND ADONI S

over t h e f ee li ng pa rt s
w h o
, a re l i k e s old i er s und er i t s guid

a nce, h a s ea ge r l y run a h ea d o f t h e pl a i n a ppe a r a nce o f the

’
figure. i n l 89 3 , a nd a l rea d y h ere , h a s i nfl uenced t h e Poet s
.

p r o no u n ” 710 .

09 2 col pa le : Th e p h ys i ca l sensa t i o n a nd lo o k a re
. d -

re por t ed a t one s t ro ke Th e blood lessness o ffea r m a kes h er

.

bo t h co ld a nd p a le i n wea kness .

’
M Bids them, et c Th e Poet s a rr a ngement t o m a ke t he
. .

co m i ng eve nt surp ri s i ng, whi l e so a rt full y p rep a r i ng fo r i t,

find s a ch a rm i ng i nst r um ent i n t h i s a ssert i o n o f a wo rd of

co mm a nd o ver h er fea rs . fl
Th ey a re t o l ea v e o , s h e sa ys,
'

spea ki ng t o t h em l i ke na ugh ty ch i l d ren, wh en s h e sp ies the

boa r .

’
9 0 1 .
f r oth i e b e p a i nte d r e d : O v i d s b o a r w a s a
’
fo re runner o f Sh a kes pea re s . Th e fo ll owi ng l i nes, i n
a dd i t io n t o t h os e befo re q uo t ed (see No t e o n a re in

p o i nt :
‘
T h e s ca l d i ng fo m e w i t h g n a s h i ng h o a r se w h i ch
d id wh i t e a s Curdes a b i d e
’
h e d id ca s t a si de . Aga in :
t h e mood ie bea st ch a fing ut t ret h fo r t h h i s i re
‘
.

Th e fire did sp a r k le fro m h i s eyes : a nd fro m h i s bo yli ng

b rest He b rea th ed fl a m i ng fl a kes o f fire co nceyv ed i n h is
ch es t .

’
fl
And g runt i ng a ng h i s fo me a bo ut t o gi t her
mixt wi th bl ood (t h e ei gh t B oo ke, ll 3 80 3 8 1 , 476 479 , .
- -

mated :Defined by Wyndh a m a s eq ua l t o co n

‘
9 09 .

fo unded : fro m F rench ma ter , t o fa t i gue, Old F rench ma t,

wo rn o ut : a ll fro m t h e ch ess t er m , Per si a n s ha h ma t,
“
Engl ish ch eckm a t e, l i t era ll y, t h e Ki ng i s dea d
”
.

1 1 r espect s : Ca reful co nsi dera t i o n o f d et a i l s a nd s m a ll

9 .

’
o b st a cl es Th i s, s a ys M a l o ne, s h rewd l y , r efer r i ng t o t h e
‘
.

co m p a r i so n o f t h i s m oo d wi t h t h a t o f a d r unken br a i ne,
‘ ’
i s o ne o f o ur a ut h o r s ni ce O b serv a t io ns
’
NO o ne a ects
. fl '

m o re wisdo m t h a n a d runk en m a n .

’
9 2 9 l
f p
.a m o u thed m our ner :
‘
Th e w h o l e p a ss a ge , a s
’
Wynd h a m O bserves, a t t est s t h e Poet s i nt i m a t e k nowl
‘

ed ge o f t h e ch a se, a nd i t refl ect s t h e use o f such t h em es

’
i n co ur t ly medi e va l p oet ry Th e d ea t h of B ego n, i n
.

1 08
 LITE RARY I LLUSTRATI ONS

‘
G a ri n le
’
Lo h era i n, wh i ch i s mourned i n t h e fo rest by
h i s dogs , i s a n exa m ple .

93 5 . wor lds poore people, et c : An ex p ression sh owing

.

h o w t h o ro ugh l y t h e Poet a pp reci a t ed t h e fo l k superst i t io n -

t h a t h a s crea t ed such a b o dy o f o m ens a nd p o rt ent s, full

o f i nt erest a nd of d rea d .

9 3 0 . e x c la i m e s o n d e a th : S ee So u r ces p
.
5 4 ,
for m en t i o n
’
of a si m i l a r a p o st ro p h e t o D ea t h i n Ta rch a gno t a s
st a nz a s 5 4 5 9 Lee p o i nt s out th e curi ous
-
‘
.

’
p a ra ll el t h a t o nl y Sh a kespea re a nd t h is I t a li a n poet a ssign
‘

’
a ny s p eech o f t h i s ki nd t o Venus, a nd t h a t bo th m a ke
’ ’
h er ret ra ct h er ind ict m ent Sh a kesp ea re s i s so m uch
‘
.

m o re rea l i st i ca lly p o r t r a yed a nd h um a nl y th ough t o ut ,

t h a t i t i s po ssi bl e t o supp ose t h a t t h e event —
d ea t h ,
belo ngi ng t o t h e Ado ni s plo t , so t o s pea k, ma y h a ve ta ken
two poet s i n a si m i l a r d i rect i o n .

93 1 . H a r d f a v ou r d : S ee I. 1 33 , a n d N o t e.

9 40 r a nd on : No t wi t h a l evel a i m , b ut wi t h a swerve
. .

A h unt i ng t erm , fo r t h e wh eel i ng cur ve i n t h e sa me pl a ce

o n t h e ground o f a b ea st t h a t i s wounded . Th e old form
fro m t h e Old F rench r a nd on . No t bei ng underst ood t h i s
’
wa s ch a nged t o r a ndo m st i ll p erp et ua t ed i n t h e m odern
‘

ized t ex t s . Oth er m ea ni ngs a k i n t o th i s bel ong t o th e deriv

a t i v es fro m t h e F rench r a nd onner , t o s t r a y a t l a rge : free t o
‘

r a ndo n o f t h ey r wi ll e
’ Ferrex 8c Po rrex , I 1 ’ ‘
Her rod
.

’ ’
t o h i m wi th grea t r a nd oun ( Bev es o f Ha m toun, p
‘
.

9 47 Loves golden a r r ow, et c : Ovid rep resent s Cup id

. .

a s sa y i ng t o Ph eb us t h a t h e wo ul d a gree t o sh oo t t h a t

o d
’
s w l i k e w p n
‘
t v e r b s t
’ b ut t o sh oot h is
g a r ea o s a e y ea e ,

own a rro ws a t Ph eb us
’
. Ap o ll o s d ea d l y d a rt i s p erh a p s l i ke
’ ’
dea th s , a s Sh a kespea re fa nci es i t , ebon, b ut Loves a rrowes
‘

’
a re d escri bed t h us ( T h e F i r st B oo ke o f Ovi d s Met a
‘

’
m o r p h o si s, 11 5 66.
‘
t o ne ca uset h Love, t h e t o t h er
d o t h i t sl a ke Th a t ca uset h lo ve, i s a ll of go ld e wi t h
.

po i nt full sh a rp e a nd b ri gh t , t h a t ch a set h love i s bl unt ,

wh ose st eele wi th l ea d en h ea d i s d i gh t .
’ Ma lone sees a
’
reference i n th i s l i ne, h owever , t o a fa ble i n Wh i t ney s

1 09
 VE NUS AND ADONI S

Em blem s,
’
p . 1 3 2 , t o t h e fl
e
'

e ct t h a t Dea t h a nd Love o nce

j
so o urni ng t ogeth er in a n Inn on go i ng a wa y i n t h e mo m
i ng exch a nged a rro ws by m is ta ke .

9 5 6 va ild Do not fo rever wi t h t h y v a yled li d s Seeke

‘
.

’
for t h y No ble F a t h er in t h e dust, says Ha m let s Mo t h er
’
I i i 76
. .

9 63 Chr i stals : Th e cl ea r cryst a l b a ll s o f t h e m a gi ci a ns,

.

Sco t gi ves d i rect io ns ho w to m a ke a

‘
used fo r d iv i ni ng .

’‘ i ’
sp i ri t a pp ea r i n a crys t a l ( D s co v e ri e o f W i t ch cr a ft , B k .

x v ch x v i i)
. . .

98 1 . Or i ent drop : A st i ll mo re p recious a nd sup reme

tea r, t h e p ea rl s o f t h e Ori ent bei ng t h e ch o i ces t , a nd t h is
d ro p , i ns t ea d o f swi m m i ng i n t he ch rysta l p riso n of h er
eye l i ke pea rles i n gla sse, well s o ut upo n h er ch eek t o melt

t h ere h a pp i l y, i nst ea d o f bei ng d runk by ea rt h Sh o res

‘
.

’
sp ri nkl ed wi t h ri ch , o ri ent p ea r le ( Orl a nd o Furioso
‘

9 88 Despa i re a nd hope m a kes : Th a t 1 3 , d esp a ir a nd

.

h Ope, a l terna t ely, each m a kes , et c .

“
9 9 9 whenas
. Mea ni ng no more t h a n wh en, a com
.

’
b ina t io n of wo rds st ill used in wh erea s ‘
.

3 002 .decesse : fro m t h e La ti n decessus , e ua l t o de q ‘

’ hi
cea se, t s fo r m bei ng ch o sen t o rh ym e wi t h confesse .

1 01 3 .tombes s tor i es : Two t a st el ess ch a nges h a ve

’
been p ro posed , Th eo b a ld s o f tombes t o d om es, fort u ‘ ’
’
na t ely not a do p ted ; Ma l o ne s , ma ki ng stor i es , a ver b by
t a ki ng o ut t h e co m ma a ft er t h a t wo rd in t h e o r i gi na l t ext .

Th e o bj ect io n i s t h a t t h e t wo verses o f t h e coupl et m a t e

’
one a no t h er i n i dea a s i n fo r m D ea t h s vi ctor i es a re t h e
.

m ement oes o f h i s po wer i n t h e trophi es a nd sta tues o f h is

st ro ng o pp o nent s o f h ero ic l i fe wh o m h e h a s co n uered ; q
t h ei r tombes a re h i s tr i umphs t h e s tor i es o f t h ei r a ch ieve
ment s t o l d by m inst rel s a nd poet s beco m e h is glor i es .

’
Ma lo ne s ch a nge h a s unfo r t una tel y been ado p t ed (see
foo t no t e, p . Knigh t went even furt h er , p ut t i ng a
’
sem i co l o n a ft er
‘
t o mb s Onl y Co ll ier , G r a nt
. Wh it e,
Ha ll iwell , Herfo rd , a nd Ver i ty h ave no t fo llowed Ma l one
fl
.

Fa ulcons : As fa l co ns y t o t h e p rey , a t tr a ct i ng
1 1 0
 VE NUS AND ADONI S

1 08 3 , 1 086 .
f i fa i r e : F i
a re
a r ness f a i r e l o s i ng i t s

fo rm a s a n a d j ect i ve beco m es a no un
‘
My d eca yed fa i re .

’ ’
A sunnie loo ke o f h i s wo uld soo ne rep a i re Er ro r s , II i . .

1 03
1 09 3 Li on, et c I n o rd er t o see h i m y et no t fr i gh t en
the .

h i m t h e l io n wa l ked a l o ng beh i nd so me h ed ge .

1 1 00
fi.s he s s pr e a d , e t c : G i l d i ng h i s
. s h a d o w ; t h ey so

loved a ll t h ey co ul d rea ch of h i m , t h ey desir ed t o m a ke

i t s d a r kness fa i r a s l i fe .

1 1 05 ur ch i n s nowted :
.
-
With a snout l i ke t h a t of a
h ed geh o g .

1 1 1 0 thought to ki ss e h i m :
. Th eo cr i t us i n a n Id yl
co mm o nl y a s cr i b ed t o hi m , t h o ugh d o ub t full y so , h a s a

s i m i l a r fa ncy As a l rea d y po i nt ed o ut i t a grees cl osely

.

’
wi t h Ta rch ag no t a s st a nza t o t h e sa m e effect (See .

So urces , p 5 4 fo r t h ese p a ssa ges ) M a lo ne ci t ed a l so a

. .

La t i n poem , De Adoni a b Apr o I nter empto of M i nt u rnus .

1 1 28 two la mps
. li es : I t i s fo r t una t e t h a t i n so
m a ny ca ses t h e r h ym e m a k es i t i m po ssi bl e fo r t h e ed i t o rs
t o m od erni ze t h e sy nt a x , a nd t h us d i sco lo r t h e na i v et i es
o f t h e o ri gi na l Here t h e rh y m e, eyes m a kes li es i m p era
.

t i ve . Th e una l t er ed Fo l io t ex t giv es m a ny a p a r a llel : e g . .

’
Th e grea t m a n d ow ne yo u m a r k h i s fa vo ur i t es fl ies
‘
.

Th i s i n t h e mod er nized t ex t , t h e Qua rt o s a nd poo rer

’ ’
Fo l ios i s co r rect ed o r ed i t ed , a s t h e ca se m a y b e, t o
‘ ‘

’
fa vo uri t e fl i es
‘
.

’
Th i s sp ell i ng o f s p i t e i s i nt end ed t o
‘
1 1 33 s pi ght :
.

m a t e i t wi t h t h e r h y m e —
li ght .

1 1 35 I pr opheci e : Th i s p ro p h ecy o f th e god d es s ( 11 .

1 1 6 1 1 66) i s t h e d eep es t a nd m os t p ecul i a r l y Sh a ke

4
—

s p ea r i a n s t ro k e o f a r t i n t h e wh o l e p oem .

1 1 43 or e s tr a wd : St rewn o ver a s rush es o r s t ra ws o n

fl
-
.

A fres h er feel d o f a i er wh o m l a rger

‘
t h e s t a ge oo r -
.

’ ’
l i gh t d o t h overst row (Ph a er s Vi rgi l , Bk v i Ed it i o n of . .

s ta r i ng : B o ld eyed , a d ect iv e
j that p ut s the

fl
1 1 49 .
-
an

bl us t er i ng loo k of t he ru ian befo re us sud d en ly q ui et ed

1 1 2
 LI TERARY I LLUSTRATIONS

i n gl a nce by love Ro ugh m a n, a s m od i fied by h is h um bler

.

’‘
a t t a ch m ent fo r B ess B r id ges i n Heywoo d s F a i r Ma i d o f

t h e West , ex em pl i fi es t h e ch a nge, i n l oo k s
’
Wyndh a m
.

s ugges ts t h a t s ta r i ng m ea ns
‘
unk em p t ,
’ ‘ ’
b ri st ly, l ike t h e
’
s t a r i ng co a t o f a n ungroo m ed h o rse
‘

fl
.

1 1 68 a purple
. our e : See So ur ces fo r t h i s fl ower in
o t h er vers i o ns o f t h e s t o ry Th e a nem o ne or wi nd fl ower ,
.

’
a nem o ne o r na a mon ( t h e d a r l i ng ) ca ll ed by t h e Ar a b s
‘

t h e wo und s of N a a m o n 1 s s upp o sed to b e i nt end ed

‘
.

’
C o m p a re t h e m i l ke wh i t e fl ower , now p urpl e wi t h l ove s
‘ ‘
-

’
w o und ( M id s Ni gh t D r
‘ ’
II i Th e sp ell i ng o f
fl
. . . .

our e i s m ea nt t o s h o w t h e p ro nunci a t i o n i n o ne sy ll a bl e,

a s i n 11 1 1 7 1 , 1 1 77, 1 1 88 , i ns t ea d o f t h e t wo sy ll a bl ed

fl
-
.

p ro nunci a t ion of ower r h ym i ng wi t h power i n ll 9 44, 9 46 . .

See a l so 11 65 a nd 66. .

1 1 90 s ilver doves : See 1 1 5 3 , a l s o 1 1 0 a nd No t e t h ereo n

. . . .

’
Sh a kesp ea re h a s ch osen d oves i n pl a ce o f t h e Swa nnes
‘

’ ’
Cygnet s o f G o l d i ng s t r a nsl a t io n fro m O vid (see
‘
a nd

Th e D o ve o f Pa p h os
’
Sou rces fo r ext r a ct ) IV
‘
. .

P ro l .

1 1 93 P a phos : Th e ci t y o f Cy p rus d evot ed esp eci a lly

.

t o t h e a d o r a t io n of Venus a s Ep h esus t o t h a t o f D i a na .

’
I m et h er d ei t i e, sa ys I r i s , cut t i ng t h e cloud s t owa rd s
‘ ‘

P a ph os : a nd h er So n D o ve d ra wn wi t h h er -
’
I V i 1 03
. .

1 1 94 i mmur e her s elf: Th i s t o uch , sh owi ng t h e l i gh t

.

g o d d ess s ee k i n g t o secl u d e h e rs el f i n t h e so l i t ud e o f g ri ef,

b ri ngs h er clos er t o mo rt a l s, a nd a dds a .h ea rt—ca p t uri ng

fi ni sh t o t h e d a inty story .

1 1 3
Sta unton

A . W Ver ity
.

Wyndh am . Poems
Herfor d
Sid ney Lee ( Ch a tswor th )

1 1 6
 V EN U S A N D A D O NI S

Ba r nes ( ba r ns ) , Lue , 8 9 , s tores up Cbafi ng , Ven . Ad , 25, .

.
.

B a te br eed t ng , V en
- A d , 65 5 , fr etti ng , t a
.
g; 11 1 . .

ca us i ng ua rrels i i 1 1 6 ; Ma c I i 1 09
fi
. . .

Ba teles s e ( a teles s ), L uc 9 , not t o Cb a mpa i ne (clea m fia zk n) , L ue , . .

b e b unted . 1 2 47, level co untr y .

B a ttell (ba ttle), V en 81 A d , 61 9 , Cb a r a cter d (cb a r acte r ed ) , L uc

. . .

b a t tle li ne - . 80 7, s tress o n seco nd sy lla b le

Ba ttry ( ba ttery ) , Ven 8: A d , 42 6, d ra wn . . .

a ss a ult . Clzea r e (cfieer ), Lue , 264, coun .

B a nk ( ba lk ) , L uc , 69 6, refus e t o te na nce
. .

Ckops L ue , 1 4 2 , li nes , fur r ows

}
. .

B a , V en A d , 8 77, fa ci ng th e Clzu r i s lz V en A d , 61 6, sa va g e
V p
. . , . . .

g a m e ; T °m of Sh r i i 67 Cton e r , L ue , 8 1 1 , d eci h er
. . . . . .

B e, L ue , 3 8 8 1a1 1r
. C1 r cu m s ta nce, V en Ad , 844, . .

il gzg
B eg ni ld ( 66g u tted ) , Luc 1 5 44 d eta s o f to
p
. .

m a d e beg u1 li ng o r d ece ti ve C[ a y , uc , o e g r a ve . . .

B eld a fne ( beld a rn) , L uc 9 5 3, Clea nly , V en Ad , . . .

g r a nd m o th er letel ; c f clea ne, S o nn ,

E y
. .

Ber ea ves, Ven 81 Ad , 79 7, L uc C yes en & A d , 5 , ca lls , d ubs

p p
. . . . . .

3 73 , im a i rs s o ils Cl , Ven Ad , em b ra ce ;
if
. . .
,

B s ed , L uc 1 , 1 42 9 , th r ee s yl a s s P i lg ,
lb
. 1 7 . . .

a es Clos u r e, V en A 78 2 , close, .

B ew r a xd e( bew r ay ed ) , L uc 1 69 8, enclo s ur e ; S o nn
'

p
. .

ex o sed ; S o nn M us Coa s tetlz, V en

. Ad 8 70
. . .

B id a ba s e, V en 8: A d , 3 0 3 , ch al . h er wa y ; H en V I fI , I l
. .

leng e t o a ra ce ; T wo G en o f Coa te ( coa t) , L ue , 2 0 6, . . .

Ver , . iii 1 06 . . . a rm s .

Blunt, V en 81 A d , 8 84; L ue , Cock ea tr i ce (cocka t r i ce)

. . L ue , . .

u h sa va g e 0 , fa b ulo us wi ng ed se n t
1
5 ro g , 5 4 . e .

B o1 n ( bollen) , L uc 1 41 s w o llen Cold , Ven 8: A d , 69 4, 0 8 e ri g h t

gp
. . . .

B ond , L ue , 1 3 6, o wners l ; So nn ,
. s cent . .

Colo u r , L ue , 2 67, P re tex t

l
.

Bootles s e (boo tles s ) , Ven Ad , T v 0 G en

p fi 5
} $1
. . . . .

42 1 , un ro ta b le Com o r ta bz
'

. ‘ uc , 1 c eenng .

B ottom r a s s e (bottom -g r a s s ) Le a r , I I i i 1 68
f
. . .

Ven 81 . d , 2 3 6 g ra s s g r o wi ng Com m i s s i o n, Ven

. , A d , 5 68, . .

i n a va lley or lo w m ea d ow wa rr a nt, ch a r ter . .

B r a v i ng, L uc 0 , ch a llen n Co mpa ct, V en 8: A d com

5 i p
. 1 4 . .

B r ea tl ung 1 0 11 1 e, V en d o sed ; M i d s N i g h t i 10
r
p
. . . . .

1 2 , ti m e o f d ra wi ng a b rea t h Compa r e, L uc 40 com a r i so n . . .

B ad e (bulk ) , L uc 467, ch es t Com a r ed , Ven 81 A d 70 1 , t h ree

. . . .

B u r d en- w i s e L uc sy la b les . .

1 1 3 3 , a s i n th e r efr a i n o f a so ng Comp a s t (compa s s ed ) V en Ad , . . .

2 72 , a r ch e d ; T r o C res I . .

Ca bi net, Ven A d , 85 4, ca b i n,
. u 1 1 2 . . .

nest . Co mpelled , L ue , 1 .

Ca nk er , V en 81 A d , 65 6, ca nk er . la b les . .

wor m ; S o nn 3 5 5 2 Comp la i ned , L uc

p
. . . .

Ca r ry ta le, Ven 8: A d , 65 7, ell la i ned o f b ewa iled

p t
- .

’
. .

ta le, g o s si L ove s La b , I V Concea led Ven 81 A d , 3 3 3 , L ue , . . . .

6 800 , th ree sylla b les .

Ca r v ed , L uc 1 45 , two s ylla b les. Concei t, concezjt t ( concei t) , L uc . .

Ca tcl ung , Ven Ad 3 2 1 , bei ng

.
70 1 , 1 2 9 8, th oug h t ; 1 42 3 , i nven
.

ca ug h t . t1 0 n .

Cens u r e, V en A d , B ed 6, Concei pted concei ted ) i L uc 1 3 71

h
. . . .

j u d g e ; S o nn , .
g i ft ed w i t i m a gi n a t on.
 GLO SSARY
Conclusi on, L ue 1 1 60 , e x p er i 1 00 2 r h ym ing wi th con f us e ;
V 3
.
,

m ent : A nt C leo , ii 26 . . . . . ( 1 ea )
C ond uct’ Lue , 3 1 3 , g ui d e ; i ch
. . D ecli n ed , L uc 1 70 5 , t h r ee sylla bles . .

I I, I V i 1 5 9 . . . D fa m e, L ue , 768 , 8 1 7, 1 0 3 3 , noun,
e .

Co nfi r m ed , L uc , 1 5 1 3 , th ree s yl . i nfa m y .

la b les 0 m m” , Ven. 8: A d , 73 6, d i s
2
. .

confound s, L uc 1 60 , . em e nt.
2 5 0 , 1 202 , 1 489 , d es tr oy , d e s t ro y s . De d , L ue , 1 02 9 , t h ree sylla b les
. .

Cong ea led , V en 81 A d 1 1 2 2 , L uc . . . . D ep r i ve, L ue , 1 1 8 6, 1 7 5 2 , t a k e .

1 7 4, th ree s lla b les a wa y .

4 .

C om es , V en A d , 68 7, r a b b i ts ;
. . D es ca n ts (d es ca ntes t) , L uc , 1 1 3 4 . .

A s Y ou, I I I 1 1 3 2 9 . . . s i ng es t wi t h v a r i a t i o ns .

L ue , 5 68 , s tres s o n . D esp i sed , Ven. 8: A d 1 35, th r ee

so lem nly ch a r g es s ylla b le s
fi
. .

L ue , 9 48 , s tr es s o n rs t D em ise ( d evi ce) , V en A d , 78

l
. . .

sy lla b le . m a nner, concep ti o n ; A s Y o u, .

Contr old (con tr olled ) , L uc , 48 , i 1 63

.

p
. .

6 78, over co m e ; con tr olled , 0 11 . D i ap a s on, L uc , 1 1 3 2 , d ee to nes .

A d , 2 70 , L ue , 72 7, t h r ee
. . i n h a rrno n wi th a n a i r .

s ylla b les . D ig r es s i o n, no , 20 2 , err o r , tr a ns .

Conver t, c on ver ts , L uc , 5 9 2 , .
g r ess i on .

m tra ns 1 t1 v e, tur n, t ur ns . D i s bu r s ed , L uc , 1 20 3 , {t h ree sy l .

Conver ti te L ue , 743 , str es s o n . la b les .

t hi r d sylla b le ; p em t ent . D i s ch a r g ed , Luc 1 04 3 , th r ee syl .

Cof e, Ven A d , 8 88, enco unter ;

. . la b les .

cop t (coj ed ) w i t/z, D r a i ned , Lue , 9 8 7, th ree s ylla

'
L uc , 9 9 ,
if
'
. .

m et, encountered ; T r o 8: Cres . . es.

I 11 37 D i s ho nor ed ( d i s h o nour ed ), L ue
p
. . . .
,

Cof es m a te, Luc , 9 2 5 , com a ni o n . . 1 1 8 5 , th r ee s ylla b les .

C o te ( uote , L uc , 8 1 2 , no te ; R o m i rj oy nd (d i syb i ned ) , V en 8: A d

p
. . . .

ul , . xv 3 1 . .
5 41 , s e a ra ted h i m self .

Counterfa i te (cou nterf ei t) , L ue , . D i s pence (di spens e) w i t/1 , L uc

-
.

1 269 , re fl ect ed i m a g e 1 0 70 , 1 2 7 ex cuse S o nn , 1 1 2 1 2

9
p
. . .
, .

C ou r a e, Ven 8: A d , 2 76, t em er . . D i spens a tzon, L ue , . 2 48, five s yl

C oy , en A d , 1 1 2 , scor nful
. . . la b les .

C ow ck etk (coucketk ) , L ue , 5 0 7, zirp er s t (d i sf er s ed ) , L ue , 1 80 5 ,

fi
. .

tr a nsi ti ve, m a k es co wer . s tress o n r st s ylla ble, b eca us e

C r a nk es (cr a nk s ), Ven 8: A d , . . i mm ed i a tely follo wed b y th e a c
68 2 , twis ts cent ed n um
o
.

C r es t- wound i ng , Luc , 8 2 8, s ta i n s pa m , l no , Ar g 1 9 , sti m es

£2
. . . .
°

i ng fa m i ly h o no r uta tzon, L uc , 246, s ylla

fi
r
. 1 .

C r oss e (cr os s ) , V en 8: A d , 73 4, . . es.

th wa r t, h i nd er . D zss enti ous , Ven A d , 65 7, ca us .

C u r i ous , Ven 8: A d , 3 4, ela b . . i ng di ss ensi o n

o r a te ; L ue , 1 3 00 , 11 ci a lly
. . D i s tem Ven .

C ur led , L uc 9 8 1 , tw o sylla b les 8: A 65 d i s tur b i ng

V
. .

C u r s ed -bless ed L uc 866, four sy l , . D i s tu r bed , e n 8: A d , 3 40 , L ue , . . .

la b les , th r ee 8 lla b les

fi 4 5 4
. .

C ur s t, Ve n 8: A d , 88 7, erce ; . . D w ed a pper , e n 81 A d , 86, d a b . .

T wo G en o f V er , I I I i 3 3 7 . . . . . ch i ck , a wa ter fowl r es em b li ng
th e g reb e .

D i v i na ti on, V en 8: A d , 670 , five . .

D a ng er , V en Ad 63 9 , th e s y lla b les
p
. . .

r a ng e o f h i s d a ng ero us o wer . D o, L ue , 1 09 2 , d o wi th ; d one,

.

D us k , Lue , 2 06, m a r k o f i nfa m

. L ue , 2 3 , a t a n e nd
. .

D eeesee (d ecea s e) , V en 8: A . D r enck ed . L uc 1 1 00, t wo sy lla b les. .

1 21
 V EN US A ND ADO NIS

D ung“, Luc 1 1 2 7, m our nful F i er (fi r e), Ven

. Ad 3 3 4, two . .

m us e ; I wo G en o f Ve r , I I I
‘ ‘

s y lla b les , j i
é
. .

11 . s F 1 er 1 e L u e , 3 72 , .

w i t h b la zi ng ea rns .

E a r e (ea r ) , V en 81 A d , D ed 1 3 , F i ne, L ue , 9 3 6, p ut a n e nd to
. . . .

lo ug h , ti ll . F la w es ( fi a w s ) , V en A d 45 6, . .

E on Ven , A d , 9 48 , b la ck a s
. bur s ts o f w i nd ; C or v i ii 82
. . . . .

eb o ny F low er , V en 81 A d , 8, t wo sylla .

E i en ( ey ne) , L uc 64 3 , 1 2 2 9 , ei ne b les .

(ey neh Ven A d , 63 3 , o ne s y l F o lli e (folly ), L ue , 8 5 1 , wa nto n

. .

la b le : e yes nes s
V
.

E lem ent, L uc , 1 5 88, s k y ; H en .

, F ond , V en & A d 1 0 2 1 , L uc 1 3 4, . . .

IV i 1 1 0
. . . d o t i ng , d elud ed .

E m ba r k ed Ven 81 A d , 8 1 8, th r ee F ond li e .
(f ond ly ): . L ue , .

s ylla b les b li nd ly
i
. .

E m t ti e ( em) ) , V en & A d 5 5 , F nd li ng , V en 81 A d 2 2 9 , d a r
1 o
. . . .

h ung ry l I i 30 1 mg . . . .

E nti tula te ( i nti tula ted ) , L uc F o r , fi r wk] , L ue , 1 1 42 , 1 2 2 2, . .

5 7, h a v i ng a cla i m b eca us e . .

m a li F or ce, L uc , 1 02 1 , va lue; C f Lo ve s
'
nv i ous , V en A d , 70 5 ,
V
. . .

io La b , ii 4 2 . . . .

E s w s ed ( espous ed ) , L ue , 2 0 , F or ced , L uc
f
1 , 70 1 , tw o s ylla . .

r ee s ylla b le s

i p
.

E teem ed , L uc 1 8 1 1 , th r ee s ylla . F or es ta ll, L uc 7 2 8, re v ent t h e .

l s a ct i o n o f .

E x celli ng , V en 81 A d , 443 , ex F ed V en & A d , 804, two syl

g
z
. . . .

h a li ng l ,
Exfi / d ‘ L ue , 2 6, s tr ess F or s wor ne (for s wo r n ) , V en 81
fi
. .

on r st Ad , 72 6, h a vi ng b r ok en h er .

E x ta s i e (ecs ta sy ) , V e n 81 A d , o rd . . .

89 5 , fit, ex ci t em ent F oule (foul) , Ven 81 A d , 1 3 3 , 1 0 3 0,

fi .
. .

E x tr em e, L ue , 2 3 0 , s tr ess o n r s t ug ly ; S o nn
p
. 1 4 . .

s ylla b le . F r ets , L uc 1 1 40 , s t o s o n th e .

s tri ng s o f a m us i ca l i ns t r um e nt ;
F a ct, L1 1 c , 2 3 3 49, d eed , cri m e ; Ta m o f Sh r , I I i 1 63 , 1 66
9
. . . . .

e li , 1 l vu 5 4
.

F r ets , V en A d 767, ea ts i nto

'
A ll s . . . . . .

F a i ned Ven 81 A d F r i e (f 1 y ) , Ven 81 A d 5 2 6 s ma l . . . .

42 5 , t w o s ylla b les le s t o f fis h. .

F a i r e (fa zr ) , Ven & A d 1 0 86, F r om , L ue , 5 65 , 1 1 44, out o f

. . . .

bea uty : So nn 1 6 1 1 , 1 8 7, etc . . . .

F a ls (fa lb ), L uc , 1 5 5 1 , let s fa ll Ga g e, L uc 1 44, s ta k e, r i sk ,

. .

Ot h , I V 1 2 73
. . . Ga lled , L uc 1 440 , t wo s ylla bles
. . .

F a m i s k , V en & A d , 20 , tr a nsi . Ga n, Ven A d 9 5 , b eg a n ; used

. .

’
t i ve , s ta r ve . wi th o ut t h e fo llo wi ng t o ‘
.
’
F a nc1 es fa nc s ) , Luc , 2 00 , lov e s Ga v e, V en 81 A d 5 7 1 , g i v en
g
W
. . . . .

F a ult, v A d , 69 4, d efecti ve Gen t r i e ntry ) , Luc 69 , g entle

.
5 .

sce t b i r th ; i nt T a le, I 1 1 4
pp “A
.

F a vou r , Ven 81 Ad 747, a . ea r Gznnes g i ns ) , V en

. 6’ . .

e b eg i ns ; no t a co ntra ct ed fo r m .

F ea r , ven 81 A d 1 09 4, fr i g h ten ; Gli s ter s , V e n 81 A d , 2 75 , s h i nes

. . . . .

T a m o f Sh r , 1 ii 2 1 3 Goet/z a bou t, Ven Ad 3 1 9,

p
. . . . . . .

F ea r e (fea r ), L uc 3 0 8 , o b ject o f a tt em ts . .

fea r . Go r g ed , L ue , 69 4, two sylla b les . .

F ea s tfi nd m g , L ue , 8 1 7, a t tend Go ver n m en t, L uc 1 400 , s elf-con

V
. .

i ng b a nq ue t s . tr o l, H en I I I, I I i v 1 7 1 . . . .

Gr aj e (g r af ) , L ue , 1 0 62 , g r a ft
'

F ence, L uc , 63 , d efend . . . .
 V EN US AND A DO NIS

Loth ed ( loa th ed ) Lue .

, 662, 867, M us i ts V en
, A d , 68 3 , h oles
. .

9 84 , t wo s y lla b es . m a d e b y a ni ma ls th ro ug h h ed ges
Lucr ece L uc , 7, s tr ess o n seco nd or th i ck ets
fi
. .

sylla b le, elsewh ere o n rs t .

Lu r e, Ven 81 A d 1 0 2 7, ca ll of
.
N a m elesse ( na m eles s ) , L ue
.
5 22 , .

th e fa lco ner .
L us t, L uc 1 3 84, leasure ; T i m N eed le L uc
. p
h a v i ng no leg a l fa mily a nd na m e
3 1 9 , th e seco nd
.
.

IV i ii . 5 3 8
.

s y lla ble i s
of
eli d ed b efor e hi s ,
.

L us t-br ea th e d:
Luc 3 , th ree sy l ’
need l h i s .
.

la b les. N i ce, L uc 1 41 2 sk ilful . .

lVoug h t (na ug ht) , Ven Ad

Ma ne, Ven A d , 2 1 , used wit h
. .

p g 00d for no th ng , wi ck ed ;
°
.
- -

lura l verb , s ta , be ca use t h e

a
p
se a ra te b ra i d s 01
om . 81 Jul , I I I ii
lo ck s a r e N ous li ”n n m li ng ) , en
6
Ad ,
. . .

g
. .

th o u h t o f.
M ap, uc 402 , i m a g e, i cture
.
1 1 1 5, ra ti ng th e no se.
p
So nn , 68 1 , . .

Ma d ( O b d u r a te, V en A d L u c
V
fi
lg
/ m a r r d
e ), en A d 47 ,8 . .
. . .

ma d e ; th e verb i s as si m ila ted 4 2

9 s tress o n se co nd 5 a b le .

O n, ven 81 A d , 9 3 0, 1 002 , L uc
to th e i d ea o f i ts o bject, [ th e . . .

1 , a t , a g a i ns t
h ur t] th a t 7 4
p
.
.

O ely (o n ly ), Luc 49 6 tra ns os ed

Ma r m a id e ( m er m a i d ) , m a r m a id es
n
p
.
,
’ f r o m i ts na tura l si t 1 o n a fte r th e
m na id s ) , L uc 1 4 1 1 , V en
o

g
a
. .

v erb .
s i r en s ir en s . ’
42
{u
7 77,
M a rr i a g e , c .
, 22 1 , h
t r ee s ylla Or e t r a wd (o er s tr a wed ) , V en
-s
.

b A d 1 1 43 , str ewn, co v ered

’
. .
e

Ma tch V en. Ad , 5 86, Or e-wa r ne (o er wo r n ), V en

g
ree
.

p “1 ves
.
,
poi ntm ent ; Mer , wo r n o ut
1
m ent, a , 5 .

0 r 1 ent, ven A d 9 8 1 , si 1 n
.
,

l . .

M a ted , en AdV 9 09 , b ewil

l)
A nt C leo . .

V
. .

le ed z Ma cb , i 79 ; Errors,
Il
. . .

l i s6 L uc 5 5 3 , . tw o sylla b les,

M ea ne ( m ea n) , L ue , 1 045 , m ea ns , .

O r ts , uc , 9 85 , scra s. p
i t s tr um ent ; Jul C re s I i
p
.

a
. . .

Over s ee, L uc 1 20 5 , s u er vi s e th e
.

Mea s ur es V en
A d , 1 1 8 s te s p executo rs o f ; ov er s eene (over

5
. .

d a nce ; Much A d o , I i 72
,
s een ), L ue , 1 206, bewi tch ed , d is
of a
.
. . .

a b led
M iss e ( m i s s ), Ven 81 A d 5 3 , o f . .
.

Sonn .
O w e, Ven , 81 A d 4 1 1 , L ue , 82 ,
. . .

o wn ; ow ed , L uc 1 80 3 , o wned . .

V en 81 .

A d , 8 2 6, ca usi ng d i str ust o r

. P a i nted cloth , L uc 2 45 , wall .

fea r . h a ng i ng s wi th i ctur es a nd m o t
M oi ty ( m oi ety ), L uc
.
D ed 7, . . to es ; 1 H en I , I V i i 2 7. . . .

orti o n P a le, V en A d " 2 3 0 , e nclos ure

p
. .

o r a li s e L uc 1 04, i nter ret ; A s Error s , i

Y p
1
i5 1 2,
.

ou, l I I i , 49 a lenes s ; W nt a le , I V fit 6
p
. . . . . .

M or e, V en 81 Ad , 8, L uc 3 3 2 , P a lm er s , L uc 9 1 , i lg ri ms fr om
d
. . .

g rea ter ; Erro r s , I ii 1 7 t h e H 01ly La n

p
.

M or ta ll ( mor ta l) , V en Ad . . L uc 1 00 , S ca 11 m g
.

61 8 , 9 5 3 , d ea dly , d ea th -d ea li ng . La h , ii 1 2 8 . . . .

M ot, L uc , 8 1 0 , m o tto
. . P a s seng er , Ven 81 A d 9 1 , wa y . .
,

M oved , L uc 5 88 two sylla b les fa r er ; T wo G e n o f V e r I V. 1 .

°

. .

A 866, wo nd er
. .

M us i ng V en 81 A .
7
i n ; Two Gen oi Ver , I P a s s io ns , V en. A d., 1 0 5 9 , ver b,
g
. .

g ri eves .
 GLO SSARY
P eer s , L uc 470, tra nsi ti ve, sh ows , Rem em br ed (r em em ber ed )’
, L uc
p
. .

lets a ea r . 60 7 be r em em br ed , rem em ber

uc 1 41 8 , .th row a n Remor se, Ven 81 A d 2 5 7, m e : . .

word s li k e st ones . Re a le ( r ep e L uc ’640 , rec .

P e1 36lex ed , Ven A d , 1 043 , th r ee . . wo Gen o f er , II i 2 3 7 . . . .

s lla b les
y . Re Ven 81 A d , 490, no un, . .

P h i lom ele, L uc 1 0 79 , th ree s yl . is co ntent.

la bles , s tr ess o n th e firs t, P Rep r orl e, Ven 81 A d 78 r efute,
p
. .
,

rove, fa ls e Much A . 0,
P i ne, Ven . Ad . 602 , tra nsi ti ve, 221 .

Req m r i ng , L 1 1 0 A rg 5 , a sk i n . . .

P i th , V en 81 A d , 2 6, vi g or ; H en Res olu ti on, Luc 3 5 2 , five 3 a

V
. . . .

,
I l l P ro b les, unles s s om e o t h er s y ble
P la ni ng (f la mi ng ), Luc 5 5 9 , . h a s b een lo st fr om th e li ne .

t, entrea ty. Respect, L uc 2 75 , th o ug h t, pru .

P a ts 9 3, folds , d ence
flo wi n r o bes . Respectv gg , Ven 81 Ad 9 1 1 , no . .

P la us ib y ti ci ng .
’ ’
P o i ns t f oi nt s t), uc , 8 79 , a p . Reti r es , Lue , 3 0 3 , tra nsi ti ve , d ra ws
.

p o i ntes t . L uc .

P os t, L uc 1 , h a s te ; Er r ors, I 5 2 i ntr a nsi ti ve, retur ni ng T r o

8
. .

6 m ii i 2 9 2
l
. . .

P r es u ent (pr ecedent) , Ven 81 Ad , Rev/ 0 1 3 1 47, L uc 1 778, th ree sy l

p
. . .

2 6, L uc 1 2 61 , ex a m le , m o d el
. . la b les .

P r etend ed , L uc 5 76, i nte nd ed Rig oll (r i: ol) , L uc 1 745 , ci rcle

p rf
. . .

P r i oke (f r i ck ) , Lue , 78 1 , o i nt o n . en
c v v
th e d i a l Roo te ( r oa t ), Ven 81 A d 63 6,
P r i m e, Luc 3 3 2 , s ri ng . p . p
u r oo t, d estr o y .
. .

P r one , Lue , 68 4, h ea d lo ng. .

P r oofe (pr oo Ven A d 62 6,

V
.

i m p e netra le ; Ri ch I I I, ii i . . S a ei ei i e (s a ti ety ), V en Ad , 1 9, . .

o ver -a b und a nce

2 50.
’ p
.

P r of a r ti on d S a w , L ue , 2 44, m a x im , r overbi a l
.

774, r eg ula r sa y i ng
P r ove, Ven 81 A d
p ’ 5 9.
7, find b y

ex er i ence ; p r ov d (p r oved ) , 60 8
.
g
S t a es , L ue , 747, evil d eed s
S cla nd r ous (s la nd er ous ) ,
.

Luc
.

t e s ted 1 00 1 , d is g r a ceful
p
. .

P ur zfied L ue , 5 3 2 , ur g ed , r en . S ea led , Luc 1 1 44, si tua ted . .

d er ed a r m les sS S ecu r ely, L ue , 89 uns usp ecti n . .

’
P u r l d ( t ur led ) , Luc , 1 407, curled S eek es (s eeks ) to, Luc , 2 9 3 , see s ,
pp
. . .

a c to .
S enceles s e (s ens eles s ) , Luc 8 20 , .

Ra si s h ( r eli s h ) , Luc 1 1 2 6, serve i nse nsi b le o f wr o ng d o ne

p p
. .

a s a r eli s h , b r i ng o ut wi th lea s S ens i 61e, Ven. 81 A d 43 6, ca a ble .

ure ; T wo G en o f V er , H i 2 1 o f t a k 1 ng a n i m re s si o n
. . . . . .

R a nh e ( r a nk ), Ven 81 A d , 7 1 , S epa ls /1 n d (sepu b r ed ) , L uc , 80 5 ,

. .

o ver full, too ull

- s tress o n seco nd 5 lia b le
. .

V en. 81 A d 6, rob s , d e S er m le, Ven 81 A

p
. .

r i es ; All s Well,
.

iii 1 0 1 S et, V en A d , 1 8 , sea ted ;

v v
p
. . . . . .

1 1 1 1 1 131 1 , L uc ’w h a t h as b ee n C om 3 9 ; 1 H en IV I I i v
3 . , ,
. . . .

ta k en o r sw1 11o we d ; C01 I 43 3 .

.i 114 S ev er e Ven. A d , 1 000 , m er ci .

R a r d , L uc 1 . les s .

Re 5 1 mg , V en A d 29 s h a g gy
i
. . .

S h o m es , s h a m m g
.
si ti ve, so ftens ; uc 1 08 .

I I I i . 2 5 0.
. 1 1 43 , i s a s h a m ed , bei ng a s h a m
 VEN US AN D A DO N IS

Si tfied , Lue S tc h ed , Lue , 1 0 5 9 , 1 1 8 1 , two syl

two sy lla
zi
ea .
, 1 72 3 , .

bl l es .

S ta lled , Ven 81 A d 3 9 , two syl

9 20 , t1 i c er yz
g
.

ece1 m
.

ti n no , 9 0, la b les
5 fi
.

“
.

M 1 ( 1 11 r e Ven 81 A d , S teld (s telled ) , L uc , 1 444. x ed

. . .

b a r sh , ill- na tured ; T a m of S o nn , . .

hr l . 85s S ti ll, V en A d , 1 000 , (s ti ll . .

S illi e (s i lly) , Ven Ad 467, . L ue , 1 88, 85 8, ever, m o d i fyi ng

. .

i ora nt ; Ven d 1 0 9 8, t h e following a d jecuv e o r

p
. .

uc 1 67, h el less , i nnocent t1 c1 le

.

’ p . .

S 1 1 noi s ( S i m oi s Luc , 1 43 7, t h r ee S ti lIztor i e (s ti lli to1 7 ), Ven Ad ,

fi
. . .

s lla b les , s tr ess on th e rs t, 44 3 , s t i ll, di stillery .

-o S tops , L ue , 1 1 2 4, co ntr o l o f th e .

S i 1 1 1ple, Ven 81 Ad .
79 5 , i nno to ne s o f a mus1 cal i ns tru m ent
.

ce nt H a m , I l l ii , 75 ; Much A d o ,
p
. . . .

S 1 1 1 1f le, L uc 5 3 0 ’ o te nt h e rb ;
. I I I ii 4 . . .

A s Y o u, I V 31 1 8 . S tor i es , en 81 A d , 1 0 1 3 , L ue , .

S 1 “, Ven & A d , 762 , 1 1 6 , s i nce

. . .

1 06, ver b , t ells

3
. . . .

S lap m o u tkd ( flu m outbe ) , Ven S tr a ng e, L ue , 1 242 , for ei g n o f . ,

81 A d 9 2 0, wi . b roa d , h a o th ers .

p S t r a ng eness , Ven 81 A d , 3 1 0, . .

5 1 131 1 , V en 81 A d , 1 5 , blu nd ers , . co ld ness , i nd i fiere nce

(z cm nt er feu co i ns ; om 81 Jul , S tri ct, Ven . Ad , . . .

Il 1 9 fig h t
S t ea r ed , Luc 1 3 8 1 , two sylla S tr a nd (s tr a nd ) , Luc 1 43 6 s h o r e
z
. . .

l S uj er d en 81 A d , '

. .

S m i led , Lue , 2 64, two sylla b les 3 5 8 , if let a lo ne

fl p
. . .

89 2 , a tter i ng S ug g es ted , L ue , 3 7, tem t ed . .

S nea p ed , c , 3 t wo sy lla b les So nn ,

pp L
.
’
.

fr os t ni -
ed ove 8 L a b S ufp os ed , Lue , 3 77, i m a g i ned .

45 5 , t wo sylla b les
p fi
l .

S od , L uc 1 5 g s tee ed , t h e p a r S upr em e, Lue , 780 , stres s o n rs t

g
.

’ ’
.

ti ci p le o se th e Lo ve s L a b , s ylla b le
‘
. .

IV ii 2
. . S u r cea s e, Lue , 1 766, cea se ; C o n , .

1 1 0 5 , 1 1 06, so m e I I I i i 1 47
fl
. . .

ti m e s . S ur m i s e, Lue , 83 , r e ecti o n . .

no , 899 . select ; Ri ch I I I , S u pect, Ven 81 A d , 1 0 1 0 , 8 1 1 5

.
s . . .

s or tetl1 , Ven 81 A d , p 1 ci on . . .
’
m 1 ng les, co nsor ts ; Lo ve s
i , 2 5 9 ; sor ts , L uc
p
.

1 2 2 1 , a d a ts . Ta k e, V en 81 A d , 8 2 , m a k e . . .

S ound s , L ue , 1 3 2 9 , wa ters . Ta k i ng , Luc , 45 3 , tre i d a ti o n

. . .

S o und s (s wo umts ) , L uc 1 486, Tea r e ( tea r ) -d i s l a i ne L ue , 1 5 86;

. .

sw oo ns ; Ro m & J ul , I I I ii 2 6
. fo ur 5 lla bles
. . . .

t/1 ei r m ou th s , V en 81 A d , Teene teen ) , V en 81 A d , 80 8,

p
. . . .

5 , b a r k i ns tea d o f fo llo wi ng g r i ef, d i scontent ; Lo v C o m , . .

1 0 81 C r es
. v i . . 1 92 .

es ( spleens ) , en 81 Ad Temper a nce, L uc , 8 84 , cha s t

. . .

h um ors , wh i ms Tend er , Luc , 5 3 4 fa vor ; T wo

. .

(sp r i g h t) , Ven 81 A d 1 8 1 , o f Ver , I I ti 1 42

p
. . . . . .

1 2 1 , 1 7 2 7, s i r i t Tes ti e ( tes ty ) , Ve n 81 A d , 3 1 9 ,
. . .

Sf r mg , sp r ug s , Ve n 81 A d 65 6, vex ed
. . .

L ue , 9 5 0 , y oung sh oo ts , b lo s
. Th a n , L uc , 1 440 , th en . .

o Th a t, V en A d , 242 , 5 99 , 8 3 0 , . .

S ta m e (s ta i n) , Ven 81 A d 9 , th a t . L 11 0 , 9 41 x771 4671 x3 5 3 1 3 5 241

.

whi ch o utshi nes . 1 73 8 , s th a t.

 VE NUS AND A D ON IS

( m ndo ws ) Ven ser pent ; Mid s N i g h t D r 1 11

V
. . .
, ,

A d , 48 2 , eyeli d s ; Ri ch I I I ,
Wot Lue 1 345 k nows
. . .
7
i 1 i 1 s» 9 .

Wr a ch e
. .

Wi nk ( m i nh ) w i nh s , Ven
.
, , ,

. Ven . Ad .

A d 9 0, 1 2 1 , a 5 5 3 , sh ut th e 5 8 L uc m“
5 di
.
, ,

; “ g L uc 45 8, ” f t ( wr a 5 6, over
t
:
g
I ”
.

ém
S wh elm ed :
l
cc
e sh ut al i ii 1 49
’
W Wr ea h t ( wr ea k ed ), ;en
. .

5 7, b ra nd Ad ,
W1 s tli e ( w is t y ) , w i s tly , Ven.
. . .

1 004 , reveng ed
A d , 3 4 3 , L ue , 1 3 5 5 ; sea rch
. Wr etch Ven , . Ad .
70 3 , used
i Ion m g l
'

1 ty ‘ng l
W00 v 1 g x d , 740 , ma d ; 1 ” fi t on K
y le n . . Ad .
, 5 0 9 , p re
B en VI , I V . vi i 40 . d i cte d .

Wood m a n ( wood m a n ), L uc 5 80,

. .

L ue . 8 1 9, 1 8 1 8, t wo
h unte r ; Mer Wi v es ,
.
,

v 31
W
. . .

om e ( wor 1 n) , V en A d , 9 3 3,
. .

1 28
VA R I O R U M R EAD I N GS

1 29
 VENUS AND AD ONI S

s ullei n I sullen 3
-
x3 Q . G. ga th e red 8- 9 x- r
’
g a ther d
'
h e I sh e 3 4 I ed o
'
-
.

76. s h a m e, a n a n r I sh ame
a nd a nger It IrI' '
le as h y- a le MA L G .
.

p
” 1 33 ha r d f a vou r d h ard fa voured I xx
a sh i e Q h a rd fa voured 8 —9 ,
xx 23
. .

9
°
9 H er e st H er b s t re -
n .

H er b reas t L I N GIL . D A R . . w r i noh led old I wrink led

J
bes t nr s . MAL . old Jnrr M
’
AL G . .
’
bette r d b e t te rIed 5
—x
3 Q. fet I ll nu r t u r d
-

I I ll na tur d 6,
ter d ( wi th b rea s t ( TH BO B
'

a m or e d eli h t a n o er d e
'
. 8Q
x 3 6 flo w ] j y s Q
. I ll-na tur d 9 —
T x
ce
Q .
'

S
o x
“ d
-
.

li h t ( WARD G
3 8 L t 3 :5
. AN. 10 I L. n .

e us e I ch o ose Jun MAL G . x x x 3o

53 LI N
. . . oes 05 ,
-
x

Q ft I as
fl
ta h e t a kes x42 . is so 3 GIL
I I p mp
. . .

84 co mptless e com p tles 3 - 4Q. w lu 9. u Q G

p m Q m
. a
co unt les s 5 — x G. lu 4 lu 4 9 . 1 0Q.
p
-

1
M
.

86 . d w ed o e r d i e d a pe r 7 , x43 s m ooth m oi s t
. a nd I smoo th
ve-da per L I N. MA L . m o i s t-h a nd m
d i -da p er B . " 1 47 d i s h eveled ld es .
’
evell d H UD S. g
ms 9 , g I xx
w
89 . h er [ £ s 15 h ea r e h a i re -
x3 Q h ai r .

w t nh s , a nd t u r ns 1 41. o
90 .
and turnd e
o . x5 2 . 7 1 es e 2 i h e 5 - x3 Q.
' ‘

94 . et h er
A
et In 5 x3 Q. Ig yet
-
!54
1 58
ti l l
cea ze
I
to 3 MA L .
seize 4— x3 Q. L I N G.

g xx
. .
’
97 ooed woo d 3 —9 Q 3 Q.
— x
x6c. 3 3Q
- 1

I
. .

x68 wa s t wert 4— x3 Q.
’
.

si nwi si nowie 4Q. sl t i r ed I ti red ( a t ti red ) COLL.

n
o
xx a x x
99 . e 1 77
ewxe xo o y gQ
w r i te
% fz
s xn —
x3 8 .

i ne IL . G . x86 . ee I G.
xoa . s h a lt s h a ll x6Q . x87 . A ] IA
xc3 . h ang h un 3 — x3 Q. G u nh i n d e unk i nd , 4Q un
I
.

xc4. ba tt r ed a tta rd 6Q. ba t k i nd ? 2 MAL .

tered o x9 0 . h ea te I h ea rt 4Q.
xc6. toy I 3 coy —
x3 9xx .h ea r es I h a i res xa x3
Q. h airs -

x09 . oner -sw a y ed over L I N. MA L .

x3 overs wa yed G x9 4 .th a t th e xz—x3 Q .

a nd t h i s 7 , o
E
xxo . re r os e n d -rose x9 8 a nd
. .

Sa w MA L s q q —a oo s teele . r elentet h

xxx
. . .

s tr o ng -tem er d s tr ong tem s teel relenteth MA L .

.

p
7Q
Q
rn
r
.r
’
o g te
trong tem ered
m
tem er d GIL MA L
t e d S
.

p .
5, N a y , mor e th a n I Nay
m ore, th a n G I L
love, I love ? AL. G . M
p ’ —
. .

obey d 9 x3 Q. h a r d I h a d a- x3 Q
xx4
obey ed
m
I 20 3 .

th i s I th us o CA P M S” )
. m a i s t r i ng as t ri n g 5
-
x3 Q .
’ ( . .

m a s t eri n AL . 2 x0 .i ntr es t I i nt res t 5 - 8 , xo — x3 Q.

o i nteres t 9
LI
th a t w o .

xI 6. a r e t th ey a re G IL . a xx. l i vel es s I iveles 4Q li feless

xx 8
.

in th
e on t h e Sa w. S a w. G
x x9 I
.

th er e wh ere 4 x3 Q. -
a n . i m age I
i m a ge, 4 Q
I
.

i n ey es o n eyes x3 Q. 3 1 3. St a t u e
I et a t ue 5
— x
3 Q G
o
x2 0 .

I
. .

x2 3 . r evels ri va ls contenti ng contem nI n

xx
.

th er e a r e | t h ere b e 2— 9 , 2 1 4. no w om a n a wom an
be m b r ed I b rea d 4Q.
Q
a
x3 ey

I
.

w e a x7 . ch oh es ch och es o

I
1 26. k n ow not k no t y 5 x3 Q
-
.

x3 0 . s h ould I would L I N GI L . . m ew tons 3- 7Q

x3 2
 VARIORUM RE ADIN GS

. would I wold 3— 6 , 9 Q . 28 5 . ur r e I s p ur , 4- x3 Q . s ur ?
p
i nt end m ents I i ntend mens I L. G
ppi xx
.

ih
6 2 86. t r a ff i n‘s t ra ng , 2— 9 ,
225 . l e a ba nd l as a h a nd o . x3 Q . tr I i ng o .

2 26. h e 20 1 1 1 I h e would o . sa y I sa y 4
-
1 3Q G
,

q
2 2 8. h er I th ei r ( FA RI I II R . 2 88 a ees a es xo
s h e s a i th s a i th sh e N. G IL. unn i ng I li m ni ng :I N GI L
g
2 29 . .

sa i d s h e W
I;
p he the p ar k e Q f r of or ti o ned p ro po rti ond
p
23 1 . a a r 3
-
x3 .

th y a rk 2 1 A L. 9 , x .
p
’
ro po r t I ond e Io Q.

d ea I d 4 x3 Q G p ro po rt i o n d x3 Q G .
-
e
r eere . . .

2 3 4. fou nt a i nes I founta i ns 4Q t h i s I h is , xx

fi
. 29 3 . , x3

2 3 6. S w eet botto m e g r a s s e ISwee t a I ea ch l NN E A R

b o t t om e g r a s se 1 0Q Sweet . 2 9 4. p a ce Ip as e 5
—x
3 Q .

bo t to m -gr as s E F F MAL . G . J 29 6 e e c e
I 4 eye s
5
— x
3 Q .

2 39 . d ea r e I deerc 5 — x3 Q . 3oi . om etr m e Som eti m es 8 9 ,

2 42 3 46 ech I e a ch x3 Q G x I - x3 Q
g xx
, . C .

2 47 . lov ely I lo v i ng — o, —x
3Q 3 02 . s ta r ts I s ta re s 9
-
x3 Q
xx
.

th es e ou nd I th o se ro und 5 a ba s e I a ba ce 6, 8—9

2 48 .
xx x
Op en
’
,

I
O pen d x0Q G
é
O pe ned 8 9 , I 3 Q.
. .
-
xx -
3 04.
x3
A nd
Q .

w h er e
.
a b as e
And wh et
’
Jnr r MA L A nd wh e r 2 MA I .
x
..

2 49 . m a d I m a d e xs 3Q . A nd “h et h er CA M And .

S t r neh e IS tr uck t 4Q Str ook e wh e er N E LS O N

'
2 5 0. .

s
-
Q ot w h eth er I no t w h i th er
gKW
r3
in s ca r n e I wi th s co rne ! x3 Q
. .

s /t e s a y we 4Q. th r o ug h I t h ou h 4Q
I Wt
sa y SO S~ .

o 3 06. w h o w a ve C h wa ve 9 Q
'
spr i ng s s p r I ng I h . .

f r o m for th Ifro m th ence o . wh o h a v e L I N . wh i ch h ea ve

d ot /t I d i d o G IL .
R
r a i n s I t ei g ne 5 7Q t /t r ed feth red 4Q I
{
-
ea
x
. .
’
8 9 -
x x3 Q
, . ea t h red xc x fea th erd-
.

w ov en I woo ven I fea th ered 6- 9 Q fea th .

g i r th es I i r t h s 2 3 G e r d i a — x3

g
-

xx
. .

gi r t s 4 x3 Q 3 . a nd I o ut IN .

w o m be 2Q G w6b e . . m a lcontent I m a le content

3Q wo 7 4Q .m a lecontent 5 I 3 Q -
.

2 69 cr u s h eth I 0r us h es 5 I 3 Q -
a i l es I v a les 5 , 7 - 9 Q veils
gw
. .
3 x4 . .

h i s I h i r 2Q . a .

a 7 x. m a ne m a i ne 2 3 Q .
35 0 b u ttoch e I b utto ck s 4 x3 Q
- .

s ta n d s t a nds 3Q w a s I i s 3 x3
— I

i t a — x3 Q
2 72 . 31 7
-

on en d I a n enc tes ti e tea s ti e 5 8,

-
x0, x3 Q .

f I f 8 9 xx xx Q
—
n u n
?
2 74 . o r a ee r a ce 4 , , teas - x2 .

3Q g a et I oes 5 x3 Q
?
-
.

s en d I lend L I N G I L i
xx 8
h fi ng c h n -
g 4 5 , 7, x0
i
LI . .
325 . c a a s .

2 75 . s co r n f ully g li s ter s I s tet s 3 2 8. lo v e I I n I t a li cs 3 9 ,

— -
x
sco r nfu lly Sa w. i n Ca 5 o . Love A M
r
. .

I li k e th e fir e G.
2
l i h efi r e o .
334 fi ° fi e
er
r —
4 x3 .

2 76. h a te I h o t 4— 9 , x3 Q G xx . . d oth I doth oft a w.

h ote h zg h I h ig h . . h o t not i ce I no ti ch Q
6
3 4! .

( A NO N 3 43 v i ew vi ew ? 4 .
xx
.

S om etxm e ISom eti mes 4— x3 Q. w I i w —

Q h
g
2 77 . 3 45 .e e 8 9 ,
-
x3 ue .

th i s I t h us 4- x3 Q IL G
33
2 x.
xx
. .

2 sta r r e I s tu r 4
-
x3 Q 34 8 a s I a nd 6 8 —
9, x3 Q. -

xx
.
,

2 84 . s ay I sa y ? 9,
-
x3 Q G . .
3 5 0 . lowly I s lowly 4Q.
1 33
 VE NUS AND AD ONIS

352 ch eeh e I ch ee k es 5
-
x3 MA L G . .

353 t e nd r er I tend e r 2— x3 d eep s w eet d eep I

p p s or e
'

ch eeh e, r ecei v es I ch ee ks re d ee -s weet dee -s o re

j un .

v i ves 4Q. ch eck cs re v i ves S. MA L .

ch ee k s r ece i ve 6 . Q s w eet nm s i h I s wee t-m us i ck

h
c eck cs recei ve 8 9, - xx I 3Q .
(C A PN MS .

3 54 new f a l ne I ne w fa lle n 5 8, s or e wou nd i ng I so re-wound

-

G IL . new- fa lne
’
g nM L
xx i ng GI L. ( C P N S A .

r ew

i g
434. i nv i s i ble i n vi nci b le ( S r nnvu)
a
x3
‘
. .

3 5 8 w ed 43 6. e I of m e G I L .

5
?
rmy
.

MA G 43 9 . ee l rea so n 5
-
Q
s ti lla t o r ie
. . x

3 6 0 .C h o r u s - leh e Ich o r us li k e o 443 . st i ll i to r I ie 7, Io Q .

’
3 6s u nw i ll i ng wi llI ng 4Q s t i ll to y Ja n M
}
AL
.
r
Q
. .

w h w G
'

3 6 6 .S h o ed o d 2- I
3 . ex cel l i ng ex h a li ng ( STA
li h e t w o li k e to 4, 7 I 3 Q m ig h t I s o uld 3 - I 3 Q .

37 1 .t h y I y m 8 —
9, x3 Q xx -
. 44 8 d. ou b le-looh e d o ub le lock
3 7 2 bod i es I bod y s G I L G
.
'
. . S a w d o ub le ock a va C
. J . .

3 73 3 74 s a i th
-
. s a zth I s a i d
. d o r e doo re ? 4. xo .

sa I d 45 o s tea lI ng I n Is tea li ng ; i n 1 0Q
. .

3 7 4 m y h ea r t I t h y h ea r t GI L ’ f ea s t l fe a s t
,
.

3 80 d a y es I d es 4 7Q day s 45 u b -colon a I ru y -co lo ured

g
-
1 r

w
. .

G I L MA L -
6Q r ul -co llo ure d o
.

Wr a ch le ra ck g a
.

3 84 f r o m th e I fo r t h e o
I xg
s5 4
p
.

3 8 5 r ep li e s I— r e li e s ? 9Q . s ea -m a n a -me n .

e I sh e 6 9 , —
x3 Q xx .
45 5 s h eph er d s I t h e s h ep bea r ds
.

s h o u ld I s h o ld 6Q
fl
.

j e d I 5 9Q G ust 5 — 1 3
'

8 d s uf
3 8 45 6
g
.s u r s u re —
. . G us ts
fe red xc- x3 Q .
45 7 . h ea r d m e n bea men 6Q.
3 9 x. th e t r ee l I a t ree x Q bea rd m en o
f
. .

S9 ? S er v i lly | Se rvi y 4Q Ser .

460 . s ta i neth I s tr a ineth 4 .
Q
vi lely 5 3Q G s ta i ne x
m
-

m a i s ter d I a is t r d 4— 7 , o 462 s t r uck e s t rook e

xx ; 5
. .

m a s tred 8 —9 , s t roa k e I

m
s t rok e x2 — x3
-
x3

lea th er ne Ileth e rne 4Q. let h 464. h I ll k i ls 4

a n 5- 9 ' l I I 3Q -
466. B ut And AL ) .

a i u e I rei ne —x
3 Q. rei gn xx ha nk r ont lba nq ro ut s— x
/

6
.

IL. b a nck ro ut xa
s ees I see k es 2—4 Q . love I loss ( W L II ) H a ns
tr u e-lov e I t rue love 4— 8 , xx loo k s ( KI N NM R)
3 Q. a ll a m a z d a ll I n a m
'
1 469 .
i s s o I so i s o . i n a maze o i n a ma ze 5 .

d a r es I d a re xa — x3 Q. 3Q ll a m az d MAL.
'
, xI x -
. a -

fi er I h r e —
4 x A
w i ll not I wi l L I N G IL. 47 a . F a i r e a ll fa i r fa ll 9 —r 3 G.
x
. .

m d ea t h I o f dea th o 474 . b r ea t eth b rea t h ed

w i th I i n Sa w
’
.
480 . Wi ll I Wo uld G I L.
b u r th end I b ur den d SE W. 484. ea r th I wo r ld a- I 3 Q ea rth .

L os et h I Lo o se t h 7, o . a CO LL . G .

w a x eth I wex e th r eleeveth relieve th e o .

’
a lla r m es I a la r m e s 2 —
3Q .
488 . ha r ro wed I bo r ro w d 9 , II
a la rum 4Q. a la rm e S I 3 Q ‘
t 3 Q-
a la r m s M A L G . .
49 0 . eIo nd ed , w i th I cloud ed wi th
m a r m a i d es m a r ma i d s 3 Q G
e
.
’
m erma i d s i n 4 x3 Q 3 49 3 . I ( q uoth s h e, ) I I ( q uoth s he)
-

’
E a r es Ea rth s 4 x3 Q Ea r s
—
.
3 I 3Q
—
I ! ( q uo t h sh e) GI L
. .

1 34
 VE NUS AN D ADONI S

s h ou l d o I s h al l .
4 I I- I 3Q . b outch ers fire
a ng r i e ch afi n I a ng r y ch as
g I

I li ks 7Q
8
i ng 4Q a nn e ch a s i ng 1 0
. . li k e .

a ng ry -ch a fing E FI' MA L .

y on , wo r s e I y o u w o r se 4
a ng r y ch a fed
-
AL KE R) . I 3
’
th em I em G IL h a ve I h a th I c - I 3 Q
p
. .

d ro L I N G I L
)
d r oop . . m a r m a i d s I m i rm a td es 4Q .

t r em b : t e m b li ng 3— 1 3 Q m er m a ids 5 — I 3 Q
e
. .

w i lt wi l G I n m i ne I i n In — -
I 3Q

r
5 9, I I
’ ’ ’
.

0 re ou r 1 o er G . h ed -ch a m ber bed -ch a lmer

w el-b r ea th d well b rea t h ed-
I
H o ns on t oI unto — I
3Q
4
p
. .

Ma r h e I Ma k e 4Q . u s u r pt I us ur e 4Q . “sums
h ut ove rs h ut 3Q L I N G IL
-
o v er -s
4 1 . . .

o ver s h oo t a zv ) D vca G a l w e es I a lwa y Q

rII
. . . Io .

m u s i ts I um fit s LIN . U ms i t s lus t lus t s I

GI L . In uS I t s J a r s. MA L . I nu t r nt t r ue t
sets H UD s G . . ta lk e ca lls L I N GI L . .

m a ze I aze ( CA P MS la w n d I la wnes 4— I 3 Q la nes

T
a
G
. .

B Q
flf I h flk
mo a a m o ng t -
1 3 L IN IL

6
a . .

a oc t e oc s 1 0 . L ooh e h ow I Loo k , h ow L I N .

S o m et i m e I So m e ti m es 1 0Q . G- IL G . .

h ea r d h e rd L I N G . . k
s y e ' sk
; I , 3 I 6Q G -

d ea r e d ee re 5 , 7— 9 , I 3Q xx -
. SI 8 Ga zi ng I a zet h CAP M S
. . .

h ot s ent s n u ng I h o t s ent la te em ba r k ed la te-e m

fl
-

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1 36
 VARIORUM RE AD I NGS

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 VE NUS AND ADONIS
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1 38
 SI I L fi nest wi t s
' ' ’ ’
a re st i ll i ng Venus Rro se

Robert Southwell Th e Aut h our

. to th e Rea der . Sa i nt
Peters Compla i nt 1 595 . .

ADON dea ft ly m a sking t h ro,

St a t ely t roupes ri ch co ncei t ed ,
’
Sh ew d h e well d eserved t oo
And h a d no t love h erselfe int rea t ed ,
Ot h er ny m p h s h a d sent h i m b a i es .

’
Thom as Edwa rdes L Envoy t o Na rci ssus
. .

SH A KE S fl
wh ose bo ny- owi ng Va i ne
P EA R E t h o u,

( Pl ea si ng t h e oWr l d ) t h y Pr a i ses d o t h o b t a i ne .

Wh o se Venus, a nd wh ose Lucrece (sweet e, a nd ch a ste)

’
Th y Na m e i n fa mes i mmo rt a ll B oo ke h a ve p la c t
Live ever yo u, a t lea st , i n Fa me l ive ever :
Well m a y t h e Bodye dye, b ut F a me d ies never .

Ri cha rd Ba r nfei ld P oems i n Di vers Hum ors

. I 598
. .

BUT st a y my Muse i n t h i ne own co nfi nes kcep e,

’
8c wa ge no t wa rre wi t h so d ea re lov d a nei g h bo r,
But h a v i ng sung t h y d a y so ng, rest a nd sleepe
p reserve t h y sm a ll fa me a nd h i s grea t er fa vo r
Hi s So ng wa s wo rt h ie mer ri t (Sha ks pea re hee)
Sa ng t h e fa i re b losso me, t h o u t h e wi t h ered t ree .

La ur ell i s d ue t o h i m , h is a rt a nd wi t
h a t h p urch ast i t , Cypres t h y b ro w wi ll fit .

Willi a m Ba rkstead Mi rrha , the Mother of Adoni s 1 607.

. .

1 40
 SEL ECTED C RIT IC ISM
‘
TII E yo unger so rt t a ke much del i gh t i n ’
Sh a kespea re s
Venus a nd Ado ni s ; but h is Lucrece, a nd h i s t ra gedy of
H a m let , Pri nce of D enm a r ke, h a ve i t i n t h em t o plea se
’ ’
t h e wi ser so r t (F ro m M a nuscr ip t No t e i n Spegh t s
.

C h a ucer, now lo st J
F i rst p ri nt ed i n o h nson a nd St eevens
.
’
Sh a kesp ea re, 1 773 G a b r iel Ha rvey, I 5 9 8 o r a ft er 1 600
.

As t he G reeke t o ngue i s m a de fa mous a nd elo q uent by

‘

Homer , Hes i od , Eur i pedes , E s ch i lus , Sophocles , Pi nda r us ,

P h ocylides a nd A r i s topha nes ; a nd t h e La t i ne t o ngue by
Vi r gill, Ovid , Hor a ce, Si li us I ta li cus , Luca nus , Lucr eti us ,
A us oni us a nd Cla ud i a nus so t h e Engl i sh t o ngue i s
m i g h t i ly enr i ch ed , a nd go rgeo uslie i nvest ed i n r a re o r na
m ents a nd resplendent a b i li m ent s b y s i r Phili p Sidney,
S pencer , Da ni el, Dr a yton, Wa r ner , Sha kespea re, Ma r lowe,
a nd Ch a pma n .

As t h e so ul e o f Euphor bus wa s t h o ugh t t o l ive in P ytha

‘

g o r a s : so t h e s w eet e wi t t i e s o ul e o f Ovi d l i v es i n m ell i

fl uo us 8c h o ny t o ngued Sh a kes pea re, wi t nes h i s Venus a nd
-

Adoni s , h is Lucr ece, h i s sugred Sonnet s a m o ng h i s p ri v a t e

fr i end s 8t c
, .

‘
As Ovid s a i t h o f h is wo r ke ;

I a mgue opus ex egi , quad nec j avi s i r a , nec i gni s ,

Nec paten t ferr um , nec eda x a balere vetustas
”
.

And a s Hor a ce sa i t h o f h i s ; Exegi ma numentum a er e

‘

p er enni us ; Rega li que ; s i tu py r a m i d um a lti us ; Qua d na n

i mber edax ; Non Aqui la i mpatens pass i t di r uere; a ut i n

1 41
 VE NUS AN D ADONI S

numer abi li s a nna rum ser es i ti c fuga tempor um : so sa y I

.

severa ll y o f s i r P h i li p Sid neys , Spencer s , Da ni els , B r a ytons ,

S ha kespea r es , a nd Wa r ner s wa r kes ;

As P i nd a r us , Ana cr eon a nd Ca lli ma chus a m o ng t h e
‘

G reekes ; a nd Hor a ce a nd Catullus a m o ng t h e La t i nes a re

t h e best Ly ri ck Poet s : so i n t h i s fa cul ty t h e bes t a m o ng
o ur Poet s a re Spencer (wh o ex ce llet h i n a ll k i nd s ) D a ni el,

Dr a yton, Sh a kes pea re, Bretton .

t h ese a re t h e m o s t p a ssi o na t e a m o ng us t o b ewa ile

a nd bem o a ne t h e p erpl ex i t ies o f Lo ve, Henr i e H owa r d

Ea rle o f Sur rey , si r Th omas Wyat t h e el der , si r F r a nci s

Br i a n, s i r P h ili p Si d ney, si r Walter Ra wley , si r Edwa rd
Dyer , Spencer , Da ni el, Dr a yton, Sh a kes pea re, Whetstone,
Gas coyne, Sa muel! P a ge so m et i m es fellowe of Cor pus
’
Chr i s ti Co ll ed ge i n Ox fo rd , Ch ur chya r d , Bretton (Fro m
.

‘
Pa lla di s Ta m i a. Wi ts Trea sury , B eing t h e Seco nd p a rt
’
o f Wi ts Co m m o nwea l t h . F ra nci s Meres I .

Gull Pa rd o n, fa i re l a d y, t h ough e si ck e—t h o ugh t ed

‘
.

G ullio m a ks a m a i ne unt o t h ee, a nd l i ke a bo ul d fa ced -

’
s ut a re gi ns t o woo t h ee .

I ngen (We sh a ll h a ve no t h i nge but p ure Sh a k spea re

‘
.

a nd s h red s o f p oet r i e t h a t h e h a t h ga t h ered a t t h e t h ea

t o rs !)
Gull Th ri se fa i rer t h a n m yselfe t h us I bega n
‘
.

Th e god s fa i re r i ch es, sweet e a b ove co m p a re,

St a i ne t o a ll nim p h es , [ m ] o re l ovel y t h eIn] a m a n .

Mo re wh it e a nd red t a d ves a nd roses a re

h n o I
‘
I ngen Sweet e
. Mr . Sh a k spea re ! wh a t v a yne
wo uld e i t pl ea se you t o h a ve t h em i n ?
’
Gull No t i n a v a i ne vei ne (p ret t ie, i fa i t h I m a ke
‘
.

’
mee t h em i n t wo o r t h ree d ivers v a yus , i n Ch a ucer s ,
’ ’ ’
Gower s a nd Spencer s a nd Mr Sh a k spea re s . . Ma rry, I
t h i nk e I sh a ll ent ert a i ne t h o se verses wh i ch run l i ke t h ese

Even a s t h e sunn wi t h p urple co lo ured fa ce

Ha d t ane h is la ste leave on t h e weep i ng mo rne, 8 m .

1 43
 VE NUS AND AD ONIS

‘
Tm a nLv, Books t rea t i ng of l i gh t sub i cts , a re Nurseries
o f wa nt onnesse : t h ey i nst ruct t h e loose Rea der t o be co m e

na ugh t ; Venus a nd Adoni s a re vnfit t i ng Co nso rt s fo r

a L a d ies bo some Rema ne t h em t i mel y fro m y ou, i f t h ey
.

euer h a d ent ert a i nment b y yo u, l est , l i ke t h e S na ke i n t h e

fa bl e, t h ey a nnoy you
’ ’
( From The Engli sh Gentlewoma n,
.

Rich a rd Bra t h wa i t .

WI r
‘ '

, Ingenui t y, and Le a rni ng i n Verse, even Elega ncy

it sel f , t h o ugh t h a t co mes neerest , a re o ne t h i ng, t rue
Na t i ve Poetry i s a not h er ; i n wh ich t h ere i s a cert a i n Ai r
a nd Sp i r i t , whi ch perh a p s t h e m ost Lea r ned a nd j ud i ci o us

i n o t h er Art s do no t p erfect ly a pp reh end , m uch less is i t

a t t a i na bl e b y a ny St udy o r I nd ust ry ; na y t h o ugh a ll t h e

La ws of Heroi c P oem , a ll t h e La ws o f Tr a gedy were ex a ct ly

o b served , yet st i ll t h i s tour entr ejea nt, t h i s Poet i c E ner gi e,

if I m a y so ca ll i t , wo ul d b e req ui red t o give l i fe t o a ll t h e

res t , wh i ch sh i nes t h ro ugh t h e rough es t m o s t unpo li s h t
’
q
a nd a nt i ua t ed L a ngua ge, a nd m a y h a pp ly be wa nt i ng,

i n t h e most p o l i t e a nd refo r m ed Sha kes pea r , i n s p i g h t

o f a ll h i s unfiled ex p ressi o ns, h i s r a m bl i ng a nd i nd i ges t ed
’
Fa ncys, t h e l a ugh ter of th e Cr i ti cal, yet m ust be co nfes s t
a P oet a bove m a ny t h a t go beyo nd h i m i n Li t er a t ure so m e
’ A pp i i of th e
degrees .
[ m o n g] t h e h a y T r um v r at

Ch ief D ra m a t i c Poet s o f our Na t i on, i n t h e l a st fo rego i ng

Age, t h ere m i gh t be sa i d t o be a sy mmet ry of p er
fect io n, wh i le ea ch excelled i n h is p ecul i a r wa y : Ben .

j oh n s o n i n h i s el a b o r a t e p a i ns a nd k no w l ed g e o f Au t h o rs ,

Sha kespea r i n h i s p ure vei n o f wit , a nd na t ura l Poet i c

h ei gh t h ; Fletcher i n a court ly Elega nce, a nd gent i l e fa
’
m i li a r it y o f st y l e .
‘
Wi ll i a m Sh a kespea r fro m a n
Act o r o f T r a ged ies a nd Co med ies, b eca me a Ma ker ;
a nd such a M a ker, t h a t t h o ugh so m e o t h ers m a y p er h a p s

p ret end t o a m o re exact Decor um a nd a ca nomi e, es peci a lly

’
i n T ra gedy, never a ny ex p ress t a mo re lo ft y a nd Tr a gi c
h ei gh t h never a ny rep resent ed na t ure m o re p urely t o
t h e l i fe, a nd wh ere t h e p ol i sh m ents of Art a re most wa nt
1 44
 SELE CTE D C RITICISM

i ng, as p rob a bly

h is Lea rni ng was not ext r a o rd i na ry, h e
pl ea set h wi t h a cert a i n wil d a nd na t i ve Elega nce ; a nd i n
a ll h i s Wr i t i ngs h a t h a n unvul ga r s ty l e, a s well i n h i s

Venus a nd Adoni s h is Ra pe of Lucrece a nd o t h er v a r ious

’ ’
Poem s , a s i n h is D r a m a t i cs (Fro m Th ea t rum Poet a rum
‘
. .

Prefa ce Th e Moder n Poet s

. Edwa rd Ph i ll i p s,.

’
TII E Rem a i ns o f M r Willi a m Sha kespea r e, ca ll d , The
‘
.

P a ss i ona te P i lgr i me, a nd , Sonnets to s und r y Notes of

M us i c/e (a t t h e End o f t h i s Co llect io n) , ca m e t o m y h a nd s
i n a l i t t l e st it ch d B oo k , p ri nt ed a t Lond on fo r W fa gga r d,
’
.

’
i n t h e Yea r 1 5 99 It i s gener a lly a greed h e d y d a bo ut
.

t h e Y ea r 1 61 6 .So t h a t i t a pp ea rs pl a i nly t h ey were

p ubl i shed by h im self, being p ri nt ed 1 7 Yea rs befo re h i s
Dea t h .

I wi ll sa y not h i ng o f Venus a nd Adoni s , no r o f t h e

‘

’
Ra pe of Lucrece, t h ey bei ng universa lly a llow d t o be
’
S h a kes pea r s , o nly t h a t I h a ve p r i nt ed t h em fro m very o ld
’
Ed i t io ns , wh i ch I p rocur d , a s t h e Rea der wi ll find b y m y
k eep i ng close t o h i s Spell i ng .

Th e Wri t i ngs o f M r Sha kes pea re a re i n so grea t Es

‘
.

’l
t ee m , t h a t sever a l Gent l em en h a ve sub scrib d to a l a te
Ed i t io n o f h i s D r a m a t i ck Wo r k s i n Six Vo l umes ; wh i ch
m a kes me h o p e, t h a t t h i s l i t t l e B oo k wi ll no t be nu
a ccep t a bl e t o t h e Publ i ck .

I sh a ll no t t a ke up o n m e t o sa y a ny t h i ng of t h e Aut h o r,
‘

’
a n i ngenio us Per so n h a v i ng co m p i l d so me Mem o i r s o f h i s
’ ’
L i fe, a nd p refix d it t o t h e l a t e a bove m ent io n d Ed i t ion -

’
B ut I ca nno t o m i t i nsert i ng a Pa ssa ge o f M r Sha ks pear e s .

L i fe, very much t o h i s Ho no ur, a nd very rem a rk a bl e, wh i ch

w a s ei t h er unk nown, o r fo rgo t t en by t h e r i t er o f i t W .

’
Th a t m ost lea rn d Pr i nce, a nd grea t Pa t ro n o f Lea r n
‘

’
i ng, Ki ng j a mes t h e F i rst , wa s p lea s d wi t h h is own
H a nd t o wr i t e a n a mi ca ble Le t t er t o Mr Sha kespea r e; .

l Th i s refers a pp a rent ly to th e fi rs t ed i t io n a ft er the

’
Fo l ios, i . e. Rowe s of 1 709 .

1 45
 VE NUS AND AD ONIS

wh i ch Let t er , t h o now lost ,

’
d l o ng i n t h e H a nds
rema i n
’
o f Si r W illi a m D a vena nt, a s a credi bl e Perso n no w l ivi ng
’
ca n t est i fy ( F ro m Prefa ce t o A Co llect io n of Poem s,
‘
.

’
by M r Wi ll i a m Sh a kesp ea re
. B erna rd Li nt o t t
. .

’ ’
the
Poem s a re ex t rea m ly di st i ngui s h d i n
‘
1 11 0

t h ei r Ex cell ence, a nd Va l ue, yet t h ere i s no t o ne o f t h em,

’
t h a t does no t ca r ry i t s Aut h o r s M a r k , a nd St a m p up o n i t .

Not only t h e sa me Ma nner o f Th i nk i ng, t h e sa m e Turn

of T h ough t , b ut even t h e sa m e Mod e o f D res s a nd Ex

p ressio n, t he D eco m pound s, h i s p ecul i a r so rt o f Ep i t h ets,

wh i ch d i s t i ngui sh es h i s fro m t h e Verses o f a ll h i s Co n
t em p or i ce o r Successo rs, a s i n t h e Poem s

From a ll a Hi ll wh ose co nca ve Wo m b

,
rewo r ded
A pl a i nt ful St o ry fro m a Si st ri ng Va le 8m
”
.
,

And i n h is Pl a ys t h i s very Ep i t h et we find

‘
even

her Ar t Si sters the na tur al Roses wh oever k nows a ny

”

t h i ng o f Sh a kes pea r wi ll find h i s Genius i n ev ery Ep i gr a m

o f t h ese Poem s a nd t h e freq uent Ca ta ch r eses ; h is
St a rt s a si de i n All ego ries, a nd i n sh o r t hi s Ver si fica t i o n,
wh i ch i s very uneq ua l ; som et i mes fl owi ng smoo t h l y b ut
g r a v el y l i k e t h e Th a m es ,
a t o t h er t i mes d o wn r i g h t P r o se .

He never t ouch es o n a n I m a ge i n a ny of t h em , b ut h e
p ro ves t h e Poem genui ne .

But so me, p er h a p s, wh o a re fo r und erv a l ui ng wh a t

‘

t h ey h a ve no Sh a re i n m a y s a y , t h a t gr a nt i ng t h em t o be
Sha kes pea r s , yet t h ey a re no t v a l ua bl e eno ugh t o b e t e
p ri nt ed , a s wa s pl a i n by t h e fi rs t Ed it o rs of h is Wo r ks
’ ’
wh o wo u d o t h erwi se h a ve jo i n d t h em a l t o get h er . To
t h i s I a nswer Th a t t h e Asser t io n i s fa l se, o r were i t no t
i t i s m o re t h a n t h e Ob ject o r k no ws b y h i s own ud gm ent,J
a nd Und ers t a nd i ng , b ut t o p ro ve i t fa l se we need o nl y

consi d er , t h a t t h ey a re m uch less i m p erfect i n t h ei r Ki nd ,

’
t h a n ev n t h e best of h i s Pla ys .

1 46
 VE NUS AN D ADONI S

’
‘
Tm s poem i s received a s o ne o f Sh a k espea re s undis
p u t e d p er fo r m a n c es ,
a ci r cum s t a nce w h i c h r ec o m m e n d s

i t t o t h e no t ice i t m i gh t o t h erwi se h a ve esca ped .

Th ere a re so me ex cell enci es wh ich a re less g r a ceful

‘

t h a n even t h ei r o pp o s i t e d efect s ; t h ere a re so me v i r t ues,

wh i ch b ei ng m erel y co nst i t ut i o na l , a re ent i t l ed t o v ery
s m a ll d egrees o f p r a i se . Our poet m igh t d esign h i s A d o nis
t o enga ge our est eem , a nd y et t h e sl uggish co l d nes s o f h is
d i sposi t io n i s a s o ffensive a s t h e i m p et uo us fo rwa r d ness
o f h i s wa nt o n m i s t ress . To ex h i b i t a yo ung m a n i nse ns i bl e
t o t h e ca resses o f t r a nscend ent bea ut y, i s t o d es cri be a
bei ng t oo ra rel y seen t o be a cknowled ged a s a na t ura l
ch a r a ct er , a nd wh en seen, o f t oo l i t t l e v a l ue t o d eserve

such t o i l o f rep resent a t io n . No el ogi um s a re d ue t o Sh a k

’
s p ea re s h ero o n t h e sco re o f ment a l ch a s t i t y fo r h e d oes ,

no t p ret end t o h a v e sub d ued h i s d esi res t o h i s m o r a l o bl i

g a t i a ns
. H e s t ri v e s i nd eed wi,t h P la t o n i ck a b s u r d i t y,

t o d r a w t h a t l i ne wh i ch wa s never d r a wn, t o m a ke t h a t di s
t i nct i o n wh ich never ca n b e m a d e t o sep a r a t e t h e p ure r fro m
,

t h e g ro sser p a r t o f l ov e, a ss i gni ng l i m i t s , a nd a scr i b i ng

b ound s t o ea ch , a nd ca ll i ng t h em b y di fferent na mes ;
but i f we t a ke h i s own wo rd h e wi ll be fo und a t l a st o nly
,

t o p refer o ne gr a t i fi ca t io n t o a no t h er t h e spo rt s o f t h e
,

fiel d t o t h e enjo ym ent of i mm o rt a l ch a rm s Th e rea der .

wi ll ea si l y co nfess t h a t no g rea t resp ect i s d ue t o t h e j ud g

ment o f s uch a wo ul d b e Hercul es , wi t h such a ch o i ce be
-

Wfo re h i m . J
I n sh o r t , t h e st o ry o f o sep h a nd t h e w i fe o f
Po t i p h a r i s t h e m o re i nt eres t i ng o f t h e t wo ; fo r t h e p a s sions
o f t h e fo r m er a re rep res sed b y co nsci o us rect i t ud e o f m i nd ,

a nd o b ed i ence t o t h e h i gh es t law Th e p resent na r ra ti ve

.

o nl y i ncl ud es t h e di s a pp o i nt m ent o f a n ea ger fem a le , a nd

t h e d ea t h o f a n uns us cep t i bl e b o y Th e d ei t y , fro m h er

.

l a ngua ge, sh oul d seem t o h a ve been educa t ed i n t h e sch ool

o f M essa l i na ; t h e yo ut h , fro m h i s b a ckwa r d nes s , m i gh t
be s us p ect ed o f h a v i ng fel t t h e di sci pl i ne of a Tur ki sh
sera gl i o .

It i s not indeed very cl ea r wh et h er Sh a kspea re mea nt

‘

1 48
 SELECTED CRITICISM

o n t h i s occa sio n, wi t h Le B run, t o recom m end cont i nence

a s a vi rt ue, o r t o t ry h i s h a nd wi t h Aret i ne o n a l i cent ious

ca nva s . If our poet h a d a ny mo ra l design in vi ew, h e h a s

b een unfort una t e i n his conduct of i t Th e sh ield wh ich
.

h e l i fts i n defence o f ch a st i t y, i s wrough t wi t h such mere

t r i cio us i m a gery a s ca nno t fa i l t o count era ct a mo ra l pur
pose . Sh a kspea re, h owever, wa s no unsk i lful myt h olo
g i st, a nd m ust h a v e known t h a t Ad o ni s was t h e offsp ri ng
o f Cy na r a s a nd Myrr h a . His j udgment t h erefore woul d
h a ve p revent ed h i m fro m ra i si ng a n ex a m ple o f cont inence
o ut o f t h e p rod uce o f a n i ncest uous bed —
. Consid eri ng
’
t h i s p iece o nl y i n t h e l i gh t of a jeu d espr i t, wri tt en wi th out

pecul ia r t end ency , we sh a ll even t h en be so rry t h a t our

a ut h o r wa s unwi ll i ng t o l ea ve t h e ch a ra ct er o f h i s h ero

a s h e found i t ; fo r t h e co mmo n a nd mo re pl ea si ng fa bl e

a ssures us, t h a t

wh en b r i gh t Venus y ielded up h er ch a rms,

’
The blest Adonis la ngui sh d i n h er a rms
”
.

We sh o u ld t h erefo re h ave been b et t er plea sed to h a ve seen

h i m i n t h e si t ua t i o n o f Asca ni us, t h a n in t h e very a ct o f
re p ugna nce t o fem a l e t em p t a t ion, sel f-deni a l b ei ng ra rel y

fo und i n t h e ca t a lo gue o f Pa ga n v i rt ues .

If we enq ui re i nt o t h e poet i ca l m er i t o f t h i s p erforma nce,

i t wi ll do no h o nour t o t h e rep ut a t i o n o f i t s a ut h o r . Th e
grea t ex cell ence o f Sh a k spea re i s t o b e sough t i n d ra m a t i ck
d i a logue, ex p ressi ng h i s i nt i m a t e a c ua i nt a nce wi t h every
p a s si o n t h a t soo t h s o r r a v a es
g , eII
xa s o r d eb a ses th e hu

m a n m i nd . D i a lo gue i s a fo rm of co m po s it io n whi ch h a s
b een k nown t o q ui cken even t h e geni us of t h ose wh o i n
m ere uni nt err up t ed na rr a t i ve h a ve sunk to a level wi th
t h e m ul t it ude of co m mo n wri t er s . Th e sm a ller p ieces
o f Ot wa y a nd Rowe h a ve a dd ed no t h i ng t o t h ei r fa me .

Le t i t be rem em bered too , t h a t a cont em po ra ry a ut h o r,

‘

D r Ga b ri el Ha rvey, po i nt s out t h e Venus a nd Adoni s a s

.

a fa vouri te onl w i t h th e oung, wh i le gr aver rea ders be

y y
1 49
 VENUS AND ADONI S

st owed t h ei r a t t ent io n on t h e Ra pe f
Lucrece
o Here I
.

ca nno t h elp o b ser vi ng t h a t t h e po et ry o f t h e Ro m a n l egend

i s no jo t superi o r to t h a t o f t h e myt h o logi ca l s t o ry A .

t a l e wh i ch Ovi d h as co m plet el y a nd effect i vel y t o l d in

a bo ut o ne h und red a nd fo rt y ver ses, o ur a ut h o r h a s co l d l y

a nd i m p er fect l y s p un out i nto nea r t wo t h o usa nd Th e

.

a t t ent io n t h erefo re o f t h ese gr aver p er so na ges m us t h a ve

been enga ged by t h e m ora l tendency of t he p i ece , r a t her

’
t h a n b y t h e for ce of st yle i n wh i ch i t i s rel a t ed (STEE
.

VE N s )
’
T m s fi r st essa y of Sh a ks pea re s Muse does not a pp ea r
‘

t o m e so ent i rel y vo id o f poet i ca l meri t a s i t h a s bee n rep re

sent ed I n wh a t h i gh es t i m a t i o n i t wa s h el d i n o ur a u
.

’
t h o r s l i fe t i m e, m a y be co llect ed fro m
-
the e l o g i ums
’‘
o n t h i s p i ece. (MA LO N E ) (F ro m M a lo ne s Supple
.

’t o o ’ ’
m ent J
h nso n a nd St eevens Edi t ion of Sh a ks p ea re s
’
Pl a ys,

‘
L E r us,
'
fl
v i ew t h ese poem s, uni n uenced b y a ny

a ut h o ri t y .To fo r m a ri gh t j ud gment of a ny wo r k , we
s h o ul d a l wa ys t a ke i nt o o ur co ns id era t i o n t h e m e a ns b
y
wh ich it Was execut ed , a nd t h e co nt em p o r a ry p erfo r m a nces
o f o t h ers T h e s m a ll er p ieces o f Ot wa y a nd Rowe a dd
.

no t h i ng t o t h e rep ut a t i o n wh i ch t h ey h a ve a cq ui red b y
t h ei r d r a m a t i ck wo r k s , b eca use p r eceding wr i t ers h a d a l
rea dy p ro d uced h a pp ier co m p o si t i o ns ; a nd b eca use t h ere

were m a ny poet s, d uri ng t h e p eriod i n wh i ch Rowe a nd Ot

wa y exh i b i t ed t h ei r pl a ys , wh o p rod uced bet t er poet r y , no t
of t h e d r a m a t i ck k i nd , t h a n t h ei r s : b ut , i f we ex cep t
’
Sp encer , wh a t p oet o f Sh a kspea r e s a ge p rod uced po e m s of
eq ua l , o r ne a r l y eq ua l , ex cellence t o t h o se b efo re us D id
Tur bervi lle ? D i d G o ld i ng ? D i d Ph a et ? D id D ra nt ?
D i d G oo ge ? D i d C h urch y a rd ? D i d Flem i ng ? D id
F ra unce ? D id Wh et s t o ne ? D i d G a sco i gne ? Di d Si d
ney ? D id Ma r lo we, Na sh e, Kyd , Ha r ri ngt o n, L i lly,
Peele, G reene, Wa t so n, B ret o n, C h a p m a n, D a ni el ,
.

1 5°
 VE NUS AND ADONI S

Venus a nd Adoni s , b y Henry Co nst a ble, p reced ed t h e

poem befo re us Of t h is, i t m a y be sa i d , no p roo f h a s been
.

p rod uced ; a nd cer t a i nly, I a m a t p resent unfu rni s hed

wi t h t h e m ea ns of est a bl i sh i ng t h i s fa ct , t h o ugh I h a ve
m ysel f no doub t s up o n t h e subj ect . But M a r lo we, wh o
i ndisp ut a bly wro t e befo re Sh a kspea re, h a d i n l i ke m a nner
“
rep resent ed Ado ni s a s i nsensi ble to t h e ca resses o f t r a n
scendent b ea ut y, a l so [ a m a d r i ga l i n] a p a m p hlet
”

ent i t l ed Never too late, b y Ro bert G reen 1 5 90

I h a ve no t b een a bl e t o a scert a i n wh o i t wa s t h a t fi rst

‘

g a v e so ex t r ao r di n a ry a t urn t o t h i s c el eb r a t e d fa bl e, b ut
I suspect i t t o h a ve p roceeded fro m so m e o f t h e I t a l i a n
p oet s (F rom Th e Pl a ys a nd Poem s of Wi ll ia m Sh a k
.
’ ‘

’
sp ea re .
( Ed m ond Ma l one .

‘
IN t he Venus a nd Ado ni s, t h e fi rst a nd m o st oh
vi o us ex cell ence, i s t h e p erfect sweet ness o f t h e v ers i fica
t i o n ; i t s a d a p t a t ion t o t h e s ubj ect ; a nd t h e po we r dis
pl a yed i a v a rying t h e m a rch of t h e wo rd s, wi t h out p a ssi ng
i nt o a lo ft i er a nd m ore m a j es t ic r h yt h m t h a n wa s d em a nded
b y t h e t h o ugh t s, o r p erm i t t ed by t h e p ro p riet y of p reserv
i ng a sense of m elod y p redo m i na nt Th e del igh t in r i ch ness
.

a nd sweet ness o f so und , even t o a fa ul t y ex ces s , i f i t be

ev i d ent l y o r i gi na l , a nd no t t h e resul t o f a n ea si l y i m i t a ble

m ech a ni sm , I rega rd a s a h i gh l y fa vo ura ble p ro m i se i n th e

co m p o s i t i o ns o f a yo ung m a n . The sense o f m usical
del igh t , wi t h t h e p ower o f p ro duci ng i t , i s a gi ft of i m a gina
t io n ; a nd t hi s, t o get h er wi t h t h e p ower of red uci ng m ul ti
t ud e i nt o uni t y o f effect , a nd m od i fy i ng a seri es o f t h ough ts
b y so me one p redo m i na nt t h ough t o r feel i ng, m a y be
cul t iv a t ed a nd i m p roved , b ut ca n never b e lea rnt .

A seco nd p rom i se o f geni us i s t h e ch o i ce of subj ect s

‘

very rem o t e fro m t h e p ri v a t e i nt erests a nd ci rcum st a nces

o f t h e wri t er h i m sel f . I n t h e Venus a nd Ad o ni s, t h is
p roo f o f poet ic p ower ex ists even to excess I t is .

t h ro ugh o ut a s i f a sup erio r sp i ri t , m ore i nt ui t iv e, more

i nt im a t el y co nscious, even t h a n t h e ch a r a ct ers t h emselves,
1 57 .
 SELE CTED C RITICISM

l
not on y of every o utward loo k but of th e ux
a nd a ct , fl
a nd refl ux of t h e mind i n a ll i ts sub tlest t h ough ts a nd

feel ings, were pl a ci ng th e wh o l e before our vi ew ; h i mself,

m ea nwh i l e, unp a rt i ci p a t i ng i n t h e p a ssi ons, a nd a ct ua t ed
o nl y b y t h a t pl ea sura ble ex ci t ement , whi ch h a d resul t ed

fro m t h e energet i c fervo r o f h i s own sp i rit , i n so vivi d ly

exh i b i t i ng wh a t i t h a d so a ccur a t el y a nd p rofoundl y co n

t em p la t ed
. I t h i nk I sh oul d h a ve co nj ect ured fro m th ese
p oem s, t h a t even th en t h e grea t i nst i nct, wh ich i mpell ed
t h e p oet t o t h e d ra m a , wa s secret l y wo r k i ng i n h i m , p ro m p t
i ng h i m by a series a nd never b ro ken ch a i n o f i ma gery,
-

a lwa ys vi vi d a nd b eca use unb ro ken, o ft en m i nut e ; by

t h e h i gh est effo rt of t h e p i ct uresq ue i n wo rd s, o f wh ich
wo rd s a re ca p a ble, h i gh er, per h a p s, t h a n wa s ever rea l ized
b y a ny o t her p oet , even D a nt e no t excep t ed ; to p rovi de
a s ub st i t ut e for t h a t vi sua l l a ngua ge, t h a t co nst a nt i nt er

v ent i o n a nd runni ng co m ment , by t o ne, look a nd gest ure,

w h i ch i n h is d ra m a t ic wo r ks h e wa s ent i t led t o expect fro m
“
t h e pl a yers . His Venus a nd Adoni s seem a t once t h e
”

ch a r a ct ers t h emsel ves, a nd t h e wh o l e rep resent a t i o n o f

t h ose ch a ra cters b y t h e m o s t co nsum ma t e a ct o rs . Yo u

s ee m t o b e told no t h i ng, but t o see a nd h ea r every t h i ng .

H ence i t i s, t h a t from th e perpet ua l a ct i vi t y of a t t ent ion

r e q ui red on t h e p a rt o f t h e rea d er ; fro m t h e ra p id fl ow,

t h e q ui ck ch a nge, a nd t h e pl a yful na t ure o f t h e t h ough ts

a nd i m a ges ; a nd , a bove a ll, fro m t h e a l i ena t i o n, a nd , i f

I m a y h a za rd such a n ex p ressi o n, t h e ut t er aloofness o f

’
t h e poet s own feel i ngs, fro m t h ose o f wh ich h e i s a t o nce
t h e p a i nt er a nd t h e a na lys t ; t h a t t h ough t h e very subj ect
c a nno t but d et ra ct fro m t h e pl ea sure o f a del i ca t e m ind ,

y e t n ev e r wa s po e m l es s d a nge ro us o n a m o r a l a ccount
.

T h e rea d er i s fo rced i nt o t oo much a ct ion t o sym p a t h ize

w i t h t h e merel y p a ssive o f o ur na t ure As l i t t le ca n a
.

m i nd t h us roused a nd a wa k ened be b rooded on by m ea n

a nd i nd i st i nct em o t io n, a s t h e low, la zy m ist ca n creep

u p o n t h e surfa ce o f a l a k e, whi le a st ro ng ga le i s d riv ing

i t o nwa r d i n wa ves a nd b i llows .

I S3
 VE NUS AND ADONI S

‘
Im a ges, h o wever bea ut i ful , t h ough fa i t h fully co p i ed from
na t ure, a nd a s a ccur a t el y rep resent ed i n wo rd s, d o no t of
t h emselves ch a ra ct er ize t h e po et . Th ey beco me p roofs
of o ri gi na l geni us o nl y , a s fa r a s t h ey a re m od i fi ed b y a

p redom i na nt p a ssion ; or by a sso ci a ted t h ough t s o r i m a ges

a wa kened by t h a t p a ss io n ; o r , wh en t h ey h a ve t h e efiect of
'

red uci ng m ul t i t ude t o uni t y , o r s uccessi o n t o a n i ns t a nt ;

o r , l a st l y , wh en a h um a n a nd i nt ell ect ua l l i fe i s t r a ns fer red

’
to t h em fro m t h e po et s own sp i r i t .

Th e l a st ch a r a ct er I sh a l l m ent io n, wh i ch wo u l d p rove
‘

i ndeed b ut l i t tle, excep t a s t a ken co nj o i nt l y wit h t h e fo rm er ;

y ,e t w i t h o u t w h i ch t h e fo r m e r co ul d sca rce ex i st i n a h igh

d egree, a nd (even i f t h i s were po s si ble) woul d gi ve p ro m i ses

o nl y o f t r a ns i t o ry fl a sh es a nd a m et eo ri c p o wer , i s D E PT H,

a nd EN E RG Y H H
o f T O UG T . No m a n wa s ever yet a grea t
poet , wit h out b ei ng a t t h e sa m e t i me a p rofo und p h i loso
p h er Fo r poet ry i s t h e blosso m a nd t h e fra g r a ncy of
.

a ll h um a n k nowl ed ge, h um a n t h ough t s, h um a n p a ssi o ns,

emo t io ns , l a ngua ge .

‘
Wh a t t h en s h a ll we sa y ? even t h is ; th a t Sh a kS pea re, no
m ere ch i l d o f na t ure ; no a ut o m a t on o f geni us ; no p a s s ive
veh i cl e o f i nsp i r a t io n p ossessed b y t h e sp i r i t , no t p o ssessi ng

i t ; fi rst st ud i ed p a t i ent l y , m edi t a t ed deepl y, und ers t ood

m i nut el y, t i ll k no wled ge, b eco m e h a b i t ua l a nd i nt ui t ive,
wedd ed i t sel f t o h i s h a b i t ua l feel i ngs, a nd a t l engt h g ave
b i rt h t o t h a t st upendo us power, by wh ich h e st a nd s a l one,
wi t h no eq ua l o r seco nd i n h i s own cl a ss ; t o t h a t po wer,
°

wh ich sea t ed h i m o n o ne of t h e t wo gl o ry sm i t t en summ i t s

-

o f t h e poet i c m o unt a i n, wi t h M i l t o n a s h i s co m p eer , not

Wh i l e t h e fo rmer d a rt s h im sel f fort h , a nd p a sses

O

r iv a l
.

i nt o a ll t h e fo rm s o f h um a n ch a r a ct er a nd p a ssio n, t h e
o ne Pro t eus o f t h e fire a nd t h e fl oo d ; t h e o t h er a t t r a ct s a ll

fo rm s a nd t h i ngs t o h i m sel f, i nt o t h e uni t y of h i s o wn

ID E A L . All t h i ngs a nd m o des o f a ct io n sh a p e t h em s el ves
a new i n t h e b ei ng o f M I LT O N ; wh i l e SH A KS P E A RE b eco m es
’
a ll t h i ngs , yet fo r ev er rem a i ni ng h i m sel f ( F ro m Bio
‘
.

i
’ C l d
g pr a hi a L i t e ra
. r a. S .T o er i .
ge

1 54
 VENUS AND ADONI S

sup p ressed .Th e lovely goddess, exq ui si te a s wh en sh e

rose from t h e fo a m- bl osso m s of t h e blue lEgea n, t ypi

fies l ust, a nd, a l a s ! lust d oes not sh ock us, s im p l y be~

ca use i t comes i n t h e fo r m o f such p er fect bea ut y C r i ti cs
.

h ave com p a red Venus a nd Adoni s wi th t h e m a st erp iece

’ “
o f Sh a kesp ea re s dea d sh ep h erd , wi t h t h e Hero a nd
”

Lea nder, which Kea t s a lone a mo ng Engl i sh p oet s coul d

h ave fitly co nt i nued . q
And th e cri t i ci sm i s ui t e j ust .
Not h i ng i n ei t her poem i s more rem a r ka ble t h a n t h e in
s i st ence on p h ysi ca l b ea uty . Ma rlowe dwell s on t h e m ere
fo r ms of h i s two l overs, on symmet ry a nd sh a pliness o f
l i m b , on fa scina ti on of colour, wi th a ll t h e loving, sensuous,
d el i bera te cont ent o f a sculp t o r And so i t is wit h Sh a ke
.

sp ea re . He b ri ngs but t wo ch a ra ct ers on t h e scene of

p a ssion, a nd h e l a vi shes on t h em every po ssi ble t ouch t h a t
ca n pl ea se t h e eye a nd i nt ox i ca t e t h e o n looker wi t h t h e
-

wonder a nd glory of p h ysica l gra ce And in t h is i nt ox i

.

ca t io n we cea se t o b e mor a l i st s : our mo ra l sense i s d r ugged

b y t h e popp ied d ra ugh t o f sensuous, seduct i ve p o i son .

T h e h ungry go d dess i s l i ke B rowni ng s Pret ty Wo m a n

’“ ”
.

Sh e i s fa i r , divi nely fa i r, a da ugh ter of t h e god s, a nd we

sa y of t he sweet fa ce

Be i ts bea uty
Its sole duty .

Th ere ca n be no pl a ce fo r t h e p rea ch er h ere : we ca nnot

t a ke very seri ousl y t h e m o r a l i t y t h a t fl ows fro m t h e p ret t y ,
p rotest ing l ip s of t he bl ush ing boy Mr Swinburne d e
. .

scri b es Venus a nd Adoni s a nd Lucrece a s semi na rr a t iv e, -

fl
sem i re ect i ve ver se
-
. Th e d escri p t io n, I t h ink , i s m o re
a pp ro p r i a t e t o t h e l o nger a nd l a ter poem . Venus a nd
Ad oni s i s si m pl y na rr a t ive, a nd a na rr a t i ve th a t ca r ri es
us a long on a wa ve of p ass i o n wh i ch moves fa r t oo q
ui ck l y
t o a d m i t of m uch refl ect io n . I t i s, a s fa r a s I ca n under
st a nd i t , a study i n sensuous ef fect s ; a ser i es of st a nza s i n
which mora l it y a nd t h e et hi ca l element t h a t we usua lly
1 56
 SELE CTED C RITICI SM

loo k for i n l it era t ure, esp eci a lly Engl i sh li t er a t ure, a re

wh o ll y a b sent ; a p oem wh i ch we ca nno t ca ll im mor a l
beca use t h e who le idea i s so fa nt a st ic a nd unrea l , so re
m oved fro m t h e wor l d o f t h e p ra ct i ca l a nd possi ble ; a
poem of wh i ch we ca n o nl y sa y, t h a t i t i s wh o ll y a nd i n
t ent io na lly nu mo ra l
’ F m C i l R k
’ b
( i m
‘
-
ro
. r t ca e a r s , y
A Wi lso n Veri t y
. .

‘
IN
’
a ll Sh a kesp ea re s wo r k o f t h is period fu
t h e sa me
’
s i o n o f Ov id s st o r i es a nd i m a ges i s o b v io us Ta r ui n a nd
. q
M yrrh a a re bo th del a yed , but not d a unt ed , b y lugub ri
o us fo rebo d i ngs i n t h e d a r k ; a nd Ti tus Andr oni cus , pl a yed

fo r t h e fi rst t i m e i n t h e yea r wh i ch sa w t h e p ubl ica t io n o f

Venus a nd Adoni s , i s full of deb t s a nd a llusio ns t o Ov id .

Ovi d , wi t h h is po wer o f t ell i ng a st o ry a nd o f eloq uent

d i sco ur se, h i s sh i ni ng i m a ges, h is ca dences co l o ured wi t h
a s so na nce a nd wei gh t ed wit h a ll i t er a t i o n ; C h a ucer , wi t h
q
h i s sweet l i uid i t y of d ict io n, h is d i a lo gues a nd so l i lo ui es q
“
t h ese a re t h e o nl y t rue b eget ter s o f t h e l yri c Sh a kesp ea re
”
.

I n t h ese m a t t ers we m ust a ll ow poets to h a ve t h ei r o wn

wa y : m erely no t i ng t h a t Ovi d , i n wh o m cri t i cs see ch iefl y
a b ri ll i a nt m a n o f t h e wo rl d , h a s been a m i ne o f del i gh t

fo r a ll po ets wh o rej oi ce i n t h e m a gi c o f sound , fro m t h e

d a wn of t h e M i dd le Ages down t o our own i nco m p a ra b le
M i l t o n His effect s o f a ll i t era t io n :
.

Co rp o r a Cecrop i dum p ennis pendere put a res ;

Pendeb a nt penni s .

Vert i t ur i n vo lucrem , cui s t a nt , in vert i ce cr i st a e

h i s glea m i ng met a p h o rs, a s of Herm a p h rod it us a ft er hi s

pl unge
I n liq uid is t r a nslucet a q uis ; ut eb urnea si qui s
Si gna t eget cl a ro , vel ca nd i d a l i l i a , vi t ro
”

’
a re p
Sh a kespea re s m a nner i n t h e
t h e very count er a r t o f
Poem s a nd t h e Pl a y whi ch h e founded i n p a rt o n h i s ea r ly
lo ve of t h e Meta mor ph os i s .

But i n Ti tus Andr oni cus a nd i n Venus a nd Adoni s

‘

I S7
 VE NUS AND ADONI S

t h ere a re effect s o f t h e O en a i r p wh ich h a i l , no t from Ovi d,

b ut from Arden .

I ndeed i n t h e Poem , round a nd over t h e sh a rp po rt r a ya l

‘

o f every wo r d a nd gest ure o f t h e t wo wh o sp ea k a nd m ove,

y o u h a ve b r a ke s a nd t ree s , h o rses a nd h o und s, a nd t h e

si lent t ra nsfo rm a t i o ns of d a y a nd ni gh t fro m t h e fi r st
d a wn t i ll eve a nd t h rough d a r k ness t o t h e seco nd d a wn so
i m med ia tel y Im p ressed , t h a t , p a usi ng a t a ny o f t h e cx cix
s t a nza s , you coul d a l m os t na m e t h e h our T h e s a me
.

’
ex p ress o b serva t io n of t h e d a y s ch a nges m a y b e ob se r ved

i n Romeo a nd j uli et . I t i s a no t e wh i ch h a s o ften b een

ech oed by m en wh o never loo k o ut of t h ei r wi nd ows,

a nd cr i t i cs , a s na rr o wl y i m m ured , h a ve d enounced i t fo r

a n af fect a t io n Yet a m o nt h under ca nv a s , o r , b et ter

.

s t i ll , wi t h o ut a t ent , wi ll co nv i nce a ny o ne t h a t t o s pea k

o f t h e s t a rs a nd t h e moo n i s a s na t ura l a s t o l oo k a t y o ur

wa t ch o r a n a l m a na ck .

‘
Benea t h t h ese a t m osp h eri c effect s everyt h i ng is clea rly
seen a nd sh a rpl y del i nea ted . Th e i llust r a t i o ns fro m
na t ure a re so v iv i d a s t o sna t ch yo ur a t t ent i o n fro m

t h e st o ry . I t i s s a id t h a t such m ul t ipl i cit y o f d et a il

a nd o r na m ent i s o ut o f pl a ce i n a cl a ss i c m yt h But .

’ M r Swi n
Sh a kes pea re s Poem is no t a cl a ssic m yt h . .

’
b urne cont ra sts it unfa vora bly wit h Ch a p ma n s Her o a nd
“
Lea nd er , i n wh i ch h e fi nds a sm a ll sh r i ne o f Pa ri a n s cu lp
t ur e a m i d t h e r a nk spl endo ur o f a t ro p i ca l j ungl e Cer
”
.

t a i nly t h a t is t h e l a st i m a ge wh i ch a ny o ne coul d a p p l y t o
Venus a nd Adoni s . But a l o ngsi de o f t hi s rea l i sm , a nd
a ga i n a s i n Med i e v a l Art , th ere a re wi l ful a nd h a l f h u -

mo rons pervers io ns o f na t ure . Wh en Sh a kespea re i n p ra ise

’ e ut
o fAd o ni s b a y s a y s t h a t
“‘
To see h i s fa ce, t h e l io n wa l ked a l o ng
Behi nd s ome hedge, b eca use h e woul d not fea r h i m ,
or tha t

“‘
Wh en h e b eh e ld
h i s sh a do w i n t h e b roo k ,
Th e fi shes s p read o n i t t h ei r go l den gi ll s,
”

1 58
 VE NUS AND ADONI S

dents is more nea r ly a ll ied t o t h e ecs t a sies o f a do lescence

t h a n t o t h e ri p e p a ss io n o f m a nh ood .Th ere a re m a ny
i rreleva nt a nd digressive det a i l s wh ich , t h ough a s a rul e
t h ey bea r wi t ness t o m a rvello us j ust ness o f o b se r va t io n
a nd t o ex cep t i o na l com m a nd o f t h e rich h armo ni es of

l a ngua ge, defy a ll l aws to a rt i st ic rest ra int Th e m et re, .

d esp it e i t s melod io us fluency , i s no t a lwa ys so t h o ro ugh l y

under co m m a nd a s t o a vo i d mono t o ny a nd fl a t nes s . Th e
’
luxur i a nce o f t h e i m a gery i s o ne o f t h e poem s mo st no t a ble
ch a r a ct er i st i cs , a nd for t h e most p a rt i t serves wi t h p re
ci s io n i t s i ll ust r a t ive p ur p o se. But t h ere a re o cca s io na l
s i gns o f t h e j uveni l e t end ency , o f t h e v a gr a nt i m p u l se

to a ccum ul a t e fi gur a t ive o rna m ent fo r i t s o wn sa k e .

Nea r ly a ll t h e fi gures a re, mo reover, d ra wn fro m a so me

wh a t na r ro w ro und o f h o mel y ex p er ience, fro m t h e so und s
“
a nd si gh t s o f r ur a l o r do mest i c l i fe . Th e fro wa r d i n
’
fa nt st i ll d wi t h d a nd l i ng, t h e ch a ngi ng a spect s o f t h e
”

s k y , t h e t i m i d sna i l creep i ng i nt o i t s s h ell , t h e ca t e r p i ll a r

d evo ur i ng fo l i a ge, a re a mo ng t h e o bj ect s wh i ch a re em

plo yed by t h e poet t o po i nt h i s m o ra l All bet r a y a n
.

a l ert fa m i l i a r i t y wi t h everyd a y i nci dent s o f r us t i c ex i s t

ence . T h e fresh t o ne a nd t h e p i ct o ri a l cl ea rness o f t h e

m a ny rur a l si m i l es i n t h e Venus a nd Adoni s seem , i n fa ct ,
’
t o em b od y t h e poet s ea r l y i m p ress i ons o f t h e count ry
s i d e, i m p ressio ns wh i ch lost so met h i ng o f t h ei r co ncret e
d i st i nct ness a nd fill ed a na rro wer sp a ce i n h is t h oug h t i n
a dul t yea r s, a m id t h e m ul t i fa ri o us di st r a ct io ns o f t h e

t o wn.
T h e subj ect , t oo , s a vo urs of t h e co nd i t io ns o f yo ut h ,
‘

“
o f wh a t Sh a kesp ea re ca ll ed i n h i s S onnets (L! ! 9 ) t he
.

a m b ush o f yo ung d a ys Sh a kesp ea re ch ose t o occup y

”
.

h i s b ud d i ng fa ncy wi t h a so mewh a t vo l up t uous st o r y

a n unsub st a nt i a l d rea m o f p a ss i o n wh ich wa s fi rs t re
—

vea l ed t o h i m i n o ne o f h i s cl a ss i ca l sch oo l b oo k s, a nd h a d
-

a l rea dy ex er ci sed t h e ener gi es o f fa m o us vers ifiers of h i s

o wn ep o ch i n Engl a nd a nd o n t h e co nt i nent of Euro pe .

As i n t h e ca se of most yout h ful essa ys i n poet ry, t h e ch o i ce

1 60
 SELECTED C RITICISM

o f so well- wo rn a t o p i c a s Venus a nd Ado ni s sh ows Sh a ke

sp ea re t o h a ve em b a r ked a t t h e o utset o f h i s p oet i c ca reer

fl
i n a co nscio usly i m i t a t ive e o rt , even i f t h e pot ency o f
'

h i s i nd iv id ua l ity st a m p ed t h e fi ni sh ed p rod uct wi t h i ts

own h a ll m a r k . I n i t , recent i m p ressio ns of t h e country
l i fe o f Wa rwicksh i re seem t o be fused , not merel y wi t h
s ch oo lbo y d evo ti o n t o Ovi d a nd yo ut h ful ent h usi a sm for

t h e new b i rt h o f Engl i sh poet ry, b ut wi t h genui ne a p p re

ci a t i o n o f t h e t a st e a nd feel i ng wh i ch t h e Rena i ssa nce h a d

genera t ed in a ll cul t iv a ted m i nd s of West ern Euro pe .

On found a t io ns offered by t h e novel s of It a l y a nd F ra nce

so m e o f t h e m ost ch a ra ct eri st i c frui t o f Rena i ssa nce l i tera

t ure —
Sh a kespea re a t t h e h ei gh t o f h is powers rea red
m a ny o f h is bes t known pl a ys
-
Th e s a me elements o f
.

l i t era ry sust ena nce, t h e sa m e fo rce of l itera ry sym p a t h y,

’
whi ch fed t h e st rea m o f Sh a kes pea re s genius i n i ts m a
t uri t y , seem , i n t h e eye o f t h e ca reful s t udent , t o co urse
i n em b ryo t h rough Venus a nd Adoni s , t h e fi rst h ei r o f
‘‘ ”

’ ’
h is i nvent i on (F rom Venus a nd Adoni s. Sid ney Lee.
‘
.

To sa y t h a t t h e six a i ns o f Venus a nd Adoni s a nd t h e

‘

“
r h y m e roy a l o f Lucr ece a re perfect , wo ul d be mere bl ind
fl
-

a ect i o n, J
a s Ben o nso n s a ys Th ey a re not ; a nd t h ey
.

woul d be m uch less i nt erest ing i f t h ey were . Fo r i n t h a t

ca se t h e ex peri enced a nd unsa t i s fa ct o ry cri t i c woul d
ex pect wi t h a ruefu l cert a i nty , wh a t h a s h a p pened i n so

m a ny o t h er cases of m ocki ng b i rds, wh o ca n lea r n a ny

-

t h i ng b ut do not h i ng Th e i nd ivi dua l verses o f t h e Venus

.

h a ve t h e m a r k wh i ch we h a ve seen so o ft en befo re, a nd

wh i ch i s a n i nfa ll i ble sym p t om o f t h e desi re a t a ny cos t,
h owever unco nsciousl y, t o get ri d of t h e m a r k of
ex cessive sel f-com pl et io n, o f wh a t we h a ve ca ll ed t h e b ul

let mo ul d
-
fl
Th i s c ect i s i ndependent o f m ere p une
t ua t i on a t t h e verse end ; you wi ll find i t i n such a l ine as

Th e studded bridl
e on a ragged bough
”

1 61
 VENUS AND ADONI S

where t h ere is no step a t a ll, no t so much a s a co mm a .

And i n th e sa m e wa y th e fi na l couplet i s a p t to be too m uch

i so l a t ed fro m t h e q ua t r a i n a t h i ng wh i ch , a s h a s b een

a lso po i nt ed o ut , wa s a va l ua bl e sch oo l fo r t h e co nt i nuo us

s t o pped co upl et i t self, but wh i ch i s no t a l wa ys a b e a ut y

i n t h e s t a nza . But h ere, a lso , t h e de mo nic elem ent in

Sh a kesp ea re sh ows i tsel f, a nd h ere, for t una t el y, we ca n sa y
t h a t i t sh ows i tsel f a t o nce . Wh il e h e i s musing over t h e
s upposed req ui rement s o f t h e m et re t h e fire k i nd l es , a nd t h e

m et re i t sel f i s t r a nsp osed , t ra nsfo r med , t ra nsfused und e r h i s

h a nd . Sp enser h a d b egun t h e Kal enda r wi t h t h i s very
st a ve t h i rt een yea rs b efo re, a nd h a d do ne no bly wi t h i t .

But t h o ugh perh a p s [i t ] h a s a cer t a i n ma rmo rea l d i g

ni t y wh i ch t h e mo re p a ss io na t e a nd h um a n st r a i ns o f t h e
Venus do not i nvi t e, t h e a dva nce i n t h is d i rect i o n o f p a s
s io na t e h um a ni t y r ep r esent ed b y p rosod i c m ovem e nt i s

very grea t It i s no wo nder t h a t m usici a ns sh o uld h a ve

.

“
seen t h e ex t r a o rdi na r i l y ly r i ca l m ov ement of Bi d m e d i s
or t h a t p a i nt er s a nd na t ura l i st s sh o ul d
”
co urse , h a ve
a ck nowl ed ged t h e a st o ni s h i ng fea t s o f t h e ep i so d e o f t h e

h o r se . But t h e evi dences o f p rosod i c a deq ua cy a re o m ni

for m a nd omnip resent . I n t h e si ngl e a nd ea r l y l i ne

Ten k i sses sh o r t a s o ne, o ne long as twenty ,

t h ere i s, wh en we co nsi d er t h e st a ge bo th of t h e
po et ry
a nd o f t h e p oet , a n a l mos t unca nny m a st ery i n th e l o ca

t io n o f t h e p a use, t h e d is t r i b ut i on of t h e wor d s o f t h e
h em i st i ch , a nd t h e a do p t io n o f t h e redunda nt sy ll a ble
So wi t h t h e t r i syll a b ic cent re of

Lea d i ng h i m pr i s oner i n a red rose ch a i n,

”

a nd t h e fi ngeri ng l
of t h e vo we s a nd of t h e suggest ed t ro
ch ees in

Her t wo bl ue/windows/fa i ntly/sh e uph eavet h .

’
Hi story of Engl i sh Prosod y George Sa intsb ury
( F rom
‘
, .

.
1 62
 VE NUS AND AD ONI S

p a ssa ge to l
co our a nd fo rm o f des cri p t i o n, na rra ti ve , a d
d ress a nd t h e l i ke : t h e p ict ures of t h e h a re a nd of t h e
h orse a nd o f t h e bo a r, t h e fi na l deb a t e of t h e p a i r befo re
Adoni s wrench es hi mself a wa y, t h e mo rni ng ues t q t h ese
a re a ll wh a t m a y be ca lled m a st er p ieces o f t h e
novi t i a t e, p rom ising m a ster p ieces o f t h e m a stersh i p very
soo n . I f so me a re sl i gh t l y bo r rowed , t h a t i s not h i ng .

I t i s usua l i n t h ei r k i nd ; a nd t h e bo r rowi ng i s a l mo st lost i n

t h e use m a de o f wh a t i s bo r rowed Na t ura ll y , t h i s use
.

does no t , a s yet , i ncl ude much novel t y of co nd i t io n; e i t h er

in po i nt o f ch a ra ct er, o r o f wh a t t h e G reeks ca lled d i a
na i a g en er a l c a st o f se nt i m en t a n d t h o ugh t . It i s a

s t o ck t h eme, d ressed up wi t h a d el i gh t ful a nd l a r ge ly

novel v a r iet y o f ver se a nd p h ra se, o f descr i p t io n a nd d i a

logue But i t i s mo re ch a rmingl y done t h a n a ny poet
.

o f t h e t i me, ex cep t Sp enser h i m sel f, co ul d h a v e d o ne i t ;

a nd t h ere i s a cert a i n vi v i d ness a p resence o f flesh a nd

blood a nd a n a b sence of sh a dow a nd d rea m wh ich h a rd ly

t h e strongest p a rt i sa ns o f Spenser , i f t h ey a re wi se a s well
a s s t ro ng, woul d ch oose, o r wo ul d i n fa ct wi sh , t o p redi
’ F ‘
p ’
ca t e o f h im .
( ro m Sh a ke s ea re : P oe m s . G e o r ge

b
Sa i nts bury in t h e Ca m ridge Hist o ry of Engl i sh Li t era
t ure.

A
¢ K
‘

/ 5

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