Venus and Adonis

VEN US AN D A D O N IS

WILLIAM SHAKESPEARE

ED ITED , WITH NoTE s , I NTRODUCTI ON

A Y D G LO S S R , LI ST O F VA RI O RUM REA

A T T B Y ING S , ND S E L EC ED CRI I CI SM,

CHARLOTT E PORTER

NEW YORK W THO MAS Y. C RO ELL CO MPANY PUBLISHERS “ H L. 26 1 91 2

Co pyright I 0 , 9 3 , by

T O AS Y. H M CROWELL 8: CO .

Co ri ht py g , m m , by

THO AS M Y . CROW ELL CO PA M NY. CO N T EN T S

INT RO DUCT IO N

Ex PL ANAT ORY

BIOG RAPHY

VENUS AND ADO NIS

NOT ES

I A RG UMENT

II SOU RCES

III DU RATIO N O P T HE ACTIO N

Iv DATE O P CO MPOSITIO N

v EARLY EDITI ONS

VI LIT ERA RY ILLUST RATIONS

E! PLANATO RY : ABBREVIATIONS OP EDITIONS

C O NSU LTED

A G LOSSARY OP WORDS : G RAMM ATIC AL USAG E

AND PRONUNCIAT ION

A LIST OE V ARIORUM READINGS

SELECT ED C RITICISM

INTRODUCTION

enus ids h er senses fear the fantasie no more V b , and with th at word sees th e hunted boar e wh ose red bepainted frothi e mouth is like mingled milke ’ and ood it is ess a dream come true th an a dreaded bl , l second dream such as ever one h as fe t s readin , y l , p g ’ r u h all th e sin n f th o g ews a seco d eare. ! Everywh ere th e sense of sigh t feeds a visioned h ap enin So unrea l rea is each one th at it enthra s th e p g . l y l , ll m ental eye with th e mere pleasure of exercising its th rilling faculty Of visualizingj Th e vivid seeing proffered so plentiﬁi lly and with ’ so sensitive a transienc to th e eh o der s e e carri es y b l y , ith it to him a so an im ression Of de ach ment H w l p t . e is incite with artistic cunni n to oo on and note d g l k , , and mar ti th e seein itse f as a wh o e ecomes k , ll g l , l , b a centre Of aesth eti O se i n T he oo ness Of n c b rvat o . al f a actual th ird erson rivi e ed i e th e U iversa E e p p l g , l k n l y , to eer u on th e overs and th e s m ath coo ed b p p l , y p y, l y creativeness Of th e otentia th ird erson th e oet , p l p P hi m se f are shared in b th e on oo er l , y l k . Th e conception Of th e Poem in term s of sigh t h as thus purged th e th eme from arousing i n the reader th e ower ex citements Of imitative sensation . Th ese if l , it h ad used th e same m etho ds i t wou d h ave h ad in com , l mon with th e m an oth er o u ar oem s Of th e time y p p l p , derived from O vid and th e later Italian stories Of M rrh a Salm acis and erm a hroditus or enus and y , H p , V Adoni s owever Otherwise oetica su eri or it . H p lly p , would h ave fallen into th e same level of popularity as ’ ’ P e S Sa m acis Th rou h its wn ecu iar meth od e nd l . g o p l ’ of Stimu atin th e e e s c ear sense of eaut uite as l g y l b y, q much as b that oth er ecu iari t in su ect- matter y p l y bj , name creatin a dram atic c ash Of Wi s b ma in ly, g l ll y k g

ix VENUS AND ADONI S his Adonis co d Sha es eare earned for his oem l , k p P n cendenc ov l i oro com etit rs its tra s y er a l ts am us p o . hi s trait came out rominent to o erid e and T p ly C l g ; , recent th e most ca a e editor Of th e oems Of ly, p bl P Sha es eare W ndham h as reénforced this O serva k p y , b n Th e facu f r i stic a reciation h as tio . lty o a t pp been ta ed sa s W ndh am ‘ to a oint at which it e ins x , y y , p b g ’ i in sceticism Of arti sti cr ti to partic pate the a c ea on. ’ AS itt e said o erid e can a mind thus roused l l , C l g , and awakened be brooded on by mean and indistinct emotion as th e low a mist can cree u on the sur , l zy p p face Of a lake whil e a strong gale is driving it Onward in waves and billo w health

ess l , i e the oet one de i hts in all thi s reve r of th e e e l k P , l g l y y , un ess one oo s on at its activit as we as at the l l k y, ll who e a eant it commands with an over- conscious l p g , ness of exhilaration in the sheer sense of sight as th e su reme ministrant of eaut for its own sa e one p b y k , does not en o the oem to th e h ei h t O th erwise j y P g . ,

- moreover one is i e to mis see and mis ud e it. Per , l k ly j g ce tion of its visionar ua i t and the uminous atm os p y q l y, l h ere ﬁittin l encom assin it ifts it out of an wor d p g y p g , l y l ' but its own hrou h th ese ch aracteristics eculiar to . Q g p the arti stic use of th e sense Of si ht it is so distinctive g , ly non- human and non Through th ese e sth eti c results it rapts us so away into th e self- sufﬁcient rea lm of myth new dressed in fantasy and transparent with mi i n cos c suggest o . The stri in ch an e in su ect- m atter alread m en k g g bj , y

I INTRODUCTION

ti oned the conce ti on of Adonis as co d and im , p l m ature — h as een traced to reene and Mar owe , b G l . Wh eth er the ﬁrst hint of it came from Marlowe to Sh akes eare or th e converse which is ossi e it is a p , , p bl , mere rudim nt in n Sh a es ear In ll its e a y one but k p e. a ich es of su estion it is And it shou d be noted r gg hi s. l

' th at it is natural to a North ern fancy working on a myth yielding symbolism of th e recurring seasons of

' the ear Wh ere th S comes co d so Often y . e pring l ly , wh ere th e young vegetation yields SO tardi ly to loving warmth and fruitfu rowth and i s cut Off b th e sea l g , y ’ son s ear death so tra ica soon th ere an ori ina ly g ll , g l ’ y poet s own myth - m aking fancy would be quickly apt to conceive of a ashfu ni Unwi lin wou d h e b l Ado s. l g l be to woo h ard to be won as an i o tus. , y H pp ly Some critics l ove to deny to Sh akespeare any con Sciousness of th e cosmic applicati ons lying behind th e creation of the m th e u th e res onsi i i t y h used. B t p b l y f h eir den e ier th an o t ia l rests h eavy on th eir h ad . Heav th at of faith on th ose wh o do trace th e ancient mythic in uence owever free directed i t sure informs ﬂ . H ly , ly and pervades a poem set so consistently out Of doors ’ ‘ th rough out a burning - eyed day and a black - fac d ni ht Th o s o o or h g . e l ve Of th e Greek godde s f L ve f t e ’ genius Of th e Year s beauty is h ere said to be for one ’ wh om Nature made and with wh ose ife ‘ th e , l ’ wor d hath endin 11 1 1 Her beaut too l g ( . y, sh e c aims i e that of th e s rin doth earlie row l , l k p g y g 1 I I And h er ove for th e ever oun Adoni s ( . 4 ) . l y g , forever renewed and h ailed with th e bl ooming of th e wind - ﬂower ever s rin and forever fated wh en th e y p g , ’ Summer h eat passes to be gnash ed by Winter s cruel tus s — is as unnatural for a Sha es eare as for a k , k p

xi VENUS AND ADONIS

i h i nore r ma e ri id th al Keats e t er to g o k g wi legory. N wh ere does the oem uarre with th e m th NO o P q l y . wh ere does it uite h umani e it th ou h ever wh ere q z , g y W en ivenin it . It trans orts it to arwic shire m a es l g p k , k it at h ome with n ish fox and roe ur ind h are E gl , p bl ’ and earth de vin conies et anim ates it with a con l g , y siderate Lion who walks behind th e h edge lest h e ’ ma e Adonis fear him and a ‘ T re wi in to be k , yg ll g a ame is ener In i ts own new wa and under its t l t . y ch an e of venue it chimes in with th e m edi aeva re g , l n m de ct n echoing of th e classic fa cy by any a le able ote. Such a note is the increasing sultriness Of th e sun th at urns Adonis and fiom which th e oddess wou d b , g l shie d him h er fore odin s th at h e m ust die th e l ; b g , ech oes that moc h er in th e ni h t th e Wind- flower k g , ’ th at is (quoth sh e) thy father s guise and hi s nex t ’ of bl ood . Most rem ar a e and east rem ar ed most eculiar k bl l k , p to Sh a es eare moreover of all in th e conce tion of k p , , p th e su ect- matter Of th e oem is th e conc udin turn bj P , l g f h tor It constitutes wh at th e m th o i o t e s y. y log st ca lls new th Of nation T his ori in a my expla . g al sequel is o c m es 11 I 1 the pr ph e y Venus ak ( . 3 5 It attributes to th e fatal death of Adonis th at crossed h er ove th e secret in uence of all th e rou hness in ife l , fl g l and destiny th at ever since h as forbidden th e course of true love to run smooth .

i ce thou art dead 10 h ere I ro heci S n , p p e, Sorrow on love h ereafter sh all attend

It sh all sus ect wh ere is no cause of feare i p , ‘ It sh all not fea re wh ere it Should most mis trust, i cause of w rre and dire event It shall be a s, INTRODUCTION

and servill to all discontents

o ﬁre s drie combustious matter is t , i n hi ime death doth m love destro S th i s pr , y y, ’ h e that love best th eir loves shall not en o . T y , j y

B oth whim sical and phil osophical is thi s remar kable h ch armin and rofound i s it ch ar a dditi on. Bot gly p ly f h a es eare a cteristi c o S k p . A t as it is and in itse f of worth it serves esides p l , , b ,

amatic dou e ur ose. efore enus ro h esies a dr bl p p B V p p , h er e es and ours wh o read are fu of th e si ht of y , , , ll g h e rui ned devastated od wh ose everie beautie is t , b y, ’ ’ ' r bd of his effect th e a e i s th e coﬂer - ids th at o , p l l p , l ’ c ose his e es wh ereunder lie wh en sh e ifts th em l y , , l , ’ 10 two am s urnt out in darknesse. After sh e h as , l p b

ded her ro h ec the do orous od h as vanish ed . en p p y, l b y W h t ntion Th e stage h a s been cl eared . hil e t e at e was diverted by th e deepest- pl unging and th e only h ou h t- rovocative assa e in th e stor th e ch ance t g p p g y, h as een ta en as it was contrived to be for a m a ica b k , , g l ch an e Of scene. rom h er si ht and ours th e bo g F g , , y th at lay killed h as been spirited away melted li ke a ’ In hi ste d h is f A onis ha vapour . s a t e sweet sue o d s n u into i fe Th e d Of this ur e o e spru g p l . esire p pl fl w r ’ ’ ‘ ch eckred with whi te is a so i e its fath er s ‘ to , l , l k , ’ row unto himselfe But its future as th e ne t of g . , x ’ ’ ood is to be crad ed in ove s reast bl , l L b . Th e m th that in th e ro h ec was rationali ed y p p y z , and to som e degree m ade to fit in with human th ough t and do it service returns at th e c ose to round out , l fai thfiI lly th e cosmic symboli sm of th e story Of love and

fe Wh at it ima e - li . g s forth in th e cradled wind ﬂower i s eterna desire er etua d in transformed into th e l , p p l y g ; i perpetual renewal of life

CHARLOT TE PORT ER . E! PLANA T ORT

i rst oli o 1 62 . F F , 3

Litr b e Num er ing .

At to of a e Globe Edition ever oetica l line of whi ch i p p g , , y p s numbered at side of a e First olio ever o r a hica l line ; p g , F , y typ g p u Li t tw of which is n mbered . nes pu be een brack ets in text are

not numbered because the are not in irst olio . , y F F

Br a d en

ndicate directions tc in Globe or art of text in I stage , e . , , p s Globe but not in Fi rst olio th ese arts bein iven h ere as th e a F , p g g y p th li e earliest com lete uarto pear in e ear est or th p Q .

Ita li: Wor d:

In mar ins thus 1 blunt refer to and ex lain Obscure word g , , , p s.

Foat- note:

Cite in italics i rst olio words emended in bold- face em en F F ; , dations ado t lo small ca i earliest editions p ed in G be; in p tals, or

ﬁrst editor printing that emendation.

Abbr evi a ti am .

I . e uals i rst uarto a . Second uarto and so on Q q F Q , Q Q , r - e uals i rst Third ourth and ifth uartos all sub , 3 5 Q. q F , , F , F Q , tantiall a in e uals all earl uartos s y gree g ; Q9 . q y Q . - zF. e uals Second oli o F. Third oli o and so on z F q F , 3 F , ; 4 . e uals Second Third and ourth olios all substantiall a ree q , , F F , y g mg. 1 e uals line ll e uals li es . q , . q n .

BIOG RAPH Y

O NCERNING th e supreme Englishman OfEliza eth an n and it is im ossi e to construct an b E gl , p bl a deq uate personal history built solely out of facts of accredi ted record .

Yet on an indu ita e io ra h are of tradition ly b bl b g p y b , colorless Of dazzlement from th e light ex haustlessly ’ rnin i n Sha es eare s writin s can fu th e mod bu g k p g , lfil ern desire for sure knowledge Of th e events in Sh ake ’ r s ife spea e l . Th e imp ossibili ty of much assured knowledge grows na turally out Of a p rimary fact — social h abit in Eliza n n inc into th e sco e Of this fact beth an E gla d . S e p Sha es eare was orn it ecomes si ni cant inciden k p b , b g fi , ta at th e outset to see tha t it direct affects th e ues lly, , ly q d n i d si s tion of such biography as th e mo er m n de re . The utmost possible appreciation Of th e genius Of Sh a es eare in his da h ere and th ere am on th e more k p y, , g advanced minds or enera am on the eo e with , g lly g p pl wh om h e ived cou d not reat ch an e th e wa Of l , l g ly g y n a h h life th e belonging to th e peopl e as w ole. T at way Of life led th em to be incapable Of exact facts even about th e titled and official personages for wh om th ey care I le h m to care nothin in ar tic greatly d . t d t e g p u ar for an facts a out a comm oner an actor and writer l y b , Of a s O n ran Office under sta te or ch urch and pl y . ly k , , la nded property insured a man any precise current rec

3 BIO GRAPHY ord ence it was natura and not et rown so . H l , y g t e mote and uncommon that it need be dec aimed a ainst l g , ’ th at Shakespeare s ex ternal life remained tracea ble chiefly thr ough lega l documents as to his personal emo tions and th rou h h a h azard mention as to his artisti c , g p achie ements. It is not sur risin nor is it necessari v p g, ly a mercenar si n i n him th at m emoranda as to m one y g , y mat ers mu ti ied toward th e c ose of his ife as h e t l pl l l , more and more emer ed eca use ofhis artistic success g , b , from the vagueness naturally encircling him as a play writer of genius into the prominence naturally attaching t hi ish ma f ro ert o m as an Engl n o p p y. It is th rough no uncommon h appening to the son of a rising English tradesman th at the birthday of th at a of wor d- wide h oma e Wi liam Sha es eare is b by l g , l k p , no t a matter of recor d but th at his christenin da is , g y . T he pervading importa nce of th e church as an English institution ends the i h t b which h e rst is seen l l g y fi . T h e earliest parish register o f the Church ofthe Holy Trinity at Stratford- on- Avon in Warwickshire — a thick fo io of ve um ound in meta - ed ed eath er wh erein l ll b l g l , were transcribed in 1 60 0 a nd later the entries of bap tisms marria es and funera s in th e arish — sti h o ds , g , l p ll l one a e whose fourth ine h' om th e to written in p g l p, ch urch atin h as come to be o f emin n nterest L , e t i : ’ 1 6 A r il 2 6. Gulielmur liu: oba fmer Sba kr er e. 5 4, p fi j p The next actually certain and indisputable record extant directly and personally concerning Shakespeare himse f fo ows e h n r a — l ll ig tee yea s l ter his marriage. In th e absence o f ligh t upon his boyhood and youth which is not borro wed from interweaving a series of traditions datin a centur or so ater with facts con , g y l , cernin his fami and with inferences th at are more g ly, or ess matters Of individua ud ment it seems est l l j g , b

BIO GRAPHY fail to enti tle the Ardens to more detailed and certain documentary record th an rem ains of th eir poorer neigh ors th e Sha es eares of Snitterﬁeld from wh om b , k p , ohn Sha es eare s ran and whence h e came to sett e j k p p g , l in Stratford eavin his father ich ard a nd roth er , l g R b enr th ere em o ed in farmin H y pl y g . Wh en Rober t Arden of Wilmecote and his fa th er Th omas were assessed for one of the subsidies levied on his su ects b enr VIII th e were two of the bj y H y , y four m en of reatest su stanc in h a sh g b e t e p ri . And a a ter su sid found o ert th e second rich est m an l b y R b . His wi now in th e e istr our t of Worcester ll , R g y C , leaves to his youngest daugh ter Mary his best piece of

and Ashbies some fift - fo ur acres out of his to ta l , , y l acrea e Of a hundred and ft or so to ether with th e g fi y , g ‘ ’ ‘ farm - h ouse th e cro a one th e rounde standin a , p p g g s ’ ’ hitt is and ‘ in mone e vili x iii: iiiid his w , y . T ill arranges for the living of his wido w in the same h ouse wi th his dau h ter A ice wh o was th e other ex ecutor g l , ’ r f his estate T oward Mar s m rr with Ma y o . y a iage as ros ective and ta in ace ater this wi of N o p p k g pl l , ll vember I 6 ears the witness ac in from th e arish , 5 5 , b l k g p i ter reg s . ’ W o Mr Sh If wh en i iam was rn s . a es eare s rst , ll b , k p fi chi d one as we as h er seco nd M ar aret h ad died l , j , ll , g , , to h ow tender a welcome for the first - born son do these formal dry parchments lend their h al ting testim ony ! ’ A plague ravaged Stratford in july of Sh akespeare s ’ irth - ear and th e town ooks Sh o w th at Sh a es eare s b y , b k p n i uted toward th e re ief of th e to fath er co tr b l wn . Whether or not his mo th er trembled then for th e peril

- orn three- month s- old a certain th e to h er last b b by, ly ow at the con na tions ma y trem bl e n jecture Of wh at th e without its Sh a es eare world might be k p . 6 BIOGRAPHY

Th ere is record left in Stratford that in th e same autumn of I 5 5 6 when Robert Ar den died john Sh a kespeare made substantial preparation for living we b urch asin two ro erties a house and ar ll , y p g p p , g den in reenhi Street and a dou e house with a G ll , bl arden in en e Street now nown to trave ers as g H l y , k l the Sh akes eare Museum side b side with th e h ouse p , y ’ ti on er now h e ir th ac His urch ase s ll l g k n as t B pl e. p was subject to th e usual paym ent of a fee yearly to th e ord of th e manor th e ar of Warwic and it l , E l k ; h a ens that a ist ta en for th e ueen ater in 1 0 pp l k q l , 5 9 , of th e Henley Street tenants paying manorial fees to th e reat no e of the Shire identi es this h ouse as th e g bl , ﬁ h om e to which Sh a es eare was orn in I 6 and to k p b 5 4, whi ch some seven ears efore hi s irth his moth er , y b b , me a a rid ca s b e. T h e ver ear iest reference 1 2 made to his y l , 5 5 , fath er in th e Stratford records also connects him with

en e Stre t was th en ned 1 2 d for ma kin H l y e . He fi . g a refiI se- h ea there two o th er ur h ers ein ned p , b g b g fi i amo nt f r ike offense a long w th him to the sam e u o a l . T h e simple sanitary regul ations of a sixteenth - century

countr town are hus i ustrated . h e consisted y t ll T y , it a ears fr om th e records in referrin as dum pp , p g p ing places several dispersed speciﬁed ‘ public dung ’ h i lls. Th e sam e year as the purch ase of his h om e in en e Street ohn Sh akes eare was summoned to H l y , j p on a r T s a n it e th en i en him serve ju y. he tyle d t l g v ‘ ’ is oh n Sh akes ere over . A ain is it so iven h im j p , gl g g thir t ears ater in a e a a er reservin the fact y y l , l g l p p p g th at h e went to th e neigh boring town of C oventry to gi ve bai l for a Stratford tinker whom h e thus be f' nded ro o h r r m ainin rec r of his tra ns i ie . F m t e e g o ds

7 BIOGRAPHY actions and suits it comes out that he dea t in arious , l v artic es made of eather and a so in rain ma t and l l l g , l , ch c r e su ountry p oduc . B the time his rst son was orn ‘ oh n Sh a e y fi b , j k ’ s ere over had risen to successive town ofli ces p , gl , rst 1 ale- taster or tester for th e town of fi , 5 5 7, , malt liquors and bread; then town councilor ; con sta e affeeror that is assessor of ust such nes as bl ; , , j fi he and his fellow- to wnsmen h ad to pay for th eir indi vidua dirt-hea s Cham er ain or treasurer and l p ; b l , ; , na the ne t ear after his son was orn a der fi lly, x y b , l m ed s audIt f man. He was so repeatedly e pl oy a or or ’ the to wn of the Ch amberlains accounts and as ap praiser of property that it would seem he must ha ve been recognized as a m an of practical abili ty and of a Skill in reckoning not in the least inconsistent — ar a eriod when accounts were cast with counters as the p , ’ W ’ she he d s ta in inter s a e IV. iii 8 i u p r lk T l ( . 3 ) ll s trates with anoth er fact sh own b the town a ers y p p , that i e most of his eneration in Stratford h e si ne , l k g , g d i n m m r h s a e with a a k . In 1 6 when he was rst nominated for h ea 5 7, fi d ai iff or ma or he is first written down as Mr b l y , ’ ’ Shaks e r T he im ortant sma re M i p y . p ll p fix r . s re eated in I 68 the ear wh en he was successfiIl i p 5 , y n ein e ected to that o fli ce the same ear a so when b g l , y l his first application was made to the College of Heralds m h e re i for a coat of ar s. T parish g ster reflects his i ncreasing social impo rtance in the same slight but sig nificant manner in the fiIrth er course of chronicling

a tism of his chi dren: i ert O ct . I I 66 th e b p l G lb , 3 , 5 ;

one A ri 1 1 6 Anna Se t . 2 8 1 6 j , p l 5 , 5 9 ; , p , 5 9

in A ri ichard Mch . I I 1 buried p l , R , , 5 74 ; ( ’ mund Ma 1 80 . The ohannes Sh aks ere Ed , y 3 , 5 j p BIOGRAPHY of th e earli er entries becomes Magistri Sh akspere in ’ I 1 and th ereafter a wa s a ears as Mr . 5 7 , l y pp T h e next mark along the Sh akespeare trail is this ’ in fact : As ma or of Stratford Sha es eare s strik g y , k p fath er entertained actors ofli cially for the first time in ’ h e to n s histor . etween Mich ae mas 1 68 and t w y B l , 5 1 6 within his term of office wh en Sha es eare 5 9 , , k p ’ was a five- ear - old urchin the ueen s and th e ar of y , q E l ’ Leicester s players came to to wn and were given an m ma a e come efore ith o fli cial welco e. They y h v b w

out it of course. In such case no one now is ike , l ly h i r h eir comin is in ken now ecause to be t e w se . T g b ’ Mayor joh n Sh akespeare ofli cially paid th e queen s ’ players nine shillings and th e earl s twelve pence for first erform ances efore himse f and th e a dermen p b l l , wn i d ted fre Admission mi h the to be ng a mit e. g t be ch ar ed at ater er formances but accordin to custom g l p ; , g , ’ th e Ma or s a was O en to th e u ic y pl y p p bl . ’ ’ T o th e Ma or s a writes Wi is a man orn y pl y, ll , b in th e nei h orin cit o f G oucester the sam e ear as g b g y l , y Wi iam Sh akes eare ever one th at wi co mes in ll p , y ll wi thout mone th e Ma or ivin unto th e a ers a y, y g g pl y r ward as h thin s fit to shew r s ect unto th e A e e k e p m . t such a a m fath er tooke m e with h im and made pl y y , m ee stand betweene his leggs as h e sate upon one of

the ench es wh ere wee saw and h eard ver we . b , y ll Th is sight tooke such impression in mee th at wh en I ca me towards mans estate i t was as ﬂesh in my m em ’ r as if h ad n i n w cted Thi W o y I see t e ly a . s illis t e r i ivate ercise f niten co ds n Mount Tabor . Pr Ex s o a Pe t Sinner u ish ed in th e eare of his a e Anno , p bl y g 77 ’ Wi Sh akes eare s m n carc Dom . ll p i d can s ely su os d o be ess im ressiona e be pp e t l p bl . Th e Coventry Corpus Ch risti Players were playing

9 BIOGRAPHY ’ in Sha es eare s outh a dur g k p y . Th ey pl yed at Bristol in 1 0 and their road ran throu h Stratford. In 5 7 , g 1 when Sh a es eare was e even ueen iza eth 5 75 , k p l , Q El b was entertained by Leicester with wide- h eralded fes tivi ties and sh ows at eni worth within a wa of K l , lk Str ford o entr is but five mi es farth er on at . C v y l . In th e ne t ear 1 6 and th e ne t com a nies o f x y , 5 7 , x , p a ers came to Stratford and a ain fi'om 1 on for pl y , g 5 79 eigh t years each twelvem onth brough t its actors to ’ Sh a es eare s town. 1 8 th e richest ear of all k p 5 7, y , ’ ’ rou h t five com anies the ueen s eicester s and b g p , q , L , ’ n h Essex s amo g t em . T eaching was to be h ad free to boys of Stratford at ’ S h o It wa n ch a e f W l th e Kings New c o l . s i rg o a ter och e in 1 0 an O ford man fel ow of or us R 5 7 , x , l C p hristi and to him in 1 th e curate o f Luddin C , , 5 77, g

ton h om as unt succeeded . Such sch oo s led , T H , l o s after ust such initia instruction in the h orn- oo b y , j l b k ’ and th e b- a r as Moth m a kes ﬁrn with in Loves La ’ ’ t i . throu h ust ch a r bour s Los ( V . 49 g j su ﬁ st book in Latin as William Page recites from to Parson ’ u h in h e Merr Wives of Windsor IV i 1 H g T y ( . . 3 ’ ’ Lily s G rammar and the ‘ Sententiw Pueriles ein assed to the c o ues o fMantuanus raised b g p , E l g , p ’ ’ a our s ost IV iii t in Loves L b L ( . . 9 7 o a tus vid ir i Seneca T erence icero Pl u , O , V g l , , , C ,

orace and the rudiments of ree . It h ad not et H , G k y occurred to th e pedagogic m ind th at anything but th e ic was a su ect for instruction and a tin was class s bj , L , c urse as common as eo ra h h sio o and of o , g g p y, p y l gy,

arithmetic no w .

h a es eare was chief a derman I In 1 5 7 1 joh n S k p l . n additiona h ouse th e one ad oi 1 h e ou h t an , j n 5 7 5 b g l ’ ‘ in now ca ed th e irth ace. g, ll B pl

I O BIOGRAPHY

f n comfor a ros rit B So far th e acts betoke t nd p pe y. ut wh en Sh akespeare was fourteen a decided stroke of misfortune from the money point of view befell th e ’ ’ fami throu h the father s mort a in his wife s ro ly, g g g g p p et t of Ashbies to h er roth er - in- law dm und Lam y b , E ’ ert for 0 for it led to th e Shakes eares oss of b , £4 , p l th eir estate.

ar in th e same ear 1 8 th e town counci E ly y , 5 7 , l a reed ‘ that ever a derman such e underwr tten ex g y l , y ce ted sha a e towar des the e ui ment of i e p , ll p y q p p k il men nd a ch r ‘ n ‘ Mr m en a r e v r . a d . , b l , j ’ Sh ax peare was one of th e tw o let off with paying ss ater in the ear h e and ano th er were e cused le . L y x fr m a wee oor - t x evied on th e a dermen Th e o kly p a l l . nex t year h e is named am ong those failing to pay a e on all th e ci tizens or th urcha e of rm r l vy f e p s a o . H e and his wife parted wi th his individua l sh are in Snitterfield ro ert for and th e arted wi th p p y £4, y p intere in other Sni er l r f h er st tt fie d p operty or £40 . H e begins in 1 5 78 to absent h imself fi'om th e to wn co uncil meetin s sti m ore th e ne t ear and th en g , ll x y , so altogeth er that in 1 5 86 an alderm an was ch osen to h is ace since h e ‘ do th e no t com e to th e h a es fill pl , ll ’ nor h ath not done of on e t m l g y e. ’ Sh akespeare s sister Anna died in April just before ’ h er roth er s fteenth irthda and th e sadness of this b fi b y, , to eth er wi th the fami distresses articu ar over Ash g ly , p l ly ies re ardin which re eated interviews and arran e b , g g p g m ents with th e Lamberts were sough t in vain by his father m ust h ave rou h t Sh a es eare ear face to , b g k p ly face with some of th e re ent ess words f ife l l o l . If in the s rin of th e ear 1 8 0 wh en th e 0 p g y 5 , £4 was to be re aid his bro th er was ch ristened dmund p , E in deference to Unc e dm und am ert wh o h ad l E L b ,

I I BIOGRAPHY

lent th e m oney to the Shakespeares on such good securi t th e com iment did not serve to oosen his y, pl l h an The law of the tim fa grasp upon t e l d . e vored ’ a creditor s absolute ownership of security if repay men was not made ri id on the da s eci ed and t g ly y p fi , though the Shakespeares claimed in their first legal a ea a ainst am ert as in other com aints ater pp l g L b , pl l , that john too k his £40 across Barton Heath to Ed m n at Mich ae mas of 1 80 and that it was refused u d l 5 , because th ere were other de ts th at must be aid b p , some confiIsion as to the time sticks to th ese c aim s l , due it ma be to misfortune ra th er th an fau t of the , y , l

Sh kes eares. Th e result h owever remained inex a p , , orable.

' 3 Da tum 2 8 die Nw m br ir a rm s r e m domine nortre 5 8 3 , g

T he ch urch registers at Luddington and at Temple Grafton are not extant to yield record of Sh a ke ’ s ia ta in ace in 1 2 I peare s marr ge as k g pl 5 8 . t is a fact assured by a bond preserved in Worcester at the ’ i r i hi n was m de in b shop s eg stry. T s b o d a a nticipa tion of the marriage and to guarantee th e bish op of the diocese wh o wou d be h e d res onsi e for such a , l l p bl course as was ta en from an o ection that mi h t k , y bj g be made against him for allo wing this marriage of ‘ Wil iam Sha s ere and Anne Hath awe of Strat l g p y, ’ ford in the diocese o f Worcester to ta e ace wi h , k pl t but once askin of th e anns instead of th e usua g b , l thrice It h en h at t er i re rv . app s t h e s also p se ed in th e ’ bishop s registers in Worcester an entry for a mar ’ ria e icense Novem er 2 1 8 2 etween Willi g l , b 7, 5 , b el mum Shaxpere and Annam Wh ateley dc T emple ’ rafton h ow ex ica e wh eth er the same W l G pl bl , i

iam and Anne or not no od nows. l , b y k

1 2

BIOGRAPHY

perate ambition with which th e Sh akespeares would naturally cling to the lost estate ech oes in these words from one of th eir actions for th e recovery o f th e land the sayde john wrongfullie still keepeth ‘ the sayde ohn La mberte s o f reate wealth e and abilitie 8: j y g , well frended and alied a mongest gentlemen and free h olders of the countrey in th e sa ide countie of Wa r wic e where h e dwe eth and o ur saide ora tours k , ll , y are of small wealthe and verey fewe frendes and alyance ’ in the saide countie.

hi s ear of 1 8 was th e ear a read noti ced T y 5 7 y , l y , wh en as m any as five companies o f actors visited Stra t ’ ford a mo n them the ar of eicester s a ers . , g E l L pl y ’ - 1 3 Tbs onlie Sbuba rcm e etc. 5 9 , , ’ A new drama of ‘ Henry VI was brough t out i n March of t his ear at the Rose T heater b th e y , , y ’ ’ a ers former eicester s no w ord Stran e s . T al pl y ly L , L g ’ bot as h e a ears in 1 Henr VI i s s o en of th at , pp y , p k sum mer as new embal med with the teears of ten ’ ’ th ousand spectators at least in Nash s Pierce Penni ’ esse ri nted in 1 2 . Rober t G reene wrote from his l , p 5 9 ’ death - bed Se tember makin use of ifford s ine , p 4, g Cl l ’ ’ ‘ i n enr VI I . iv. 1 O ti er s h eart 3 H y , 3 7 , g ’ ’ ’ wra t in a woman s hide for a in at Sh akes eare s p , fl g p m n ce In h is oa f Wi b u sudden e i en . G r tsworth o t o gh t ’ wi th a Mi ion of e entance u lish ed b h is friend ll R p , p b y Henr Ch ett e Se tem er 2 0 reene warned ‘ tho se y l , p b , G Gentl emen h is Quondam acquaintance th at spend th eir ’ n makin aies th at th ere was an u start wits i g Pl , p crow beautified wi th our feathers th at with his 7 » , , 3 bea r t wr a t i n a Pla er : bide su oses h e is as ger r p y , pp well able to bumbast out a bl anke verse a s th e best of b n a n a so ute oba r mer a rtotum i s in hi s ou ; ei g b l ff f , y ’ - owne concei t the onlie Shake scene in a countrie. BIO GRAPHY

h ett e h imse f in ecem er in h is reface C l l , D b , P ’ ’ to ind eart s Dream e adds c earness to this K H , l sca rcely disguised allusion to Shakespeare and h is col laborator in 3 Henry VI by suing for pardon to ’ e of the t o a ma ers a rie ed b r ene hit o n w pl y k gg v y G e s . O ne of th em h e refers to as ‘ learned and th e oth er as an actor whome at that tim e I did no t so much s are , p as since [ wish I h ad because myselfe h ave seene his dem eanor no lesse civill th an h e exellent in th e q ualitie h e professes; besides divers of worship h ave re orted his u ri h tnes o f dealin which ar ues h is p p g g , g ho nest and his fa cetious race in writin th at a rooves y, g g pp ’ his ar t .

° ‘ x ‘vi ii A r ili n — Rid a r d Feild a booke intuled 1 5 9 3 . p

Venus a nd Adonis . ’ But th e sudden fame ofSh a es eare s oem ‘ enus and k p p , V ’ Adonis m ounted hi h er in th e esteem of ‘ divers o fwor , g hi th an an a cou d c im t tha t time It was ub s p y pl y l l b a . p lish ed b h is fel ow - townsman from Stratford ich ard y l , R ’ ield wh ose father s estate h ad een a raised at F , b pp ’ h ome b th e oet s fath er th e ear efore Its dedi y P y b . ca tion si ned b William Sh a es eare cha en ed , g y k p , ll g with a raceﬁI l adventurousness m odest but not obse g , uious th e atrona e of th e most nota e in i terar q , p g bl l y aste of the oun cour tiers of the da th e Ear of t y g y, l So utham ton and won i t a on with th e a cc aim of p , , l g l the town. Seven editions were issued inside of ten ’ rs hus the ear th at a K ar owe unf r yea . T y s w it M l s o tnnate death saw Will Sh akespeare launch ed on th e ffor tune Th a in of th n crest o . e s y g e fop G ullio i Th e ’ ’ eturn from arnassus acted a t St . o hn s C a m R P , j , rid e in 1 ert resses in a re resentative wa i ts b g , 5 9 9 , p p y ’ vogue : ‘ O sweet Mr Sh a kespeare ! I ll h ave h is

ture in m stud a t th e ourt he d c ~ pic y y C . Let t un i

I S BIOGRAPHY ’ ﬁede a e esteem of S enser and h aucer I ll wor g p C , shi Sweet Mr Sh a es eare and to h o nour h im wi pp . k p , ll la h is enus and Adonis under m i ow as we y V y p ll , read of one I do not we remem er his name but I ( ll b , am sure h e was a king) slept with Homer under his ’ ’ he d bed s a . Ma Mr Ha r r i son a booke intituled tbe 1 5 9 4. 9 ] . . ’ Ra ‘v rbem nt er e j e of Lu e e. ’ Sha kespeare s second dedicati on to Southampton i n ’ his ‘ Lucrece reveal ed his advance into h is patron s favor and th e oem received such ch oice raise amo n , p p g ’ writers as Drayton gave it in his ‘ Legend ofMathilda referring to Lucrece of Rome as Lately re ’ vivd to ive ano ther a e and such direct a usion and l g , ll speciﬁc naming of th e Poet as this in ‘ Willobie his Avisa ( 1 5 9 4)

‘ T hough Collatine have deerely bought T o hi h renowne a astin ife g l g l , A nd found that most in va ine have sou ht g , T r ta nt f o have a fa i e a nd cons wi e, Y et T a r u ne uckt his isterin ra e q y pl gl g g p , ’ A nd Shak e- s eare a ints oore Lucrece ra e p p p p .

The triumph of th e year as Poet cl osed with fresh h ono a a er n i h He a eared efor r s Pl y a d Playwr g t. pp b e Queen Elizabeth at Greenwich Palace during th e h oli ’ da s as th e fo o win entr in h er reasurer s MS. y , ll g y T accounts sets forth : ‘ to Wi iam em e Wi iam ll K p , ll Sha es eare and icharde ur a e servauntes to the k p R B b g , ord Chamberle ne u on th e Councelles warrant dated L y , p ‘° at Whiteh al xv Marci 1 for tw oe severall l j, 5 9 4, comedies or enterludes shewed by th em before h er

Ma estic in h ristmas t me aste aste viz. u on St . j C y l p , , p d Ste hens a e Innocentes da e xii li . v r. vii d 8s p y y j j j ,

1 6 BIOGRAPHY

b wa e of her Ma esties rewarde v . !i . x ii s. iii d in y y j j j j , ’ all x x li .

Th e same ecem er h o ida s the a 8th ‘ Th e D b l y , , Comedic of Errors is recorded at th e Temple as played by th e players before the students at th e ’ ra s Inn Hall in G y . enceforth each h o ida season durin the remain H , l y g ’ in ears of i a eth s rei n there is record of a s g y El z b g , pl y before her by th e company to which Shakespeare be n ed lo g . ’ Weever s sonnet inc udes a on with mention of l , l g the oem s a usion to th e ear iest tra ed om eo p , ll l g y, R ’ and u iet and anoth er of th e histories and thus fur j l , , nishes evidence of wor done u to this time in addi k p , tion to th e earlier histories and the comedies already named of which contem orar record i s ackin . , p y l g ’ ’ Weever s ‘ more wh ose names I know not is like ’ n uo s ass It ima es th e sh adow man in th e Ba q gl . g y y backgr ound the much unknown exactly in th e royal ’ f ach e m T h succession o Sh akespeare s i ved dra as. e Sonnet is addressed :

AD G ULI ELMU M SH A KESPEARE ’ H nie- ton d Sba ker ea r e wh en I saw thine issue o g p , , I swore A pollo got them and none other ’ - th tis T hei r rosi e ta inted features Clo d in sue, Som e h eaven- born goddesse sa id to be their m oth er ; Rose- h eckt Adonis with hi s a m er tresses c b , a ire ﬁre- h ot Venn: charm in him to ove her F g l , Cha ste Lucr etia vir ine- ik e h er dresses , g l , Prowd lust stun Ta r uine seekin sti to rove h er g q g ll p , m Ri har m r whose na m n t Ro eo, c d ; o e es I k ow no , T heir sugred tongues and power attractive beuty Sa the a re Saints altho h that Sts the shew not y y , g y , For th ousa nd vowes to th em subjective dutie;

I 7 BIOGRAPHY

T he urn in ove th chi dren Sha kes ear h et th em y b l ; y l , p ; ’ G o wo th muse m ore n m hish rood e et th em , y ; y p b b g . ’ From London ach ievements so brilliant Shakespeare s e es were turned to Stratford b th e death of his son y y , whose funeral is entered in the church register ’ Au s m e s Willia m Sb k F. u t 1 1 . Ha n t li u a s er e. 1 5 9 5 , g ﬁ p His unc e enr died durin th e hri stmas h o ida s l H y g C l y , ’ while Sh akespeare s company was performing before ’ h e ueen at Whiteha His father s a ication th t q ll . ppl is year to the Coll ege of Hera lds resulted in his o btain in a attern for a coat of ar ms and a draft of the g p , ro osed rant was made o ut which is sti on reco rd p p g , ll , h no t executed th oug . ’ A Plea sa nt Concei ted Comedi e 1 5 9 7. ’ ’ ca ed oves a our s ost a ed in th e h o ida s ll L L b L , pl y l y efore th e ueen at Whiteh a was an ear ier success b q ll , l , ’ ’ one o f Weever s man more for it was revised y , , W ’ new corrected and au mented b . Sh a es eare ly g y k p , and prepared especially for th e presentation given be ’ fore the ueen ‘ this ast h ristmas as i ts tit e- a q l C , l p ge f 1 8 o 5 9 says. ’ Recorded sign in 1 5 9 7 of Sh akespeare s continued ersona attachment to Stratford as h is h ome which is p l , lacking with relation to th e more intim ate event of his ’ son s death is found in h is urch ase for 60 of New , p £ ace th e nest residence in th e to wn ui t for Sir Pl , ﬁ , b l Hugh Clop ton in 1 49 6; a pratty h ouse of bricke and ’ ’ t m bre o osite a ‘ ood Churche in a fa re street y , pp g ly y , iter descri in it in 1 says a wr b g 540 . A a in wi th relation to materia affairs record of g , l , ’ which is demanded b custom Sh a es eare s stron con y , k p g ’ tinued interest in h is family s affairs is revealed by th e fact th at a chancery suit was begun against john Lambert for

a BIOGRAPHY

recover of Ashbies . T h e ea dates Novem er 2 y pl b 4, 1 and a series of court orders for hearin witness 5 9 7, g es runs from u 1 8 to cto er 1 . his n j ly, 5 9 , O b , 5 9 9 T c cessarily expensive struggle for the Arden property testi ﬁes th at London success h ad not obscured but rath er i h tene th old tratford desir s br g d e S e . No decree of the court was ever recorded. Letters of Stratfordians bel ong to this ﬁrst epoch of attainment and sh ow Sha es eare in a osition u n , k p p po which his townsmen ace friend de endence as the pl ly p , following extracts illustrate

1 . rom a etter of anuar 2 1 from A ra F l j y 4, 5 9 7, b h am Stur ley to his roth er - in- law in o ndon ich ard b L , R uinc whose son marri ed udith Sha es eare ater Q y, j k p l This is one speciall remembrance from ur fath ers n I s h i i h at ou i moti o . tt eemet b h m t r countr man,

Mr . Shaks er is willin e to dis urse some mouei u on p , g b p some od yarde land or oth er att Sho tterie or neare about us; h e thinketh it a veri ﬁtt patterne to move h r of r ti h i th e nstruc h im to deale in t e matte ou t es. B i ons u can eve him thereof and bi th e frendes h e can ci g , m a e therefore we th inke it a faire mar e for him to k , k sh oote att and not un ossi e to hitt . It o tained wou d , p bl b l ’ ance him in deede and wou d do us much e ood . adv , l g tter of St r e to uinc acknowled 2 . From a le u l y Q y g in a etter of cto er 2 1 sa in ‘ th at our g l O b 5 , 5 9 7, y g W countrim an Mr . m . Sh a . wou d rocure us monei k l p , whi ch I will like of as I sh all h eare wh en and wh eare and h owe; and I prai let not go that occasion if it mai nd n n ici n llso that if sorte to any i iffere t co d o s. A m ouei mi h t be ad for 0 or 0 1 . a ease &c mi h t g h 3 4 l , g ’ cu e be pro r d . A etter fr m in ‘ T o lovin c ood 3 . l o Qu cy my g g man r Wm hackcs ere ﬁ end and contrey M . . S p

1 9 B IO GRAPHY

‘ Lo vin e contre man I am o de of ow as of a g y , b l y , ? ffrende cravin e our he e with x xx /l. u on M , g y lp pp

Bushells and m secur tec or Mr M ttons with me. y y , . y

Mr . osswe is nott co me to London as eate and I R ll y , ha e es cia ] cawse You sha ffrende me much e v pe l . ll in helpeing me out of all th e dcbcttcs I owe in Lon don I th ancke G od and muche uiet m m nde , , q y y , which w de n t be indebeted I am no c to w r ol ot . w a des th e Cowrtc in ho e of answer for the dis atch e of m , p p y bu Y h n ther oose credd t n ysenes. ou s all e l y t or monne b me th e orde w llin e and nowe utt y y , L y g ; b erswade owrselfe soc as I h o e and o w sha nott p y , p , y ll need to feare utt with all harrie thanckefullenes I , b , , w ll h o de m t me and content o wt ifrende and y l y y , y , f we bar aine farther ou Sh a be th e aiemaster y g , y l p owrselfe M t m e biddcs me h astene to an ende y . y y , and soe I committ thys to yo wr ca re and h ope of yo wr I f e I h a n b ack th ni h ffr h elpe. ear s ll ott e b e ys g t om h wr ast T he orde be wi th w a t e Co te. H e. L yo nd with vs all Amen ! ffrom th e e in arter ane th e , B ll C L , 1 2 5 O ctober 5 9 8 . ‘ Yowrs in all k ndcnes y , ’ RY C UY NEY . Q .

By the time Sh akespeare h ad reach ed his thirty fourth ear then even these inade uate records are y , , q enough to sh ow th at h e h ad grasped material comfort in Stratford and artistic su remac in o ndon Wh er p y L . e

he most wanted endearin ui et and we - ein at g q ll b g , h ome in Stra tford with fami and indred h e too , ly k , k n s a ished mansion In the e rs pa ins to secure a e t bl . y a foll owing h e proceeded to add unto it broad lands and

m an f r i s ﬁt m aintenance. O ut am on men on e s o t g , th e o th er h and in the stir and stream of ife in Lon , l

BIOGRAPHY

Shakespeare anywhere? The lesser ligh ts of th ese hi her - aced entr have s uttered into ankn g pl g y p bl ess, ’ whi e Sh a es eare s ho ds fi'esh ri lianc and sufli l k p l b l y, ces ’ to redeem his contemporary critic s errors in adjudging precedence h ere and there by his discernment in fixing th e a er- oet so ear and so rm amon hi Pl y p ly fi ly g s stars. ’ Signs of Sh akespeare s continuance as a Player are not ess steadfast th ou h much ess cons icuous th l , g l p , an wri h t and as a Stratfordian i as a Play g . H s life as an actor apparently never ceased during his London suc cesses and in 1 8 th is ear mar in so much atta , 5 9 , y k g in ’ ment ast it is c ear th at he a ed in Ben onson p , l pl y j s ’ ver Man in His umour since his nam e a E y H , ppears f th e ori ina i t of ac rs at th e head o g l l s to . The chief mention extant of th e plays added by his ’ ’ ‘ right h appy and co pious industry to Meres s oft - ci ted

ma now fo o w . And as continuous all a tale y ll , ly long i th e creation of the reat a s th e tenacit f w th g pl y , y o his ho d u on Stratford as his h ome is evident th l p , e two streams of intermittent testim ony may ﬁtly ﬂow on to ether side b side to etra wh at itt e g , y , b y l l they may of th e brain and heart of th e deviser behind them .

And to ourselv es cwee ued tbose deser v in men 1 5 9 9 , q g , Sha ks ere Hemmin s Conda ll Pbili s as others a p , g , , p , p r t ’ n tbs r o ttes o rba t tbe ca ll tbe Hou e ner s i p ﬁ f y s .

hus in an address to the i h t onora e h i i T R g H bl P l p, em ro e and Mont omer a manuscri n Earl of P b k g y, pt ow u ic ecord Offi ce ondon in which th in th e P bl R , L , ey stated th eir side of the diﬂi culties th ey h ad with oth er ir actors th e Burba es — owners of the heater of th e , g T , o e and na of ac friars — reserve for os the Gl b , ﬁ lly Bl k p p h ares th e eased o f n - terity the fact ofthe s y l ut or twe ty one hese shares assured Sh a es eare a far ar er years. T k p l g

2 2 BIOGRAPHY part in his successes than h e could h ave won either as actor or as author . The same address e ains too xpl , , th at in th e days of th e Th eater the players h ad onl ’ y th e roﬁtts arisin from the dores but now since p g , , th e ui di n of the o e the ‘ receave all the cum b l g Gl b , y mings in at th e doores to th emselves and halfe the ’ ga lleries. ‘ — Au usti . As You like t a booke Hen to 1 5 00. 4 g y , ; ry tbe Fi i booke Tbe Commedi e o Mue e b j , a ; f b e Adoo a bout notbin e a booke g , , Wh ether or not as Sh arer in th e com an Sha e , p y, k speare was interested in th e staying o f th ese plays from th e h ands of th e printers wh ich th is famous entry in ’ the Stationers oo s indicates the rich ness of his B k , iterar h arvest b the ear 1 60 0 is sho wn b it and l y y y y , th ere are to be added entries of A mydsommer nigh tcs ’ ’ ’ dream nd ‘ Th e M rchant ofVen ce n W e er s e a e y . I e v Mirror of Martyrs an allusion is clear to Sh ake ’ speare s ‘ julius Ce sar

T h e m any- h eaded multitude were drawn ’ B rutus s eech that Caesa r was am itious y B p , b , Wh en eloquent M a rk A ntony had shown His vi rtues wh o but rutus th en was vicious? , B ’ M an s m em or with new for ets th e old y, , g , ’ ’ One ta e is o nti t r to l go d u l ano he s ld .

Meanwhi e in Stratford whi e h e was himse f in l , l l ondon an item a ears of his recover of from L , pp y £7 n joh n Clayto . Poeti ca ll Essa ies Sba dow in tbe Tr utlr o Love 1 5 01 . g f n h e n b in tbe consta t Fa te of tbe P o ni x a nd Tur tle. Do e y ’ f tbe best a nd elteifest of our moder ne wr iter s. h a man onson and Marston contri uted with C p , j , b ’ ’ Sh a kespeare to this volume of Chester s Love s Mar

2 3 BIOGRAPHY ’ ’ t r and Sh a es eare s contri ution m stica and s m y ; k p b , y l y bolic si ned b him is a tanta i in interestin fact , g y , l z gly g to f h horshi in the his ry o is aut p . his was the ear of the re e ion o f sse and in T y b ll E x ,

ondon all around Sha es eare tumu t sur ed . In it L , k p , l g hi atron Southam ton and a rou of no es a ied s p p , g p bl ll with him to th e fortunes of sse were invo ved E x , l , ’ and the venturo us a in of icha rd II wi th i ts pl y g R , o ition scene su ressed efore as h atefu to h e dep s , pp b l t

ueen occasioned the e amination of his fe ow - a er q , x ll pl y hi i s but Sh a es eare himse f seems to be c ear of P l p , k p l l tan ement wh atever his fee in s ma h ave een gl , l g y b . In tratford in the arish re ister is set down S , p g , ’ — Mr F. Se temb. 8 . . oba nner Sba ks ea r e. 1 5 01 , p 7 p No grave or oth er memorial of him remains in Stra t ford .

‘ ” — — a l . a mes Robertes . Entr ed 1 5 03 . xi 7 y 7 A booke ca lled tbe Reveng e of Ha mlett a s yt twa s ’ e Acted b tbe Lo: Cba mber l n bi s ser fva n e la teli y ey t s . T he earliest remaining reference to Shakespeare by n me in re ation to th e reat a is an interestin one a l g pl y g , ’ rinted h o wever til 1 60 in Dai hantus not p , , l 4, p , ’ ’ after raise of Sidne s Arcadia it is written where, p y , or to come h ome to the vulgars clem ent friendly ’ eare s tra edies where the commcdian rides Sh akesp g , , tra edian stands on ti toe Faith it sh ou when the p ; , ld g ’ all ike rince am et . please , l P H l ‘ W Th e Merry Wives of indsor was entered th e

ear earlier . A on with the record of these same y , l g co ies of th ese a s as now two imperfect p pl y , we m comes th e customar evidence that th e know the , y

rd from th e - m ered Stratfo , tit e deed of Poet reme b l 1 1 60 2 conve in Powre yarde ande May , , y g l b cstimacion one hundred and seven conteyning y M BIO GRAPHY

acres fi'om ‘ john Combe of Olde Stretford gen tleman to William Shakespere of Stretford- up o n ’ p Avon ent eman A ur h as fi' W g l . p c e om alter G ctle sti firrther en ar in th e estate he wa ui y, ll l g g s b ld in u at h ome was a so made th at Se tem er of a g p , l p b , co tta e and arden in ha e ane nea r New ace g g C p l L , Pl . ’ Tbe Pla er s Pr i fviled e 1 603 . y g , ’ a nd icense of Ma 1 B the in auth orized L y 7, y K g, th ese our servantes a wrence F etcher Wi ia m , L l , ll ’ Sh akes eare ichard ur a e and others named p , R B b g , , fi' eely to use and exercise th e arte and facultic of ’ a in comedies tra edies h istorics. Th is is the emi pl y g , g , nent memorandum of the ear for Sha es eare a th ou h y k p , l g h e h ad played before the queen in February at Rich m nd ust efore h e dea in March o j b r th . i 1 604 a 1 605 Ed Tylney Sunday after "Ha llow ma s Mer ry Wyves of Windsor perf by tbe ’ K s player s Ha lla ma s in tbe Ba nguetting ’ ’ W r f ni b ba be oo Ve s. bo . a t i te ll t M o ’ This memorandum of Malone s (now preser ved in r M a s h od eian ib ar MS . a] . w s a ed u on t e B l L y, b p n ccessi e MS a w inson A 2 0 a rchives not ow a bl . . R l 4 ’ co n r ms it sh o win th a t Sh a es eare s C om an was fi , g k p p y aid for e even erformances a t Wh iteh a Nov I p l p ll , .

a nd Dec 2 6 a nd 2 8 1 60 and on an. and 8 4, . , 4, j 7 , e ruar 2 and and o n Sh rove Sunda Monda F b y 3 , y, y, a nd uesda 1 60 . T y, 5 Wh en th e king made his triumph al entry in London rin f th e sam e ear nine actors o f this com in th e sp g o y , in t pa ny were named in th e Accounts as walking h e ssion Wil iam Sh akes eare with ur a e Hem pr oce , l p , B b g , min e and onde amon th em and each of them g , C ll , g , was presented by the king with fo ur and a h alf yards c o h of scar let l t .

2 5 BIOGRAPHY

Whatever glory came of ranking with th e grooms ’ of his Ma est s edcham er thereafter Stratford j y b b , pur ts were not ess fo owed as th e suit th sui l ll , e P oet brough t th at july in Stratford against Philip Rogers for ' th e bal ance of a debt of I lz xixs x d for mal t bears wrtness. W u 2 . Unto tbcsa ed illia m Sha kes ea r or 1 5 05 , j ly 4 y p , f - ’ a nd dur in e a ll tbc r eside me o tbe sa ed ter me g f j ,

conve ed for 0 a ease of a moiet o was y £44 , l y f th e

Stratford tithes.

h t s rin Ma Au usti ne hi i s wi e T a p g, y 4, g P ll p ll d to we Wi iam Sh a es eare a 0 shillin es m fello ll k p , 3 g eecc y ’ p ar ier March anoth er record of in goold . E l , 3 , perso nal association is evidenced by hi s acting as godfath er W iam avenant son of ohn avenant h os f to ill D , j D , t o f r the Crown Inn in O x o d .

Willia m Sba kes ea r e bis bistor e o Kin Mr . Lea r 1 5 05 , p y f g ’ a ed as the entr in the Stationers oo s of was pl y , y B k ear sh o ws ‘ efore the Kin es ma estic the nex t y , b g j a t ’ on St. Ste h ans ni h t at hristmas Whiteh all upp p g C last .

M. uni . obn Ha ll entlema n a nd Susa nna 1 5 0 , j j 5 y g 7 ’ Sba x s er e. p ’ This Dotice of th e marr iage of Sh a kespeare s elder Stratford church re ister daugh ter is in th e g . ’ ice of his ro ther dmund s death h The not b E , t e

- ho died in ondon the re iste pla er brother w L , g r at y ’ s Southwar su lies with the memoran St. Saviour , k , pp , h onor and e en e dum of the unusual xp s for an actor his uria a fore noone ne of the reat attending b l , k ll g ’ bell . — ‘w Blount Entr ed a b c 2 0 Ma Ed . oobe ca lled 08 . y 26 ‘ Cleo a tr a . Antbony a nd p ondon e isters. In Stratf h is is in th e L R g ord T ’ ear the irth of Sh a es eare s ﬁrst church register app b k p BIO GRAPHY

ra dchi d e ruar 2 1 . i a th daw h ter g n l , F b . El z be g to oh n a and on Se tem er the funera of j H ll , p b 9 l ’ Ma r Sh a s ere w dowe. In Stratford a ain y y k p , y , g , Sh a es eare stood as odfath er to Wi iam son of his k p g ll , W friend A derman enr a er . , l H y lk

‘ ‘ 2 0 Ma . Tba. Tbor e a Bool e ca lled 1 5 09 . y p ’ Sba kes ea r e nn p s so ettes. Th e Never before Imprinted line of the titl e- page in th e published volume adds to th e foregoing entry ’ in th e ‘ Stationers Registers the look of its being a on - uried treasure not a new event in the stor of l g b , ’ y Sh a es eare s auth orsh i b an means but fa in k p p y y , ll g ’ along in public mention with Meres s sugred son ’ f nets o 1 5 9 8 . Ma cbetb a t tbc Glob 1 61 0 tbe 2 o A r il! 1 61 0. , 0 f p is th e beginning of one of th e interesting accounts of the a s which Dr Simon orman sa acted t pl y . F w . I is ta en from his MS oc e of aies and Note h r k . B k Pl s t e of. Twenty more acres bought of th e C ombes were added by Sh a kespeare to his Stratford estate this same

car .

n Wint a b I tbe er s T lle a t tbe Glo o M e. i61 1 . 1 61 1 1 , , 5 f ay ’ O serve ther howe L ontes etc. hus notes Dr or b y , T . F ’ man a ain in his iar . here fo ows a so with g D y T ll , l , ’ out da te this : O f Cimbalin in o f n and etc , K g E gl , . ’ In Stratford Sh akespeare s name appears on the mar in of a su scri tion ist star ted on Se tem er 1 1 g b p l p b , to wards the ch arge of prosecuting th e bill in Parlia ’ m nt for th e etter r air f he hi hw e b ep o t g ay. ‘ Ri cba rd La ne Tboma s Gr eene a nd Willia m 1 5 1 3 , , Sba cks ea r e entlema n contr a W Comb p g , . e. Th is ex tract is ﬁ'om a bill of complaint of h arm to ’ the ti thes b action ofth e m i Co bes . Greene s nterest is y ’ stated at a ear va ue of Sh a es eare s at three y ly l £ 3 , k p

2 7 BIOGRAPHY

d It is f a i er score poun s. o speci l nt est in its connec tion with fiIrther difi culties over the threatened injury to the tithes by inclosing of the fields h eld in com mon f ti ns by Strat ord ci ze . Item a id to obn Hemi n es u on tbc Cow a cells 1 5 1 3 . , p j g pp ° f d W a wa r r a nt da te a tt biteb ll x x di e Ma ij, ’ his from th e treasurer s accounts in a manuscri t T , p in th e od eian i rar shows the erformance of B l L b y, p ’ Th e em est with other a s at th e marria e of T p , pl y , g ad iza eth and rince ederic The i t th e L y El b P Fr k . l s reads : ‘ Much adoe abo wte no thinge th e T em est th e Winters T a e Sir o h n Falstafe the Moore p , l , j , ’ of enice ae sar s T ra ed e etc And V , C g y . a ter one a e ca ed a add be ininin e ma es a l , pl y ll b g g k ood endin e one oth er the Hots urr and one g g p , ’ nedicte and Betteris oth er called Be . T h e same s rin March 1 0 Wi iam Sha es ea re p g , , ll k p ’ o f Stratford- u on- Avo n ent eman o u h t a h o use in p , g l , b g ac friars ondon ‘ in consideration of the somme Bl k , L , ’ r and fortic ounds of one hund ed p . In the Stratford church re ister is entered Fe ruar g , b y ’ ‘ th e funera of Rich . Sh a ks earc eavin i ert 4, l p , l g G lb th e only surviving broth er ; but there is an unex pl ained entr of a funeral 1 6 1 2 e ruar of Gilbertus y , , F b y 3 , ’ Sh aks eare adolesccns . p , In june of the same year th e last new play ofSh ake ’ ’ s eare s was a ed a t th e o e enr III and p pl y Gl b , H y V , durin its erformance as various etters of th at surn g p , l mer sti l rem ainin re ate the theater was urned to l g l , b r und t h e g o . ow M c en Sb bs e c n es a 1 7 N . y os a p a re omy g y ter d y ’ fw I w n e o to to ne, e t to se bim b w be did .

Much ta k fo owed dur in th is visit ofT h omas reene l ll g G , the Stratford town c er u on th e mooted in ur to l k , p j y

2 8

BIOGRAPHY

daugh ter judith 1 5 0 poundes of lawful] English ’ mone and another 1 0 after three ears. It ro y, 5 y p vided for his sister one art and h er th ree sons and eft j H , l ’ u wherein h e dwe h h er th e ho se s ll et . To his grand dau h ter then but ei h t ears old all his ate as eft g , g y , pl w l ‘ ex cept my brod silver and gilt bole ( which was left di h arious e uests and remem rances to ju t ) . V b q b to Stratford citizens follow : to his wife his second best ’ bed with the furniture and to m fe owes oh , y ll , j n Hem n es ichard ur a e and enr Cundell g , R B b g H , y ’ y xxv s viii d s eece to bu them rin es Th e remain j . j p [ ] y g . der of his estate went to his daugh ter Susanna and his

- - son in law Dr . ohn a her hus and whom the j H ll , b , t a o m d his e ecutors Th e marria e of udi Poe ls a e x . g j th to T h omas uinc had then ta en ace and th e Q y k pl , fo owin three entries of marria e funera and ba ll g g , l , p tism in th e church register cl ose this year :

M Fea b ua r 1 Tba ueen totw uditb Sba bs er e . r y 0 . Q y j p

F A l Will Sba ks er e ent. . pr il 25 . p , g ‘ ’ B o ember 2 . Sba bs er lli us Th oma s n ent . N v 3 p , ﬁ Quy y , g .

n wo ate - This grandson died th e ext year . T l r born n ied in 1 6 In 1 6 Mrs Sh a so s to judith d 3 9 . 2 3 . ke ’ s eare Sha es eare s widow died and was uried in p , k p , , b i h h a th e ch urch ch ancel w th er husband. T e s me year saw the publication of the ﬁr st collected edition W of th e a s of i iam Sh akes eare in ondon. Pl y ll p , L ’ Sha es eare s dau hter Susanna died u 1 1 1 6 k p g j ly , 49 , ’ and the et s on randchi d i a eth married suc Po ly g l , El z b , cessivel to homas Nash in 1 62 6 and after his death y T , , in 1 6 to Sir ohn arnard of A in don died chi d 47, j B b g , l

' ess e ruar 1 1 66 . Th e ast descendant ﬁom l F b y 7, 9 l his sister one ohn art died in 1 800 j , j H , .

ARLOTT E O RTER CH P .

A u 8 1 0 . g . , 9 3 30

VENUS AND AD ONIS

V ILIA MIRET UR V ULGUS: MIHI FLAV US A POLLO

POCULA CASTALIA PLENA MINISTRET A QUA .

LO NDO N

I P RI TE BY IC A R IEL AND A RE To BE SO L AT M N D R H D F D , D T HE SIGNE O F T HE WH ITE GREYH OUND IN

ES R - AR PAUL CHU C H Y D .

1 5 9 3 ° TO THE RIGHT HONO RABLE

enrie Wriothesle ar e of Southam ton H y, E l p , and aron of Titchﬁeld B .

' Ri bt Honour a ble I know not bow I sba ll o end in d g , fl edi ca tin m un olisbt li nes to our Lor dsbi nor bow tb g y p y p, c wor lde will censur e mee for cboosing so str ong a r o e to su or t so wea l e a bur tben one e i o r p pp pp , ly f y u a Honour seeme but le sed, I a ccount m sel e bi b , p y f g ly r a ised a nd vowe to ta ke a dva nta e a ll i dle baur es p , g of , ti ll I ba ve bonour ed ou wi tb some r a ver la bo r y g u . But i tbe r st bei r e o m inventi on r ove d or med f fi f y p ef , I sba ll be sor i e i t ba d so noble a god-fa tber : a nd never a ter ca r e so ba r r en a la nd or a r e i t eeld me st l f , f fl y i l so bad a ba r vest I lea ve i t to our Honour a ble sur ve , y y, a nd your Honor to your bea r ts content wbi cb I wisb ma a lwa ies a nswer e our awne wisb a nd tbc wor lds y y , bopefull expecta ti on. our onors in all dutie Y H , Wi iam h e e ll S ak sp are. VENUS AN D A DO NIS.

VEN as the sunne with ur e- colourd face p pl , Had tane his ast eave of th e wee in morne l l p g , ose- chec t Adonis hied him to th e chace R k , ’ untin he lov d but ove he au h t to scorne H g , l l g Sic - th ou h ted enus ma es amaine unto him k g V k , ’ And i fac d s ter innes to woo him l ke a bold u g .

T h rise fairer th an m se fe thus sh e e an y l , ( b g ) h e e ds chiefe ower sweet a ove com are T ﬁ l ﬂ , b p , taine to all Nim hs more ove then a man S p , l ly , h nd re then do e or roses are More w ite, a d, v s, ature that mad thee with h er se fe at strife N e l , h ndi w h t if Saith that th e world hat e ng it hy l e.

ouchsafe t u wonder to a i h t th steed V ho l g y , And raine is roud head to th e sadd e bow h p l , If thou wi t daine this favor for th meed l , y A thousand honie secrets shalt th ou know : ere come and sit where never ser ent hisses H , p ,

And ein set Ile smoth er th ee with isses. b g , k ’ And e not c o th i s with loth d sacietie y t l y y l p , But rather famish th em amid their lentie p ,

5 VENUS AND ADO NIS

Ma in them red and ol e with fresh varietie k g , p , Ten isses sh ort as one one on as twentie k , l g t , A sommers da wil seeme an h ourc but sh ort y l , ein wasted in s c ime- e ui in s r B g u h t b g l g po t .

With this she ceazeth on h is sweatin a me g p l , T h e resident of ith and livel h ood p p , y , And trem in in her assio n ca s it a me bl g p , ll b l , arth s sovcrai ne sa ve to do a oddesse ood E g l , g g , ein so cnra d desire doth end her force B g g , l , C ura io sl o luc e him from his h ors o g u y t p k e.

ver one arme the lustie coursers raine O , Under her other was the tender bo y, Who ush t and o wted in a du disdaine bl , p ll , With eaden a etite una t to to l pp , p y, Sh e red and hot as co es of owin ﬁer , , l gl g , e r H red for sha me, but f ostie in desier .

T h e studded rid e o n a ra ed ou h b l gg b g , Nim she fastens 6 ho w uieke is ove ! bly , ( q l ) T he steed is sta ed u and even now ll p, , T o tie th e rider she begins to prove : ackward sh e ush t him as sh e wou d be thrust B p , l , And overnd him in stren th th u h not in u g g o g l st.

So soone was sh e a on as h e was downe l g , , Each leaning on th eir elbo wes and th eir hips No doth sh e stro e h is ch ee now doth h e ﬁ'own w k k , , And ins to ch ide but soone she sto s his i s g , p l p , And kissin s ea s wi th lustﬁrl lan ua e ro en g p k , g g b k ,

If th ou wilt chide th i s sha never o en. , y l p ll p

r esident d ent — M LONE 2 6. p : p r ece A 6

VENUS AND ADONIS

Looke how he can she cannot chuse but o e , l v , And b her faire immorta ] h and sh e sweares y l , rom his soft osome never to remove F b , i he ta e truce with her contendin teares T ll k g , Which on have raind ma in her ch eekes a] w t l g , k g e , And one sweet kisse sh a a this com l l p y pt esse debt.

n this romise did h e rai se his chin Upo p , ike a diveda er eerin th rou h a wave L pp p g g , Who ein lookt on duc s as uick in b g , k q ly S offers he to ive what she did crave o g , But wh en h er i s were readie for h is a l p p y, e winks and turns his i s anoth er wa H , l p y.

Never did assen er in so mmers heat p g , More thirst for drin e th en sh e for this ood turne k , g , Her hel e she sees but h e e sh e cannot et p , lp g , h e ath es in water et h er ﬁre must urne S b , y b Oh itie an she crie ﬂint- h earted bo p g , y, is but a kisse I he e wh ar t th ou co T gg , y y?

e ene wooed as I intreat thee now I hav b , n b the Sterne and direfull od of warre Eve y , g , wi necke in battell nere i Whose sino e d d bow, n uers wh ere he comes in everie arre Wh o co q j , ath h e ene m ca tive and m s ave Yet h b y p , y l , d for th at wh ich thou unaskt sha t ha And beg l ve.

tars h ath he hon his aunce Over my Al g l , hie d his uncontro ed crest His battred s l , ll , sake h ath earned to s ort a nd daunce And for my l p , , n dallie smi e and est o to wanto , , , j , T o t y, l ch ur ish drumme and ensi ne red Scorning his l , g ,

mes his e d his tent m bed. Making my ar ﬁ l , y VENUS AND ADONIS

h us h e th at over -ru ed I over - swa ed T l , y , eadin him risoner in a red rose chaine L g p , Str n - tem erd stee e his stron er stren th oba ed o g p l g g y . Yet was he servi e to m co di sdaine l y y , O h be not roud nor ra not of th mi ht p , b g y g , For maistri n h er th at fo ld h e d f h t g y t go o ﬁg .

ouch but m i s with th ose faire i s of thine T y l p l p , h ou h mine be not so faire et are the red T g , y y , T he kisse shalbe thine owh e as we as mine ll , Wh at seest thou in the round? h o d u th head g l p y , Looke in mine e - a s th ere th beautie es y b l , y ly , hen wh not i s on i s since e es in e es? T y l p l p , y y ’ Art thou ash am d to kisse? then win e a aine k g , And I wi win e so sha the da seeme ni ht ll k , ll y g . Love keepes his revels wh ere there are but twaine Be o d to a our s ort is not in si ht b l pl y, p g , hese ew - veind vio ets wh ereon we leane T bl l ,

Never can a nor now no t wh at we meane. bl b, k

T h e tender s rin u on th tem tin li p g p y p g p, Sh ewes th ee unri e et maist th ou we be tasted p ; y ll , Make use of time let not advanta e s i , g l p , Beautie within it se fe sh ou d not be wasted l l , aire owers th at are not a th red in th eir rime F ﬂ g p , Rot and consume th em se ves in it e time , l l l .

Were I h ard- favourd fou e or wrinckled old , l , , ’ Il- nur tur d croo ed ch ur ish harsh in voice , k , l , , O re- worne des ised rcumati uc and co d , p , q , l , hick- si h ted arren leane and ackin u ce T g , b , , l g j y hen mi htst thou ause for then I were no t for th ee T g p , , But h avin no defects wh doest a h or me g , y b ? 9 VENUS AND ADONIS

Thou canst not see one wrinckle in m ro y b w, Min e e es are re and ri h t 81. uie e in y g y, b g , q k turning M beautie as the s rin doth earelie row y p g y g , 1 4 1 M esh is soft and um e m marrow urnin y ﬂ , pl p , y b g , M smooth moist hand were it with th h and fe y , y l t, Wou d in th a me disso ve or seeme to m l y p l l , elt .

Bid me discourse I wi inchaunt thine care , ll , O r i e a Fairie tr i u on th e reene l k , p p g , O r i e a Nim h with on disheve ed h eare l k p , l g l , Daunce on the sands and et no footin scene , y g . is a s irit all com act of ﬁre p p , to sin e but i h t and wi as ire 1 0 k , l g , ll p . 5

Witnesse th is rimrose a n e whereon I lie P b k , These fo rcelesse ﬂowers like stur dy trees support me T wo stren thles doves will draw me throu h th e s ie Q g g k , rom morne ti ni ht even where I ist to s or m F ll g , l p t e. Is ove so i h t sweet bo and ma it be l l g y, y , That th ou should thinke it h eavie unto thee?

Is thine owne heart to thine o wne face affected? Can thy right h and ceaze l ove upon thy left? hen woo th se fe be of th se fe re ected T y l , y l j Stea e thine own ﬁ'eedo me a nd com laine o n theft l , p . Narcissus so him se fe h im se fe forsoo ke l l , And died i his shado w in the roo e to k sso b k .

orches are made to i h t ewe s to weare T l g , j l , ainties to tast fresh beautie for the use D , , er es for th eir sme a nd sa ie ants to eare H b ll , pp pl b . hin s rowin to them se ves are rowths a use T g g g l , g b , Seeds s rin from seeds 8: eaut breedeth eaut p g , b y b y,

hou wast e ot to et it is th dut . T b g , g y y

— - ld h o ul s t 2 1 . 1 5 6. sbou : s d 3Q VENUS AND ADONIS

U on th e earth s increase wh sh ou dst th ou feed p y l , Unlesse th e earth with thy increase be fed? B law of nature th ou art ound to reed y b b , ha t thine ma ive wh en th ou th se fe art dead T y l , y l And so in s i te of death th ou doest survive p , In th at th likenesse sti is eft alive y ll l .

B this th e o ve- sicke ueene e an to sweate y l Q b g , For wh ere th e la the sh adow h ad forsooke th em y y , And itan tired in the midda beate T y ,

With urnin e e did h ot over - looke them b g y ly , Wishin Adonis h ad his teame to uide g g , So h e were i e h im and b enus side l k , y V .

nd no w Adonis with a lazie s rite A p , And with a h eavie darke dis ikin e e , , l g y , His owt in bro wes ore- wh e min his faire si ht l g l g g , Likd mistie va ors wh en th e lo t th e skie p y b , So wrin his ch eckes cries ﬁe no more of o ve g , , , l , T u d th urne m face I must remove he s n o b y .

A me uoth enus oun and so unkinde y, , (q V ) y g , , ’ Wh at bare excuses mak st th ou to be gon? Ile si h ce estia ] reath whose ent e wi nde g l l b , g l , Shall coole th e beate of this descending sun : Ile make a shado w for th ee of m h eares y ,

If th e urn too Ile uench th em with m teares. y b , q y

The sun h a shines from h ea n ines but wa rme t t ve , sh , And 10 I l e betweene that sunne and th ee y , The h eat I h ave ﬁ'o m th ence doth itle h arme l , Thine e e darts forth th e ﬁre th at urneth me y b ,

1 8 Likd: mis rint I for L i k e 4. p Q. , .

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

- - 1 1 and elsewhere be r es: h i r haireS 1 2 I . 9 . a a s ( ) 3Q

I I VEN US AND ADONIS

And were I not immorta ] ife were done l , l , Betweene this h eaven and earth sunne ly, ly .

Art thou o durate ﬂintie h ard as stee e? b , , l Na more then int for stone at raine relentcth 2 00 y ﬂ , : Art th ou a womans sonne and canst no t feele

Wh at tis to ove h ow want of o ve tormenteth ? l , l h ad th moth er orne so h ard a minde O y b , She h ad not rou h t forth th ee but died un ind b g , k .

What am I that th ou sh ouldst contemne me this? O r wh at reat dan er dwels u o n m sute? g g , p y What were thy lips the worse for one poore kis? S eake faire but s eake faire words or e se be mute p , p , l ive me one kisse Ilc ive it thee a aine G , g g , And one for intrest if thou wi t h ave twaine 2 1 0 , l ,

Fie livclcss icture cold and sencelessc stone , p , , , We ainted ido ] ima e dul and dead ll p l , g l , ,

' StatiIe contentin but the e e a one g y l , hin ike a man but of no woman red T g l , b h ou art no man thou h of a mans com e ion T , g pl x , For men wi kisse e en b th eir owh e dire on ll v y cti .

his said im atience cho es her eadin ton ue T , p k pl g g , And swe in assion doth rovo e a ause ll g p p k p , Red chee s and ﬁerie e es aze forth h er wron k , y bl g

ein ud e in ove sh e cannot ri ht h er cause. 2 0 B g j g l , g 2 And now she wee s 8: now sh e faine wou d s ea e p , l p k And now h er s s do r int nd r ob h e e ments b eake.

s e sh k h h h Sometime h a es er h ead , and t en is hand,

No w aze h sh e on him no w o n th e round g t , g ; ’ S metim h er armes info d him ike a and o e l l b , She wou d he wi not in h er armes be ound l , ll b

8 c mm a after ﬁrst S ea k e I . 20 . o p Q - 2 1 1 . li v clcss: li feless St ami na VENUS AND ADONIS

And wh en ﬁ'om thence he stru es to be one ggl g , Sh h r r on e locks e lillie ﬁnge s e in one.

ond in sh e saith since I have h emd th ee here F l g , , Within the circuit of this ivorie a e p l , Ilc be a ar e and thou sha t be m deare p k , l y eed wh ere th ou wi t on mountaine or in da e F l , , l raze on m i s and if th ose hi s be drie G y l p , l , Stra ower wh ere th e easant fountaines lie y l , pl .

Within this imit is reliefe inou h l g , Sweet ottome rasse and hi h de i h tfu ] aine b g , g l g l pl , ound risin hi oc s ra es o scure and rou h R g ll k , b k b , g , T o she ter thee from tem est and from raine l p , hen be m deare since I am such a arke 2 T y , p , 3 9 No do sh a rowze th ee th ou h a th ousand ar g l , g b k .

n At thi s Ado is smiles as in disdaine, Th at in ech check e appearcs a prettie dimple; ove made th ose h ollowes if him se fe were slaine L , l , H e mi ht be uried in a tom e so sim e g b b pl , ore nowin we if there h e came to lie F k g ll , , ’ Wh th ere ove liv d 8: th ere h e cou d not die y l , l .

hese ove caves these round inch antin its T l ly , g p , O pend their mouthes to swallow Venus liking ein mad efore h ow doth she now for wits? B g b , Strucke dead at rst wh at needs a second strikin ? 2 0 ﬁ , g 5 oore ueene of ove in thine own law forlorne P Q l , , T ove a ch ec e tha t smi s at thee in rne o l k le sco .

Now wh ich way sh al] she turne? what sh all she say? Her words are done h er woes the m ore increasin , g , Th e time is S ent h er o ect wi awa p , bj ll y, And from h er twining armes doth urge releasing itie she cries some favour some remorse P , , , Awa he s rin s and hast th y p g , e to hi s h orse.

1 3 VENUS AND ADONIS

But lo from forth a co s th at nei h ors b pp g b y, A reedin ennet lustie oun and roud b g j , , y g , p , Adonis trampling Courser doth espy:

And forth she rushes snor ts and nei h s a oud . , , g l

The stron - nec t steed ein tied unto a tree g k b g ,

rea eth his raine and to h er strai h t oes h ec. B k , g g

Im erious he ea s he nei hs h e ounds p ly l p , g , b , And now his woven irth es h e reaks asunder g b , The earin earth with his h ard h oofe h e wounds b g , Whose ho o w wom e resounds ike h eavens thunder ll b l , The ron bit h e crush eth tweene his teeth y , n r n hat he was contro ed with Co t olli g w ll .

His cares u rickt his r aided h an in mane p p , b g g U on his com ast crest now stand on end p p , His nostri s drinke the aire and forth a ai ne l , g As from a fornace va ors doth be send , p His e e which scornfu isters i e ﬁre y lly gl l k ,

She es his hote coura e and h is hi h desire. w g , g

metime h e trots as if he to d the ste s So , l p , With ent e ma estic and modest ride g l j , p , Anon he reres u ri h t curvets and ea s p g , , l p , AS wh o sh ou d sa 10 thus m stren th is l y, y g And this I do to ca tivate th e e e , p y , O f h ir reeder th at is Standin t e fa e b g by.

Wh at recketh be his riders an rie sturre g , His atterin h o a or his stand I sa ﬂ g ll , , y, What cares h e now for curbc or ric in s urre , , p k g p , For rich ca arisons or tra in s a p , pp g g y He sees his ove and nothin e se h e sees l , g l ,

For noth in else with his roud si h t a rees. t g p g g 1 4

VENUS AND ADONIS

His testie maister oeth a out to ta e him g b k , When lo th e unbackt reeder ﬁll of feare b , ea ous of catchin s ift doth forsa e him j l g , w ly k With her the orse and eft Adonis th ere H , l As th e were mad unto th e wood th e hie them y y ,

utstri in crowes th at strive to overﬂthem . O pp g , y

All swolne with cha n downe Adonis sits ﬁ g , , annin his bo strous and unru east B g y , ly b And now th e h appie season once more ﬁts h at ovesic e ove b eadin ma be est T l k l , y pl g y bl For overs sa th e h eart hath tre e wron l y, bl g , Wh en it is hard the a anc f e ton u yd e o th g e.

An ven th at is sto t or river sta ed O p , y , urneth more h ot swelleth with more ra e B ly, g So of concea ed sorow ma be sa d l y y , ree vent of words oves ﬁer doth asswa e F l g , But wh en th e hearts atturne once is mute y ,

Th e c ient breakes as des erat in his sute. l , p

He sees h er commin and e ins to ow g, b g gl ven as a d in coa e revives with winde E y g l , And with his onnet hides his an rie row b g b , Lookes on the dull earth with disturbed minde: Ta in no notice th at she is so n e k g y , F r all as ance he h e o k olds h er in his ye.

wh at a si h t it was wist to view O g ly , Ho w sh e came stea in to th e wa ward bo l g y y, T o note th e h tin con ict of h er h ew fig g fl , How white and red ech oth er did destro , y But now her ch ec e was a e and b and b k p l , y y It ash t forth fire as li htnin from the skie fl , g g . VENUS AND ADONIS

Now was she ust efore him as he sat j b , And i e a ow over downe she kneelcs l k l ly l , With one faire h and she h eaveth u his h at p , H er other tender h and h is faire checke feeles His tendrcr ch ec e receives her soft h ands k , As a t as new falne snow ta es an dint p , k y .

wh at a war of looke was then between them s e , H er e es eti tioners to his e es suin y p y g, His e es saw h er e es as th e h ad not scene th em y y , y , H er e es wooed stil his e es disdaind the wooin y l, y g And all this dum e a h ad his acts made ain b pl y pl , W h - er e i ith tears which C orus like h ey s d d rain. 360

u ent now she ta es him b the hand F ll g ly k y , A i ie risond in a ai e of snow l ll p g l , O r Ivorie in an allablaster and b , 8 0 hi te a ﬁ end in irts so white a fo w , g his beautious com at wi fu ] and unwi in T b l l , ll g,

Showed like two silver doves that sit a billing .

O nce m re the en in of h er th ou h ts e an o g g b g , O fairest mover on this morta ] round l , Wou d th ou wert as I am and I a man l , , M heart ll wh o e as thine th h eart m wound 0 y a l , y y , 3 7 For one sweet looke th he e I wou d assure thee y lp l , Thogh nothing but my bodies bane wold cure thee

ive me m hand saith h e wh dost th ou fes e it? G y ( , ) y l

ive me m heart saith sh e and thou sh a t have it. G y ( , ) l

- - 62 aile: ol aila 2 1 . 3 . g ga (j ) 3Q - l ster la b a s t er wm . 3 63 . alla b a : a E o l l‘ VENUS AND ADONIS

ive it me est th h ard h eart do stee e it O g l y l ,

And ein stee d soft si hes can never rave it. b g l , g g T h en oves dec c rones I never sha re ard l p g , ll g , h r ha h m d ine h ard Because Adonis ea t t a e m .

For shame he cries let o and let me o , g , g , M da es de i h t is ast m h orse is one y y l g p , y g , And tis our fau t I am ereft h im so y l b , I ra ou h ence a nd eave m e h ere a one p y y , l l , For all m mind m thou ht m usie care y , y g , y b , I f fr m h mare s h ow to get my pal rey o t e .

Th us she re ies th a fre as h e sh ou d pl , y p l y l , We comes the warme a roch of sweet desire l pp , Affecti n i al a m c ld o s a co e th t ust be oo , se sufferd it wi set the h eart on ﬁre El ll , Th e sea h ath ounds but dec c desire hath none b , p , h rfor n ar ] t h horse be on T c e o m vel h oug thy g e.

How ike a ade h e stood tied to the tree l j , Servi maisterd ith a leath erne raine lly w , But wh en he saw his ove his o uths faire fee l , y , He h eld such pettie bondage in disdaine h ro win the ase thon from h is endin crest T g b g b g ,

nfranchisin his mouth his ac e his rest . E g , b k , b

Wh o sees his true- ove in h er na ed bed l k , eachin the sheets a whiter h ew then white T g , But wh en his u ton e e so fu bath fed gl t y ll , His oth er agents a ym e at like deligh t? Wh o is so faint that dares not be so o d b l , To touch the ﬁer the weather being cold?

’ 80 d es: d a s — I LDON 3 . ay y G .

1 8 VENUS AND ADONIS

Let me e cuse th courser ent e bo x y g l y, And learne of him I hearti eseech th ee ly b , T o take advanta e on resented o g p j y, h o u h I were dum e et h is roceedin s teach T g b , y p g learne to ove the esson is but laine O l , l p ,

And once made erfect never ost a aine. p , l g

I know not ove uoth be nor wi l not now it l (q ) l k , U nlesse it be a oare and then I chase it B , , T is much to orrow and I wi not owe it b , ll , M ove to ove is ove but to dis race it y l l , l , g , For I h ave h eard it is a ife in death , l ,

T h at au hs and wee s and all but with a rea th . l g p , b

Wh o weares a garment sh apelcsse and unﬁnish t? Who plucks the bud before one leafe put forth ? If s rin in thi n s be anie ot diminisht p g g g j , T he with er in th eir rime rove nothin worth y p , p g , ’ The co t tha t s ac t and burth end ein on l b k b g y g,

oseth his ride and never wa eth stron . L p , x g

Y ou h urt m hand with wrin in let us art y g g, p , And eave this id e theame this bootlesse ch at l l , , emove our sie e from m un eeldin hart R y g y y g , T o oves allarmes it wi not o e the ate l ll p g , Dismisse our vows our fained tears our ﬂattr y , y , y y, h h d ma r For where a eart i s ar th ey ke no batt y.

What canst thou talke (quoth sh e) h ast th ou a tong? 0 wou d th ou h adst not or I h ad no h earin l , g , h marmaides voice h ath done me dou e wron T y bl g, I h ad m ode efore now rest with earin 0 y l b , p b g , 43 Mellodious discord h eavenl tune h arsh soundin , y g, Eares dee sweet musi h arts dee sore woundin p k , p g

l 9 VENUS AND ADONIS

Had I no e es but cares m cares wou d ove y , y l l , That inward beauti e and invisi e bl , O r were I dcafe th outward arts wou d move , y p l Ech art in me that were but sensi e p , bl , Thou h neith er e es nor cares to heare nor see g y , , ,

Yet sh ou d I be in ove b touchin th ee. l l , y g

Sa that th e sence of fee in were ereft me y l g b , And th a I cou d not see nor heare nor touch 0 t l , , , 4 4 And nothin but the eric sme were eft me g v ll l , Yet wou d m ove to th ee be sti as much l y l ll , For from the stillitorie of th fa ce e ce in y x ll g , orns reath erﬁrmd th at breedeth ove b sme C b p , l y ll mg. l

But oh what an uet wert thou to th e tast b q , ein nourse and feeder of th e oth er foure B g , , Would th e not ish the feast mi h t ever ast y w g l , And bid suspition double looke th e dore; est ealousie th at sow r unwe come uest L j e l g , Sh ould by his stealing in disturbe th e feast?

nce more the ru i - colourd orta ] o end O b p l p , Which to his s eech did h onie assa e eeld p p g y , i e a red morne hat e er et betokend L k t v y , Wracke to the sea - man tem est to the e d , p ﬁ l Sorrow to sh e h erds wo unto the irds p , b , usts and fou e awes to heardmen 81 to G , l ﬂ , ,

his ill resa e advisedl sh e mar eth T p g y k , Even as the wind is h usht before it raineth

l — 448 . ooke: look e LINTOTT . VENUS AND ADONIS

O r as the wolfe doth grin before h e barketh O r as th e berrie breakes before it staineth O r like the deadly bullet of a gun His meanin strucke her ere his r g wo ds begun.

And at his looke she at fa leth downe ﬂ ly l , For loo kes il ove and o ve lookes reviveth k l l , l b A smrle recures th e woundin ofa frowne g , But essed bankrou that b ove so th rive h bl t y l t . T h e sillie bo beleevin sh e is dead y g ,

a s h er a e ch ecke ti c a in ma es i t red . Cl p p l , ll l pp g k ’ And all amaz d ra e off h is late intent , b k , For sh ar he did thinke to re reh end h er ply p , Which cunnin ove did witti revent g l ly p , Faire- fall th e wit th at can so well defend h er For on th e rasse sh e es as she were slaine g ly , T i his e h rea h eth fe in h er a aine ll br at b t li g .

He wrin s her nose h e strikes h er on th e checkes g , , H e ends h er ﬁn ers h o ds h er u ses h ard b g , l p l , H e ch afes h er i s a th ousand wa es he seekes l p , y , h h ur h a hi unkindnesse m ard T o mend t e t, t t s ,

He isses h er and sh e b h er oodwi k , y g ll , W i never rise so he wi l kisse her sti . ll , l ll

Th e ni h t of sorrow now is turnd to da g y, er wo ew indo wes faint sh e u h eaveth H t bl w ly p , i e the faire sunne wh en in his fresh arra L k y, l h earth releevcth H e cheeres the morne, and a l t e And as the brigh t sunne gloriﬁes th e skis i a mi it h er e So s her f ce illu nd w h ey .

W eames u on his h airelesse face are ﬁxt h ose b p , if from c th e orro ed all th eir shine As th en e y b w ,

2 1 VENUS AND ADONIS

Were never foure such am s to eth er mixt l p , g , Had no his c ouded wi h his br wes re ine t l t o p . 49 0 But h ers which th rou h th e crista] tears ave i h t , g g l g , Sh one i e th e Moone in water scene b i h l k y n g t .

0 wh ere am I uoth sh e in earth or h eaven (q , ) , O r in th e cean drench t or in th e ﬁre O , W a r is r m r e h t hou c is th , o o n , or wearie even, DO I deligh t to die or life desire? ’ But now I liv d and ife was death s anno , l y, ’ But now I d de and dea th was ive o . y , l ly j y

0 th ou didst i me i m e once a aine k ll , k ll g , T h e es sh rowd tutor th at h ard h ear t of thine 0 0 y y , , 5 ath tau h t them scornfull tric s such disdaine H g k , , hat th e h ave murdred this oore h eart of mine T y p , And th ese mine e es true eaders to th eir ueene y l q , But for th iteous i s no more h ad scene y p l p .

o n ma th e kisse ech oth er for this cure L g y y , Oh never let th eir crimson iveries weare l , And as the ast th eir verdour sti l endure y l , l , T o drive infection from th e dangerous yeare

T h at th e star - a ers h avin writ on death g z g ,

Ma sa th e a ue is banish t b th reath . y y, pl g y y b

ure i s sweet sca es in m soft i s im rinted P l p , l y l p p , Wh at bargaincs m ay I m ake still to be sealing? To se m se fe I can be we contented ll y l ll , So th ou wi t bu and a and use ood dea in l y, p y, g l g, Which urchase if th o u make for feare of s i s p , l p ,

Set th sca e manue on m wa x - r y l ll ; y ed lips.

' — 00 . e es sbr ow d: e es s h r ew d M LONE 5 y y A .

2 7.

VENUS AND ADONIS

o uie e desire h ath cau h t the eeldin ra N w q k g y g p y, An lutt nlike she feeds et never ﬁllcth d g o , y , Her i s are con uerers his i s o a l p q , l p b y, Paying wh at ransome the insulter will eth 5 5 0 Wh ose vu tur th ou h t do th itch th e rice so hie l g p p , i ra hi i ric r asur rie T hat she w ll d w s l ps h t e e d .

And h avin fe t th e sweetnesse of th e s oile g l p , With ind fo d furie sh e e i ns to fo rra e bl l b g g , Her face doth reeke sm o e h er b ood do th ol e , k , l b l , And carclesse ust stirs u a des erat coura e l p p g , antin o ivion eatin reason ac e Pl g bl , b g b k ,

or ettin sh ames ure ush h onors wracke. F g g p bl ,

H t faint and wearie with h er hard imbracin o , , , g, 5 5 9 ’ Li e a wi d ird ein tam d with too much h and in k l b b g l g, ’ ’ O r as th e ﬂeet - foo t Roe th at s t r d with ch asin y g , O r like th e ﬁ' o ward infant stild with dandling He now oba cs a nd no w no m ore resisteth y , , W hi e sh e ta kes all sh e can not all sh e isteth . l , l

What axe so frozen but disso ves with tem t in w l p g , And yeelds a t l ast to everie ligh t impression? Thin s out of h o e are com ast oft with ventrin g p , p g, C hicﬂin ove wh ose eave exceeds commission y l , l ’ Affection faints no t i e a a e- fac d coward 6 l k p l , 5 9 But th en woes est wh en most h is choice is ﬁ'oward b , .

When h e did fro wnc 6 had sh e then ave over , g , Such nectar from h is i s sh e had not suckt l p , ou e wordes a nd frowncs must not re e ] a over F l , , p l l , What tho u h th e rose h ave rick es et tis uc t? g p l , y pl k Were beautie under twentie oc s e t fast l k k p ,

Yet ove rea s th rou h ic s them all at last. l b k g , p k

2 4 VENUS AND ADONIS

For ittie now she can no more detaine him p , T h e oore foole raics h er that h e ma de art p p y p , ’ Sh e is resolv d no on er to restrainc him l g , ids h im farewe and looke we to h er hart B ll , ll , T he which b u ids how she doth rotest y C p p , H c rri s th ence inca ed in his re e a e g b st .

Sw eet bo she saies this ni h t ile wast in so rrow y , g , For m sic h eart commands mine e es to watch y k y , e me oves maister sh a we meetc to morrow T ll l , ll , Sa Sha we sh a we wi t th ou make th e m atch ? y, ll , ll , l ’ H e te 3 h er no to m orro w h e intends ll , , o h n th e oare with certaine of his freuds T u t b .

T h e oare uo th sh e wh ereat a suddain ale b ( q ) p , ike la wne ein s red u on th e lushin rose L b g p p b g , Usur es h er ch ec e Sh e trem es at his ta e p k , bl l , on h is nec h er oakin armes Sh e th rowes And k y g . Sh e sinckcth downe sti h an in b h is nec e , ll g g y k , ’ He on h er e fa s sh e on h er ac e . b lly ll , b k

N ow is sh e in th e ver ists of ove y l l , H er ch am ion m ounted for th e h ot incounter p , All is ima inarie sh e do th rove g p , H e wi not manna e h er a th ou h h e mount h er ll g , l g , Th a t worse th en T anta us is h er anno l y,

T o c i Elizium and to ac e h er o . l p , l k j y

’ Even so oore irds deceiv d with a inted ra es p b p g p , D o surfet b th e e e and ine th e maw y y , p Even so she an uish eth in h er mish a s l g p , A s th ose oore irds that h el lessc erries saw p b p b , T he warme effects which sh e in h im nds missin ﬁ g , s es to kind e ith in a k i Sh e eek l w cont u l] iss ng .

7-5 VENUS AND ADONIS

But all in vaine ood ueene it wi not bee , g Q , ll , ’ ’ She hath assai d as much as ma be rov d y p , ’ H er eadin hath deserv d a reater fee pl g g , ’ ’ She s ove she oves and et she is not lov d l ; l , y , Fie ﬁe h e saies ou crush me let me o , , , y , g , You h ave n reason to with h o d me so o l .

hou h ad bin one uoth she sweet bo ere this T g (q ) y , But th at th ou toldst me th ou woldst hunt th e oare , b , ’ O h be advisd thou now st not what it is , k , With avelin s oint a ch ur ish swine to oare j g p l g , Whose tush es never sh eath d h e wh etteth sti , ll , i e t r n i L k o a m o tal] butcher be t to k ll .

O n his bow - ac e h e h ath a battell set b k , , O f brisl ikes th at ever th reat his foes 62 0 y p , His eyes like gl ow - wormes shi ne when h e doth fret His snout di s se u ch ers here ere h e oes g p l w g , ’ ein mov d h e stri es wh at ere is in his wa B g k , y,

And wh om he strikes h is croo ed tush es s a . , k l y

His brawnie sides with h airie rist es armed b l , Are etter roofe th en th s eares oint can enter b p y p p , His sh ort thic nec e cannot be easi h armed k k ly , ein ircfull on th e on h e wi venter B g , ly ll , The th ornie ram es and imbracin ush es 62 b bl , g b , 9 As feareﬁIll of him art throu h whom he rush es p , g .

’ A as h e nau h t esteem s th at face of thine l , g , To which oves e es aies tri utarie azes l y p b g , Nor th soft bandes sweet i s and Ch rista ] cine y , l p , l , Wh ose fu erfection all th e wor d ama es ll p l z ,

- - 61 6. a v eli n s: a v eli ns I j g j 4 3Q.

— - 62 8 v enter e i M LONE. . : v nt ur e G I LDON 6 2 a es: a . 3 . p p y A

2 6 VENUS AND ADONIS

But h aving thee at vantage ( wondrous dread !) ’ Wo d roote these eauties as h e root s the mead l b , .

O h let him ee h is oathsome ca in sti k p l b ll , Beautie h a le ends ﬁ , C ome not within his dan er b th wi 6 g y y ll , 39 T he that th rive we ta e counse ] of th eir friends y ll , k l , When thou didst name th e oare not to dissem e b , bl I feard th fortune and m o nts did trem e y , y j y bl .

Didst thou not mar e m face was it not white? k y , Sa west thou not signes of feare l urke in mine eye? rew I not faint and fe I not downe ri ht? G , ll g Within m osome wh ereon thou doest l e y b y , M odin heart ants eats and ta es no rest y b g , p , b , k ,

But i e an earth ua e sh a es th ee on rest. l k q k , k my b

For wh ere ove rai nes distur in ealousie l g , b g j , oth ca him se fe affections centine D ll l ll , ives fa se a armes su esteth mutinie G l l , gg , And in a eacefu ] h ourc doth crie i i p l , k ll , k ll , Distem rin ent e ove in his desire p g g l l , AS aire and water do a ate th e ﬁre , b .

his sower informer this ate- reedin s ie T , b b g p , his canker th at cates u oves tender s rin T p l p g, his carr - ta e dissentious ealousie T y l , j , h at somtime true newes somtime fa se doth rin T , l b g, noc s at m h eart and whis ers in mine care K k y , p ,

Th at if I ove thee I th death shou d feare. 66C l , y l

And more then so resentcth to mine e e , p y , T he icture of an an rie cha n oare p g ﬁ g b ,

7-7 VENUS AND ADONIS

Under wh ose sh ar e fan s on his ac e doth l e p g , b k y , An ima e i e th se fe all sta nd with oare g l k y l , y g , Wh ose ood u n th e fres owers ein shed bl po h ﬂ b g ,

oth ma e them droo wi th rief h an the bed . D k p g , g

What sh ou d I do seein th ee so indeed? l , g ’ T hat trem e at th ima ination bl g , Th e th ou h t of it doth ma e m faint heart eed g k y bl , And feare doth teach it divination; I rO h ecie th death m ivin sorrow p p y , y l g , I n rr w f th ou incou ter with the boare to mo o .

’ But if th ou needs wi t h unt be rul d b me l , y , Uncou e at th e tim erous in h are pl ﬂy g , O r at th e foxe which ives b subtiltie l y , O r at th e Roe which no incounter dare ’ ursue th ese fearfu ] creatures o re the downes P l , And on thy we] breathd h orse keep with thy h ounds

And wh en th ou h ast on foote th e ur ind h are p bl ,

Mar e th e oore wretch to over - sh ut his trou es 680 k p bl , Ho w h e utr ns h n r o u t e wi d, and with wh at ca e,

He crankes and crosses with a th ousand dou es bl , 1 Th e m an musits th rou h th e h ich he oes y g w g , 1 Are ike a laberinth to ama e h i fo s b - r a s l z s e . edge t cb

Sometime h e runnes amon a oc e of shee e g ﬂ k p , T o make th e cunnin h ounds mista e th eir sme g k ll , And sometime wh ere earth - de vin onies kce e l g C p , 2 T o stop th e l oud pursuers in th eir yell fa lls i n And som time s r e h2 e o t t wi th a h eard of deare,

an er deviseth shifts wit waites on feare. D g , ’ — - 668 . tb ima i na tion: t h e i m a i na t i on 2 g g 4Q.

‘ - — — 680 . o ver sbut: o v er s h oot DY E . 8 musi ts: m ua et s H UDSON . C 6 3 .

2 8 VENUS AND ADONIS

For th ere his sme with oth ers ein min ed ll b g gl ,

T h e h ot sent- snuﬂi n h ounds are driven to dou t g b , easin th eir c am orous cr ti the h ave sin ed C g l y, ll y gl Wi th much ado th e co d fau t c ean out l l l ly , ’ Then do the s end th eir mouth s ecch o re ies y p , pl ,

AS if an oth er ch ase were in th e skies.

B th is oore wat farre off u on a hi y p p ll , Stands on his hinder- e s with listnin care l g g , T o h ear en if his foes ursue him sti k p ll , Anon their oud a arums h e doth heare l l , And now his riefe ma be co m ared we g y p ll ,

T o one sore sicke th at h eares the assin e . , p g b ll

T hen shalt thou see the deaw- eda ed wretch b bbl , T urne and returne indentin with th e wa , , g y, Ech envious rier his wearie e s do scratch b , l g , Ech sh adow ma es him sto cch murmour sta k p , y, Fo r miserie is troden on b ma nic y , ’ And ein low never releev d b anie. b g , y

L e uiet and h eare a it e more y q ly, l l , Na do no t str u e for th ou sha t not rise y ggl , l , T o ma e th ee h ate th e h untin of th ore k g b , ’ Unlike my selfe th ou h ear st m A in this to th at and so to pply g , For ve can comment u on e erie o lo p v w .

Wh ere did I leave? no m atter wh ere (quoth h e) Leave me and th en the storie a t ends , p ly , T h e nigh t is spent ; why wh at of th at ( quoth sh e? ) I am uoth h e ex ected of m friends (q ) p y ,

And now tis darke and oin I sh a fa . , g g ll ll In ni h t uoth sh e desire sees est of a ll 2 0 g ( q ) b . 7 ’

— — a 6 . moutb s: m o ut h s 4 . 0 . do: d ot h 9 5 4 3Q 7 5 4 ! 3Q. VENUS AND ADONIS

But if thou fa oh then ima ine this ll , g , Th e earth in ove with th ee th footin tri s l , y g p , And all is r but to o b th ee of a kis, Rich prayes make true- men th eeves : so do thy lips Ma e modest an cloudie and forlorne k Dy , , es sh h tea i n d f rs L t e s ould s le a k sso a d ie o worne.

Now of this dar e ni h t I erceive th e reason k g p , inthia for sh ame o scures h er si ver shine C , b l , ’ Ti for in nature be condemn d of treason ll g g , For stea i n mou ds ﬁ' om h ea ven that were divine 0 l g l , , 7 3 ’ t rin sh e fram d th ee in hie h eavens des i h t , p g ,

T o shame the sunne b da and h er b ni h t . y y, y g ’ And th erefore hath she brib d th e destinies,

T o crosse th e curious wor manshi of na ture k p , To min e beautie with inﬁrmities gl , And ure erfection with im ure defeature p p p , Ma in it su ect to th e t rannie k g bj y ,

O f mad isc anc s nd m c miserie. m h e , a u h

As urnin feavers a ues a e and faint b g , g p l , , 1 ife- o sonin esti ence and frendzies wood 0 L p y g p l , , 74 1 T h e marrow- eatin sicknesse wh ose attaint ma d g , isorder reeds b heatin of the ood D b y g bl , Surfets im ostumes riefe and damnd dis aire , p , g , p ,

' Sweare natures death for ﬁamin thee so faire. , g

And not th e east of all th ese m a adies l l , But in one minutes h t ri n s beautie under ﬁg b g , oth favour savour h ew and ua ities B , , , q l , ’ Wh ereat th e th im artiall azer ate did wonder p g l , Are on th u e s dden wasted , th a wed, and donne,

As m ountain snow it t mi son m elts w h h e dday ne. ’ — - - 2 . r a es: r e s I . 8 tbc tb s t h e W N . 7 4 p y p y 3 3Q 74 . E I G

VENUS AND ADONIS

t the deceivin harmonic sh ou d ronne Les g l , Into th e uiet c osure of m rest q l y b , n th en m i t e h ear t were uite undone A d y l l q , In his bed- ch am er to be ard of rest b b , o adie no m h eart on s not to rone N L , y l g g ,

But sound S ee s whi e now it s ee s a one. ly l p , l l p l ’ Wh at have ou ur d th at I can not re rovei y g , p Th e ath is smooth th a t eadeth on to dan er l g , I h ate not ove but our devise in ove l , y l , T h at ends imbracements unto ever stran er l y g , u do it for increase 6 straun e e cuse ! , g x

hen reason is th e bawd to lusts abuse.

C a it no t ove for ove to heaven i s ﬂed ll l , l , Since sweatin ust on earth usur t his name g l p , Under wh ose sim e sem ance h e h ath fed pl bl , U on fresh beautie lottin it wi th ame p , b g bl ; Which th e h ot t rant sta ines soone ereaves y , b As C r i ers do h e nder a es ate p ll t te le v .

ove comforteth i e sun- shine after raine L l k , But usts effect is tem est after sunne l p , oves ent e s rin doth alwa cs fresh t emaine L g l p g y , usts winter com es ere sommer h a fe be donne L , l ove sur fets not ust i e a utton dies : L , l l k gl

ove is all truth ust fu of for ed ies. L , l ll g l

More I cou d te but m ore I dare not sa l ll , y, The te t is old the rator too reene x , O g , T herefore in sadnesse no w I wi awa , ll y, M face is fu of shame m hear t of teene y ll , y , Mine cares that to our wanton ta e attended y lk ,

Do urne th em se ves for havin so offended . 8 1 0 b l , g ’ — — ' — 8 1 . r onne: r un 1 . 8 . ba r d: b r d r d L1 NTOTT 7 4 3Q 7 4 a r (ba ) . VENUS AND ADONIS

With this h e rea eth from the sweet em race b k b , O f th ose faire armes which ound him to her rest b b , And h omeward th rou h the dar lawnd runs a ace g k p , eaves ove u on her ac e dee distrest L l p b k , ply , Looke how a brigh t star shoo teth from th e Skye ; SO i es h in the i h fr m Ven s e e gl d e n g t o u y . W h ich after him she dartes, as one on sh ore azin u on a ate em ar ed fr iend G g p l b k , i th e wi de waves wi h ave him scene no more T ll l ll , Wh ose ridges with the meeting cloudcs contend : 8 So did the mercilesse and itchie ni h t , p g , o d in th e o ect t at did feed h er si h F l bj h g t . W ’ hereat amas d as one that unaware, a th dro t a recious ewe ] in th e ood H p p j l ﬂ , O r stonish t as ni h t wandrers often are , g , Their ligh t blowne out in some mistrustful] wood ; ven so confounded in th e dar e she la E k y, h f r ri f h r Having lost t e ai e discove e o e way.

And now sh e eates her h ear t wh ereat it rones b , g , ha t all the nei h our caves as seemin trou ed T g b g bl , Ma e ver a ] re etition of h er moncs k b l p , assion on assion dee is redou ed P p , ply bl , A me sh e cries and twentie times wo wo y , , , , ,

And twentie ccch ocs, twentie times cric so,

She mar i n th em e ins a wai in note k g , b g l g , And sin s e tem ora a wofull dittie g x p lly ,

‘ How ove ma es on - men thra old men l k y g ll , H ow ove i s wise in fo ie foo ish wittie : l ll , l Her h eavie antheme sti co nc udes in wo ll l , nd i th ui of h r A st ll e q et ccc ocs answe so .

3 3 VENUS AND ADONIS

er s was tedious and out- wore the ni h t H ong , g , or overs h oures are on th ou h seemin sh ort F l l g , g g , If leasd th emse ves oth ers th e thinke deli h t p l , y g , n uch i e circumstance with such i e s ort I s l k , l k p h eir co ious stories oftentimes be unnc T p g ,

End with out audience, and are never donne.

For who h ath sh e to s end th e ni h t with all p g , But idle sounds resembli ng parasits? ’ Like shrill - tongu d Tapsters a nswering everie Soothin the humor of fantasti ue wits g q , She sa es tis so th e answer all tis so y , y ,

And wou d sa after h er if she said no . l y ,

Lo h ere the ent e ar e wearie of rest g l l k , rom his mo st ca inet mounts u on hie F y b p , And wa es the mornin from wh ose si ver rest k g , l b , Th e sunne ariseth in h is ma estic j , Who do th th e wor d so orious eho d l gl ly b l ,

hat cader to s and hi s seeme burnish t o d . T C p l , g l

enus sa utes him with this faire ood m orrow V l g , O h thou c eare od and a tron of all i h t 860 l g , p l g , rom wh om cch am and shinin star doth orrow F l p , g b , T he beautious in uence th at makes him ri h t ﬂ b g , here lives a sonne th at suckt an earth moth er T ly , Ma end thee i h t as th ou doest end to oth er y l l g , l .

his sa d she h asteth to a mirtle rove T y , g , Musin th e mornin is so much ore- worne g g , And yet she heares no tidings of h er love; She hear ens for his h ounds and for his borne k , , Anon she heares th em ch aunt it usti l ly, And all in has s coa t h o he t he s et t t cry.

34 VENUS AND A DONIS

nd as Sh e runnes th e ushes In th e wa A , b y, cat h h er b the nec e some kisse h er face Som e c y k , , ’ S me win d a out h er thi h to m a e her sta o t b g k y, She wi d reaketh from th eir strict imbra ce l ly b , i e a mi ch Doc whose swe in du s do ake L k l , ll g g , astin to feed h er fawne hid in some ra e H g , b k ,

B th is she h eares th e bounds are at a ba y y, Wh ereat she starts i e one th at s ies an adder l k p , ’ Wreath d u in fata ] fo ds ust in his wa p l l j y, Th e feare wh ereof doth ma e h im sh a e Sh udder k k , , ven so the tim erous e in of th e bounds 8 8 1 E y lp g , A a s h er senses and h er s irit confound pp l , p s.

For now she nows it is no ent e ch ase k g l , But the unt oa re rou h bearc or on roud bl b , g , ly p , ecause th e cric remaineth in one ace B pl , Wh ere fearefull the do s ex claime a oud y g l , indin th eir cnemic to be so curst F g , ’ T he all strainc curt sie who sha co e h im r y ll p ﬁ st.

his di sma ] crie rin s sad in her care T l g ly , h rou h which it enters to sur rise her h art T g p , Wh o overcome b dou t and bloodlesse feare y b , , With co d- a e weaknesse mums each fee in art l p l , l g p , i e so diers wh en th eir ca tain once doth eeld L k l p y , Th a e ﬂie and dare not sta the e d e s . y b ly , y ﬁ l

hus stands she in a trem in extasie T bl g , Til] cheerin u her senses all disma d g p y , Sh e te s th em tis a causlessc fantasie l , And chi dish error th at th e are affra d l y y , ids th em eave ua in ids them feare no mo re B l q k g, b ,

And with th at word she s ide the hunted oare. , p b ’ — i n d : tw i ne . 8 73 . m sQ 3 S VENUS AND ADONIS

Wh ose frothie mouth e ainted all with red b p , i e mi e ood ein min ed oth to ith cr L k lk , bl , b g gl b g , A second feare throu h all h er sinewes s red g p , Which mad hurries h er she nowes not whi ther ly , k , This wa sh e runs and now sh e wi no further y , ll ,

But ac e retires to rate th e oare for murther. b k , b

A th ousand s leencs eare h er a th ousand wa es p b y , She treads th e ath th at she untreads a aine p , g ; Her m ore th en h ast is mated with dela es , y , i e the roceedin s of a drunken raine L k p g b , u of res ects et nau h t at all res ectin F ll p , y g p g ,

In h and with all thin s nau h t a t all effectin . g , g g

ere kenneld in a ra e sh e nds a hound H b k , ﬁ , er And askes th e wearie caitiffe for his maist ,

And there anoth er ic in o f his wound l k g ,

ainst venimd sores th e one sovcrai ne aister . G , ly g pl And h ere she meets anoth er sad sko wlin , ly g,

T o wh om sh e s ea s h e re ies with h ow in . p k , pl l g

When h e h ath ceast h is ill resoundin noise g , Another ﬂa mouthd mourner ac e and rim 2 0 p , bl k , g , 9 ai nst the we in volies out his vo ce Ag lk , y , n h A nother, and a o ther, answer im , a in th eir roud tailes to th e round e ow Cl pp g p g b l ,

- Sha in their scratch t eares eedin as the o . k g , bl g y g

Looke h ow the wor ds oore eo e are ama ed , l p p pl z , At a ari tions si nes and rodi ies pp , g , p g , Wh ereon with fearcfiIl e es the on h ave azed y , y l g g , Infusing th em with dreadful] proph ecies ; So sh e at th ese sad si nes drawes u h er reath g , p b ,

And si hin it a aine ex claimes on death . g g g ,

36 VENUS AND ADO NIS

ard favourd t rant ou l mea re leane H y , g y, g , , atefu ] divorce of ove th us chides she death H l l , ( ) rim - rinnin host earth s- worme h at G g g g , w dost meanc?

T o sti e beautie and to stea e his rea h ? ﬂ , l b t ’ Wh o wh en h e liv d his reath and beautie set , b osse on th e rose sme to th e vio et Gl , ll l .

I h d d an f e be ea , 6 no , i t c not be, Seein h is beautie thou shou dst stri e at it g , l k , O h es it ma th ou h ast no e es to see y , y, y , But h atefu at randon doest th ou hit lly , Th mar e is fee e a e but th fa se dart y k bl g , y l , Mista es that aime and c eaves an infants ar k , l h t.

adst thou but bid eware th en h e h ad s o e H b , p k , And h earin him th o wer h ad ost his o wer g , y p l p , T h e destinies wi curse th ee for this stro e ll k , h e bid thee cro a weed thou luckst a ower T y p , p ﬂ , o ves o den arrow at him sh ou d h ave ﬂed L g l l , And not death s e on dart to stri e him dea b k d .

’ ost th ou drin tears th at th ou rovok st such wee D k , p in p g, l Wh at may a heavie grone advantage th ee? Wh h ast thou cast into eterna ] s ee in y l l p g, Th ose eyes th at taugh t all other eyes to see? No w nature cares not for th morta ] vi our y l g , ’ Since h er est rke is i ith h r b wo ru n d w t y rigou .

erc overcome as one ﬁll of dis aire H p , She vaild h er e e- ids wh o i e sluces sto t y l , l k p

- - r ndon r n om I . 940 . a : a d 5 3Q

3 7 VENUS AND ADONIS

Th e Christal] tide th at from her two ch ee s faire , k , In th e sweet ch a ne ] f h er osome dr t n l o b op . But throu h th e oud- ates rea s the si ver rain g ﬂ g b k l , And with his stron cour se o ens them a aine 60 g p g . 9

h ow h er e es and teares did end and orrow O y , , l , b , Her e e scene in th e teares teares in h er e e y , y , oth ch rista s wh ere th e vicwd cch oth ers sorrow B l , y Sorrow that fri end si h s sou ht sti to dr c , ly g g ll y , But i e a stormie da no w wind now raine l k y, , , Si hs drie her chee tears ma e th em wet a aine g k , k g .

aria e assions thron h er constant wo V bl p g , As strivin who shou d est ecome h er riefe g l b b g , All cntertaind cch assion a ours so , p l b , T ha t ever resent sorrow seemeth chiefe y p , But none is est th en o ne th e all to eth er b , j y y g ,

i e man c ouds consu tin for fou e weath er . L k y l , l g l

B this farre off sh e h eares some huntsman h a o y , ll w, A nourses son nere leasd her abe so we g p b ll , Th e d re ima ination sh e did fo o w y g ll , his sound of h o e doth a our to e e ] T p l b xp l , For no w revivin o ids h er re o ce g j y b j y ,

And atters h er it is Adonis vo ce. ﬂ , y

Wh erea t h er teares e an to turne th eir tide b g , ein risond in h er e e: i e ear es in asse 0 B g p y l k p l gl , 9 8 Yet sometimes fa s an orient dro eside l p b , Wh ich h er ch ecke m e ts as scornin it shou d asse l , g l p T o wash th e fou e face of th e s uttish round l l g , W h o is but dronkcn wh en she seemeth drownd .

— - 62 e e n n 8 I . 9 . y sce e: ey es s ee 3 Q m aft h i s — M LONE 9 73 . co ma er t A

VENUS AND ADONIS

ove uoth she h ow much a foole was I O j q , , T f c an il i min o be o su h a weake d s l e d, T o waile his dea th wh o ives and m ust not die l , , Till mutual] overth row of mortal] kind? For h e ein dead with him is beautie slaine b g , , And beautie dead ac e h aos comes a aine 1 0 2 , bl k C g . 0

f fond ove thou art as fu of feare Fy, y, l , ll , ’ As one with treasure aden h em d with th eeves l , , T ri es unwi tnessed wi th e e or care ﬂ y , , T h co ward h eart with fa se ethin in reev y l b k g g es. ven at this word sh e h eares a merr horne E y , W h ereat she ea s that was but ate forlorne. l p , l

As Faulcons to th e ure awa she ies l , y ﬂ , T h e rasse stoo s not sh e treads on it so i ht g p , l g , And in h er h ast unfortunate s ies , ly p , Th e foule boares con uest on h er faire de i ht 1 0 0 q , l g , 3 Which scene h er e es are m urdred with the Vi w , y e , ’ i e stars asham d of da th emse ves with dre L k y, l w.

O r as th e snaile wh ose tender h om es ein hit , b g , Shrin s ac ward in his Sh e ie cave wi th aine k b k ll p , And th ere all smoo th red u in shade do th sit , p, , Long after fearing to crecpc forth againe So at his bloodic view h er e es are ﬂed y , Into the d e - d r bbins of h r h a e p a ke ca e e d.

Wh ere the resi ne th eir o fﬁce and th eir i ht y g , l g , T o th e dis osin of h er trou ed brainc p g bl , Who ids them sti conso rt with ou l ni h t b ll g y g , And never wound th e heart wi th lookes a aine g , Wh o i e a in er e ed in his th rone l k k g p pl x ,

B th eir su estio n ives a deadl rone. y gg , g y g

— - - - 1 0 2 . Fa ulcons: fa lco n 1 . 0 1 . a r e: a s I 7 5 3Q 1 3 3 3Q.

40 VENUS AND ADONIS

Wh erea t ech tri utarie su ect ua es b bj q k , As wh en the wind im risond in th e round p g , Stru in for assa e earth s foundation sha es ggl g p g , k , wh ich with co d terror do th mcns minds confound l , This mutinie cch art doth so sur rise 1 0 p p , 49 T h at from th eir dark eds on m r lca h e ci s b ce o e o r e .

And ein o end threw unwi in i h t b g p , ll g l g , U on th e wide wound th at th e oare had trench t p , b In his soft an e wh ose wo nted i lie white ﬂ k , l l W ith ur e tears th at his wound we t had drencht. p pl p , NO ﬂoure was ni h no rasse h earb eaf or weed g , g , , l , , But sto e his ood and sccmd with him t eed l bl , o bl .

This so emne s m a thie oore enus noteth l y p , p V , ver one sh ou der doth sh e h an h er head O l g , umblie Sh e assio ns frantikel sh e doteth D p , y , Sh e thinkcs h e cou d no t die h e is no t dead l , , H er vo ce is sto t h er o nts for et to bo w y p , j y g ,

Her e es are mad th at th e have we t ti now . y , y p ll

U on h is h urt sh e lookes so stedfast p ly, h at h er si h t dazlin ma kes the wound seem th ree T g g, , And th en sh e re reh ends h er man in e e p gl g y , h at ma es m ore ash es wh ere no reach Sh uld be T k g , b m n m ubl His face see s twai , cch severall li is do ed,

For oft th e e e mistakes th e rain ein trou ed y , b b g bl

M ton ue cannot e resse m riefe for one y g xp y g , And et uoth sh e eh o d two Adons dead 1 0 0 y ( q ) b l , 7 M si hes are blowne awa m sa t teares one y g y, y l g , ’ Mine e es are turn d to ﬁre m hear t to ead y , y l , H ea ic h earts ead me t at mine e es red ﬁre v l l y , I die b dro s of hot de ir 80 sh all y p s e.

- - ba d: w a s 1 1 4 . 1 0 54 . 5 9 , 3Q

41 VENUS AND ADONIS

A as oore wor d wh at treasure h ast th ou ost l p l l , ’ Wh at face remains alive th at s worth th e viewing? Wh ose ton ue is music now? what canst th ou oast g k b , O f thin s on since or an thin insuin ? g l g , y g g The owers are sweet th eir co ours ﬂesh and trim ﬂ , l , , ’ ’ b n But true sweet eautie liv d, a d di de with him . 1 0 80

onnet nor vai e h enceforth no creature weare B , l , Nor sunne nor wind wi ever strive to kisse ou , ll y , avin no faire to ose ou need not feare H g l , y , T he sun doth skorne ou 81 the wind do th hissc y , ou. ’ y But wh en Adonis liv dc sunne and shar e aire , , p , Lurkt i e two theeves to rob him of his faire l k , .

And therefore wou d h e ut his onnet on l p b , Under wh ose rim th e audie sunne wou d ee e b g l p p , The wind wou d ow it off and ein on l bl , b g g , a with his oc s then wou d Adonis wee c 1 0 0 Pl y l k , l p . 9 And strai h t in ittie of his tender eares g p y , Th ey bo th would strive wh o ﬁrst should dric his

tearCS.

T o see his face th e ion wa t a on L lk l g, ehind some h ed e because h e wou d not fear him B g , l T o recreate himse f wh en h e h ath son l g , T he T rc wou d be tame and ent heare him yg l , g ly . If he h ad s o e th e wo fe wou d eave his raie p k ; l l l p , And never fri h t the si li lam e th a d g l e b t aie.

Wh en he ehe d his sh adow in th e roo e b l b k , Th e sh es s read on i t th eir o den i s 1 1 0 ﬁ p g l g l , 0 Wh en h e was b th e irds such easure too e y b pl k , Th at some wou d sin some oth er in th eir i s l g , b l

Wou d rin him mu erries 8c ri e- red ch erries l b g lb p ,

He fed th em wi th his si h t the him with erries. g , y b

42 VENUS AND ADONIS

But this fou e rim and urchin- snowtcd oare l , g , B , Whose downeward eye still looketh for a grave ’ N re saw th a i li i a h e e be ut ous ver e th t e wore, Witnesse th e intertainment th a h e v t ga e. If he did see his face wh th en I now , y k ,

He thou h t to kisse him and bath i d him so . 1 1 1 0 g , k l

i true tis e h s was Ad T s , tru , t u onis slaine, H e ran u on th e oare with his shar e s eare p B p p , Who did not wh et his teeth at him a aine g , ut b a kisse th u h t o ers a i B y o g t p u de h m th ere. And nous in in his ﬂanke th e ovin swine l g l g , ’ Sh eath d unaware th e tu i f n ske n h is so t groi e. ’ H ad I bin tooth d i e him I must confesse l k , With issin him I sh ou d h ave i d h im ﬁrst k g l k l , But he is dead and never did h e esse , bl

M outh with his th e more am I accurst . 1 1 2 0 y y , With this she fa eth in th e ace sh e Stood ll pl , And staine her face ith his c n ea ed s w o g l bl ond .

She lookes u on his i s and the are a e p l p , y p l , She ta es him b th e h and and th at is co d k y , l , Sh e whis ers in his cares a h eavie ta e p l , As if they h eard th e wofull words sh e told Sh e lifts the coffer - lids that Cl os ie sse l s.

T wo asses wh ere h er se fe h er se fe eh e d gl l , l b l A th ousand times and now no more re ect , ﬂ , heir vertue ost wh erein th e ate exceld T l , y l , And everie beautie robd of his effect ; Wonder of time uoth sh e this is m s i h t (q ) y p g ,

hat th ou ein dead th e da Shuld et be i h t . T b g , y y l g

43 VENUS AND ADONIS

Since thou ar t dead lo h ere I ro h ecie , p p , Sorrow on l o ve h ereafter sh all attend It Sh a be wa ted on with ealousie ll y j , ind sweet e innin but unsavoric end F b g g , . Nere sctlcd e ua but hi h or lo q lly, g , T h a ll ve easure sh a n ma t a lo s pl ll o t tch wo .

It sha be ﬁc e fa se and fu of fraud ll kl , l , ll , Bud and be asted in a reath in whi e , bl , b g l , T h e o ttome o son and th e to orc- strawd b p y , p With sweets th at sha th e truest si h t e ui e , ll g b g l , T he stron est odie sh a i t m a e m ost weake g b ll k , Stri e th e wise dum e teach th e foole to s ea e k b , p k

It sha be s arin and too fu l o f r ot ll p g , l y , eachin decre it a e to tread th e m easures T g p g , T h e starin ruffian Sh a l it kee c in ui et 1 1 g l p q , 4 uc down th e rich inrich the oore with treasures Pl k , p , It sh a be ra in m ad and sillie mi de ll g g , l , Make th e oon old th e old eco me a chi de y g , b l .

It sh a sus ect wh ere is no ca use of feare ll p , It sh al not feare wh ere it Sh o u d m ost mistrust l l , It sha be mercifu ] and too sevearc ll l , , And most deceivin wh en it seemes most ust g, j , erverse it sh a be wh ere it sh owes most toward P ll , ,

Put feare to va our coura e to th e co ward . l , g

It sh a be cause of warre and dire events ll , , And set dissention twixt h t e sonne, and sire, Su ect and servill to all discontents bj , As dri e comb stio u us matter is to ﬁre, Sith in h is rime death doth m ove destro L s p , y l y,

' R he that ove est their oves Sh a not en o . l T y l b , l ll j y “ c 44 VENUS AND ADONIS

B this the bo th a t b h er side aie i d y y y l k l , Was me ted i e a va our ﬁ'om h er si ht l l k p g , And in his ood that o n th e round aie s ild bl g l p , A ur e ﬂourc s roon u checkred with white p pl p g p, , esem in we his ale ch eckes and the ood R bl g ll p , bl , Which in round dro s u on their whitenessc stood p , p .

Sh e owes h er h ead the new- s ron ﬂoure to sme l 1 1 b , p g l , 7 om arin it to her Adonis reath C p g b , And saics within h er osome it sha dwe b ll ll , Since he himselfe is reft ﬁ'om h er by death ; ’ Sh e cro s the stalke and in the reach a eares p , b pp ,

- reen dro in sa wh ich sh e co m ares to teares. G pp g p, p

oore ﬂoure uoth sh e this w as th fath ers uise P (q ) y g , Sweet issue of a more sweet sme in sir e ll g , For everie itt e riefe to wet his cics l l g , T o grow unto himselfe was his desire ; 1 1 8 0 And so tis thine but now it is as ood , k g ,

T o wi ther i n m rest as in his ood . y b , bl

ere was th fath ers bed here in m rest H y , y b , h ou art the ne t of ood a nd tis th ri h t T x bl , y g . o in this h o o w crad e take th rest L ll l y , My th robbing hart sh all rock th ee day and nigh t ; here sh a not be one minute in an h ourc T ll , Wh erein I wil not kisse m sweet oves ﬂoure y l .

h us wear of th e wor d awa She hies T y l , y , And o es h er si ver do ves b wh ose swift aide 1 1 0 y k l , y , 9 h eir mistresse mounted th rou h th e em tie s ies T g p k , In her i h t ch ariot uic is convaidc l g , q kly , o din their course to a h os wh ere th eir ueen H l g P p , q , Meanes to immure h er se fe and not be seen l , . FINIS

ARGUMENT

A O I S the out h over of hunt in but not of ove D N , y , l g l , sets forth a t dawn to t he c s Love herse f meet s him h a e. l a nd woo hi e s m . The glowing goddess pulls the r luct a nt bo down to her from h is h o rse fa stenin the rid e deft y , g b l ly t o a ou . he i e h i I b gh S Cla sps him t o her a nd k ss s m . n return sh e craves but a kiss a nd on ent rea ts him all in l g , va i n. He frees himself from her clinging a rms to mount his e Th e h o ea k his t h e o fo ow a wi d m a e ho rs . rse br s et r t ll l r i nto t he wood s . Adonis is forced to st a y a nd to h ea r even t he ﬂight of his ho rse ma de into a lesson to tutor him in He meet s her a r ument with t he natura lness o f love. g nter- a r um he re oins wit h a rh a sod of a ll t h e co u g ent . S j p y b Div nin t h at his res onse senses y him a roused in her . i g p i s a a in to be unfavora e sh e swoons a wa . He thinks g bl , y h er dea d but his kind effo rt s to revive her ive her , ly , g d w if When h e a rees to ra nt her the kiss i ndee ne l e. g g She craves if sh e wi bid him ood ni h t the kiss on ll g g , ly ds h i to fre h t i H e he to let his unri e lea im n s o ls . e b gs r p yo ut h excuse him . She urges a meeting on the mo rrow. Wh en he re ies t ha t he means to hunt the oa r a t dawn pl b , hi dow with her a nd ho d s he swoons a new. She pulls m n l s h im now t he closer to save him from t he peril her mind e ee fo hi u on h a mo w Th e ima e of his fo r s s r m p t t rro . g in w unded b the e he In dy g body o y boa r tortur s r eyes . v ain she seeks to convince him of t he da nger t h rea tening Wi fu rea kin awa from her h e eave he al h im . s r l l lly b g y , l ni ht a one moanin her ove a d fo re odin his death g l g l n b g . At dawn she istens f hi a nd o W l or s horn b unds . hen she hea rs t he do s a t ba oinin in timorous e in she g y j g y lp g, 49 VENUS AND ADONI S

too sure knows t h a t the a me is dan erous . Shudderi n ly g g g, dde She h astens away . Su nly she comes upon the hunted

oa r ood a nd frot h in . A ain sh e ees dizz wit h b , bl y g g ﬂ , y fea r a nd rescience. But h ea rin a huntsma n h a oo Sh e p g ll , t a kes hea rt uick to e ieve th a t it is Adonis sa fe a nd , q b l sound.

Li ht then does she fa re forth but st ra i htwa runs g ly , g y u on the eedin od of t he bo . Mournin over h im p bl g b y y g ,

She ro hesies. o revermore ecause of t his sor row p p F , b , sorrow sh a wa it on ove woe fo ow easure a nd er ll l , ll pl , p m men w e t i e h versencss a r a tt a ch t h n i s t ru st . W ile she ro hesies the fa ir dead form va nishes from the round p p , g . But where h is oo d la s i ed a ur e white-checkered bl y p ll , p pl

ower S rin s u . She t a kes it in her osom to cherish ﬂ p g p b , a nd wea r of t he wor d she mounts dove-dra wn to , y l , , , heaven.

SO SOURCES

THE ma in sources of the Adonis stor that we ma y, y be virtua y sure Sh a kes ea re wa s fami ia r wit h a nd in ll p ’ l h i own wa ed vid v s y us , a re O s ersion x . ’ ‘ 5 20 Lodge s (in Scilla es a nd sug estive a usions ma de b Greene in certain rics a nd b g ll y ly , y ‘ ’ M a we n He a d Lea rlo i ro n nder . ’ No dou t he knew S enser s use of the Adonis stor b p y, ‘ ’ a s to d direct 1 0 in Th c aerie ueene Bk . iii l ly ( 59 ) F Q ( . C a nto i Sta n as xxxiv— xxxvi a nd as more indirect , z ) , ly t o d a da ted to the a ment for Sidne es ecia in uenced l , p l y, p lly ﬂ ’ ‘ ’ ‘ ’ b io n s Lamcnt for Adonis in Ast ro he y B , p l But th e ﬁrst gave Sh a kespea re nothing not otherwise known a nd the second the e e inks with his ove , , l gy, l l

oem ver s i ht . Even the sixa i n the s ecia sta nza p y l g ly , p l “ form used b S enser wa s used b others efore him y p , y b u d t e d - so a k d - An h ou e rhymes, m r e a diﬁerence in Sh a ke ’ bl g S ea re s mani u ation of th measure a h- ah-cc a p p l e ( ), i uite distinct cadences is more c ose a ied duc ng q , y ’ l l ll Lodge s occasiona l use of t he double- rhyme in the sa sta ff of six verses. ’ ‘ ’ Consta ble s Shepherd Song of Venus a nd Adonis in ’ a ll its incidents closely follows th ose of Sh akespea re s stor . Ma one stran e enou h took it to be ea rlier y l , g ly g , a nd su o ed it to h ave in uen d S a ke e re Ye it pp s ﬂ ce h sp a . t ca nnot be dated efore its a eara nce in 1 600 in oden b pp , , B ’ ‘ ’ h a m s Heli con and th at da te a rees with the marks it , g ’ - bea rs of being a ba llad like echo of Sha kespea re s poem . ' Because of its s ec a interest as a n echo it is a ended p i l , , pp h ere after the extracts to be given from better credited

5 : VENUS AND ADONI S

Beyond a ny a nd all o f the Sources known to Sh a ke ea st etches a on ine ofAdonis m a er sp re r l g l t ia l . It ind ica tes bot h th e pa rent a ge of th e Cla ssic story a nd its descend a nt s in th e medimva l a nd Rena issa nce eriods tha t a re m ost ’ p h a kes ea e u e - e a kin to S p r s s bj ct m atter . Y t the mo st re ow i h t u on it mote th r l g p . The dist a nt edi ree e ins va ue in Ass ria n E p g b g g ly y , gyp t ia n a nd Ph oenicia n m t h s of th e S irit of Life in Na ture , y p , orn in outhfu freshness ever ea r to Love a nd ea ut b y l y y B y , nd a ssin ever ea r to rut h ess Dea h In the f a p g y y l t . o rm of religious o r exa lt edly poetic exp ression of p ra ise a nd a ment for Adona t he m th a ea rs in ea r Greek a s l y , y pp ly e i v B well a s la t r Alexa ndr a n erse . ut unfort una tely th e fragra nce only rem a ins instea d of th e ﬂower of such lyrics to Adonis a s were writ ten in t h e sixth century befo re ho P i A thou h o a Ch rist by Sapp a nd rax lla . l g hist ri ns of Greek literature seem to be blinded to t he signiﬁca nce o f t he ‘ a usions to th e Linos So n fo r ex a m e in th e A a ll g, pl , g ’ m emnon irst Cho rus such t ra ces ike the mentio n of (F ) , , l ‘ ’ ‘ ’ som e Adonis Ga rden a s t h c show a t a fest iva in th e l , ’ ’ Phaedrus of P a to owett s Tra ns a tion . dou t ess l (j l , p b l refer to th e Adonis rit ua l of song a nd symbol ofwh ich fuller ‘ ’ a on eft in t he Id f Theoc it I illust r ti is l yls o r us . n t he midst of t he lively h um a n dia logue of t he two wom en who ‘ ’ o to see th e Adonis ceremon t he Psa m of Adonis is g y, l set wit h the a lluring sp a rkle of a n imperish a ble a ntiq ue gem (Idyl ! V) ‘ O A h rodite th a t la cst wit h o d 10 from t he p , p y g l , , st rea m eterna l of Ach ero n t hey h ave b rough t ba ck t o th ee Adonis even in th e twelfth month they h ave b rough t

- him the d a int foo ted Hours . Here a re ui t for him , y b l sh adow owers of reen all a den with o den ani y b g l g l se. A ride roo m of ei h t een or nineteen ea rs is be his b g g y , kisses a re not rou h t h e o den down ein et u on his g , g l b g y p li ! Thou on dea r Adonis so men t e th ou o n p ly, , ll , ly Of t h e dem igods dost v isit both t his wo rld a nd t h e st ream of Ach eron. Be racious now dea r Adonis a nd g , , p ro SOURCES

itio v n p us e e in th e coming yea r. Dea r to us ha s thine a dvent ’ een Adonis and dear sh a it be when thou com est a a i b , , ll g n. ’ ‘ ’ In Bion s Idyl (I) th e joy thus ushered in with pra ise gives way to the Lament for th e death of Adonis : Woe woe for Adonis he h a th erished t he eauteou , , p , b s

Adonis. Low on the hi s is in th e ove Adon y g y is, and ’ll l l l his thi h with th e oa r tusk his whi e t i g s , t h gh with the ’ b oar s tusk is wounded a nd sorrow on C ris he rin s b , yp b g , as soft h e reathes his ife a wa . A crue crue ly b l y l, l wound on his thi h hath Adonis but a dee er wound in g , p e o A h d wit h r heart d th Cytherea bea r . p ro ite h unbound locks th rou h t he ades oes wanderin — wretched g gl g g, , with hair un ra ided with feet unsanda ed a nd the thorns b , l , a s she pa sses wound her a nd pluck the blossom of her sacred

ood . Th e owers ush red fo r an uish a nd C t herea bl ﬂ ﬂ g , y th rou h all the mount ain- knees th rou h ever de doth g , g y ll i e u i sh r ll th piteo s d rge. Woe woe or C therea he hath er ished the lovel A n , f y , p , y do i s . ‘ An Echo cried in nswer He hath eri shed the ovel d a , p , l y

‘ A tea r th e Pa hian sh eds for ea ch ood- dro ofAdonis p bl p , o e Th a nd tears and blood on the eart h a re turned to fl w rs . e dflwe b ood rin s forth th e rose th e t ea rs the win o r . l b g , , ‘ Cease C t herea from th ament ations to-d a refrain , y , y l , y from th dir s. T ou must a a in ewa i h im a ain y ge h g , g ’ b l must wee for him another year . p ’ Th a t with studious imit a tio ns of the Classics Sh a ke ’ ‘ s eare s oem h as nothin to do but rather th rows ack g , p p ’ ’ b t o th e medie va l poets use of Ovid is a discrimination first made by Wyndh am (Int roduct ion to his a nnotated ‘ ’ edition The Poems of Sh a kes ea re Since then p , ’ v a rious significant points of cont a ct between Sh a kespea re s t reatment and th at of a group of Ita lian poets of the sixteenth century h ave been b rought to light by Lee ‘ (Introduction to the acsimi e of t he irst Edition of ’ F l F Venus and Adonis In th e versions of th ese oets , p , th e influence not only of Ovid and of fifteenth -century 5 3 VENUS AND ADONI S

It a ia n writers of La tin verse u on this c assic t h eme but l p l , t h a t ofTheocritus a nd ion is rominent . This d na st of B , p y y ‘ write s on th e Adoni stor such a s Lodovico Do ce L r s y , ( a ’ ’ l avo a d Adone Gira la mo Pa ra bosco F l , ’ ’ Luigi Gro to in th e Rime of Cicco d Ha dri a a nd oth ers in S ain a nd ra nce a s we a s It a p F , ll ly , ’ a re rou h t into line th rou h such t ra ns a t ions of ion s b g , g l B La ment a s t h a t into It a ia n b Ma rino a nd into rench , l y , F b Ge a is wit h Ovid a nd th e i c ia y Mclin de St . l S il n oets on t h e one h a nd a nd wit h E iza eth a n En a nd p , , l b gl , a nish ed on the other. Pa r bosco fur Wa tson ( 1 5 82) wit h ‘ ’ two of h is Pa ssions lx v a nd C) . A ’ t ra ns a t ion from Ma rino a ea rs in th e De ia of 1 2 l pp l 5 9 , a nd Mah a ffy h as ca lled a ttention to th e fa ct th a t G as ’ ‘ ’ ’ co igne s joca st a wa s a t ra nsla t ion of Dolce s version of ‘ ’ ‘ ’ ‘ e oeni e o f ri ix Idi ia fro m t h Ph ss Eu pides . S ll Th coc ’ itu in En i e n Anoth e r s appea red gl sh vers i 1 5 88 . r It a li a n oet Giova nni Ta rch a not a wit h who m no inks wit h t he p , g , l E iza eth ans a re now m a e is sin ed out b Lee as l b bl , gl y reca llin c oser o int s of cont a ct with Sh a kes ea re in th e g l p p , ‘ ’ ’ O pening st a nza of h is La Favola d Adone a nd more a rticu a r in st a nzas tom ca th monst rous p l ly , ’‘ ’ a nd st ra n e Tu morte cr ud el mostruosa e stra n g , , a ) cor ‘ responding to th e a dd ress of Venus to th e Ha rd favourd ’ t ran 1 nd a a i n dec a ra ti n y t (11 . 9 3 a g n i a l o of the o a r ma de to Venus in excuse fo r ki in Adonis m a tchin b ll g , g ’ t he words of h a k s a r 1 S e pe e s Venus (11. 1 1 0 A t ra nsla tion of the pa ssage follows

‘ I swea r to ou it never wa s m wi y , y ll To wrea k offence u on SO clea r a over ; ’ p l Tis but t h e t rut h th a t a s I xed m a e , ﬁ y g z On a ll th e bea ut ies of his na ked body I wa s enkindled a nd so set on ﬁre Th a t blind wit h force I forwa rd pushed myself On to kiss t h a t ea ut o ened m hea rt ly b y, p y ’ On to uench th a I wi ly q e rdor th in me fclt . 54

VENUS AND ADONIS

Pursewing ga me of hurtlcsse sort as Ha res ma de lowe efore Or st a cs wit h loft e headcs or uck But with b , gg y b , the sturd oa re And ravenin wo f a nd Bea rc wh e s y B , g l , lp a rmd with u awes a nd eeke The crue ] L o ns which gly p , l y del h t in ood a nd s a u h ter seeke Shee m ed a ed not . yg bl , l g , l And of th eis same sh ee wa rned a lso thee Adonis for to f t h o oodst h ave wa rnéd bee B h shoo nnc t hem , i u w . ee old on cowa rds (Venus sayd) fo r whoso dooth a dvauncc Him se fe a a inst the o d ma h a too meetc with sum l g b l , y p i ncc Wherefo re I ra th ee m sweet e bo for m sch au . p y y y bea rc too o d too bee Fo r fea re th ra sh ncsse hurt th b l , y y t e wo of Encounter not the k nd self a nd woo rk h mee. y m e h a th Fo of beastes who nature a rm d , r dowt th ou a e too deer ocuri th ee um c T buy thy pr ys e p r ng s s a t h . hy e outh th beawt br h t t h countna n e f re tend r y , y y yg , y c ay a nd rave A t hou h the h a d t he force too win th e h a rt b , l g y of Venus h ave No owre a a inst t h e L ons no r a a inst , p g y , g T e e e n of a a the bristled swy ne. h y s a d h a rts s v ge beasts to ei in nc The crue B a e doo nough t o t h s cly . ll o r s bea re i t hc r h oo ked tushes an Exceedin fo c thunder n y , d g r e and fcercencse is in Lyons to with st and . And sure I h a te them a t my h a rt . Too him dcm aunding why ? A mon st rous ch aunce uoth Venus I wi te thee b a nd b (q ) ll ll y y , n f B w u woonted to l Th a t h a p ed for a a ult . ut no n y e h a th made th ee weer e a nd beh olde in t me this Po a r y , y pl wit his s ade Allureth a nd t e round for cowch doo h h , h g th

to re u on. I ra th e let u rest us h serve st pp p y e s eerc. The sate them downe a non And in u wa rd with h er y , ly g p h ead u on his a e a on Sh ee thus e n : and in her pp g, gu l pp l ’ b e ed him m e t f At a ant a nd t a lc sh e buss a ong. [Th s ory o l a Hi omenes fo ows a nd t he reven e of Venus when pp ll , g Hippomenes ga ve t h e goddess neither th a nks no r offeri ngs ‘ of incense in turning them into ﬁerce Lions th at h a unt ’ ‘ t e d . h e t hen c nti e ese h ea t h woo S o nu s Shonnc Th s es, d eere h a rt : a nd not from theis a one sec thou ronne l ly , But a lso fro m eche other bea st t h at turnes not b a cke too i ht But offrcth with his bo stows rest too t r the ﬂ g , y b y 56 SOURCES ch aunce of fyght : Anemis least thy va llant nesse bee h urtfu ] to us oth . This wa rnin iven with o ked l b g g , y b swanncs away th rough a i re sh e goth . But ma nhod y o b B ch aunce his a dmonishment rcst reyncd could n t ee. y h ounds in fo owin of t he t ra cke a oa re did see And ll g , B , m e rowsed him . And as the Swy nc wa s com ing from t h wood Adonis hit him wit h a da rt a skew, a nd drew the Th o re st re ht with e his h oo ked ro ne t he blood . e B a yg g y h unt in staffc outd rew Best a ned with his ood and on g y bl , Adoni s did pursew And byding in his codds h is t uskes as fa rre a s h e could t h rust He layd him a ll along

n e e low dust . D a me enus in h er fo r dead uppo th y l . V i ed A C r C h a riot d rawen wit h swa nncs wa s sca rce a rr v t yp us , wh en shee knew a fa rre th e sygh of h im dcpryved Of lyfe. Sh ee turud her C nets a cke a nd wh en shee from t he yg b , Sk e Beehilld him dea d a nd in his ood bewelt red for y , bl t o l e Shee ea ed downe a nd t a re a t once h ir a rments y , l p , g from her rist And rent h er h ea re and ea te u on her b , , b pp s t om a ch with hir ﬁst And a min sore th e dest n cs , bl g y , s a id : Yit sh a ll th ey not o bteine t heir will in a ll t hings . Of thy greefe rememb ra nce sh all remayne (Adonis) whyle e w h st rom eere too eere sh a rowe A t h orld dot la . F y y ll g t h ing th a t of my h eavinesse a nd of thy dea t h sh a ll showe

h e ive likenesse In a flowrc th ood I wi bestowe. t l ly . y bl ll H adst th ou the powre Persphonee ra nk sent ed Mints too m a ke Of womens lim bes ? a nd m ay not I lyke powre di dcine a nd s h t too turne u ppon mec t a ke wit hout s pyg , doni s too flw e ? Th is sed shee s rin klcd Nect a r A a o r , p c o n th e ood which th rou h the owre therof did swe bl , g p ll w te like bubbles sheere th at ryse in wea t her cleere On a r . And efo re th at fu a n howre ex rcd weere Of a ll one b ll py , co our wi th t he ood a owre sh e t h ere did f nd Even l bl fl y , like the flowre of th a t sa me t ree whose i rute in tender Ha e a nt a nes o Howbeet the rynde ve pl as gr y incl sde. of the is sh t Fo wh t h a n so use m or . r y he leaves doo g ooce th rou h li htnesse in such sort As th at t h windes l g g , e t h a t all t hin s ercc with ever itt e a st DOO sh a ke g p , y l l bl 5 7 VENUS AND ADONIS

’ t hem of and shed them so a s th a t th e ca nnot a st , y l

Th e ! V Roo kes of P. Ovidius Na so ent tuled Meta , y mo r hosis t ra ns ated oute of La tine into En ish meet er p , l gl ’ b Art hur Go din Gent ema n. T nth oo k y l g l he Te B e. ’ ‘ ’ Edition of A co of Ovid s Mct a mor hoscs py p , rinted b A dus in 1 02 reserved in the od eia n p y l 5 , p B l ’ Li ra r Oxford ea rs the si na ture Wm Sh r on t h e b y, , b g . t it e a e a nd O osit e in a seventeenth -centur h a nd is l p g , pp , y , written : Th is litt le Boo ke of Ovid was given to me by

Ha who sa d it wa s once Wi . Sh a ks eres T. W. ll y ll p

‘ He th a t h a th scene t he sweete Arcadi an boy Wi in the ur e from hi s fo rcéd wound p g p pl , His rct ie tea res eto kenin h is a nno p b g y, His si hes his cries his fa in on the round g , , ll g g , The Ecchocs rin in from t he rockes his fa g g ll , The t rees with tea res reporting of his th rall

‘ And Venus st a rtin at hir lovemates crie g , Forcing hir bi rds to h a st hir ch a riot on ; And full of griefe at la st with piteous eie Scene where a ll- a e with dea th h e la a one p l y l , Whose beaut ie q uaild a s wont th e Lillies droop When wastfull winter windes doo m a ke t hem stoop

‘ Hi r da intie h and addrest o d a e hi t w r deere, Hir resca ll li alied to his a e checke p p l , Hir si hes a nd then hi r loo kes a nd hea vie cheere g , Hi r bitter th reatcs a nd then h er pa ssions mecke ; How on his senseles corpes sh e lay a crying ’ As if t he bo ere e but ne y w th n w a dyi ng.

‘ ( Scillacs Met a mo rphosis : Ent erla ccd with the unfor v e tunat e lo e of Gla ucus . Wh runto is annexed th e delec t a ble discourse of t h e disco ntented Sa tyre : with sundrie other most a bsolute Poems a nd sonnet s By Thoma s Lod e of Lincolnes Inne Gent eman g , l 58

VENUS AND ADONIS

U on th Venus th at must die p y , Ie sous en r p ie, pitie me ’ N 9 seres sous mon bel mon bel ’ , , , N areres oous mon bel m , a y?

‘ See how sad th enus s y V ie , ’ l o res sous mon b l ? N se , e a my Love in hea rt a nd teares in eyes sous en rie etc Ie p , .

‘ Th face as fa ir a s Pa h o rooke y s s, ’ p b N oseres oous mon bel a m ? , y Wherein fa ncie a ites her houkcs b , Ie oo n us e , etc.

Thy ch eckcs ike cherries th at doo growe ’ l N oseres sous mon b m ? , el a y Amon t th e Westernc mount s of nowe gs s , e oous en r I p ie, etc.

‘ h i s vermi ion fu of T y , ove, ’l p l ll l N oseres oous mon be m ? , l a y Th necke as si ver white as dove y l , , o e Ie s us , tc.

‘ Thine e ike me ofh lie e yes a s o r s, ’ l ﬂ ﬁ N oseres sous mon bel a m ? , y urnes a ll m thou ht s with sweet desires B y g , Ie us t oo , e c.

‘ All th eaut i s stin m y e g y h art , ’ b N oseres oous mon bel m ? , a y ’ I must die throu h Cu id s da rt g p , oo e Ie us , tc.

‘ Wi t thou let thy Venus die l’ N creres oous ; mon bel a my? Adon were unkinde sa I , y .

Ie oous , etc. 60 SOURCES

To let faire Venus die for woe ’ , N areres sous mon bel a m ? , y Th at doth ove sweete Adon so ’l Ie oous , etc. ’ ’ Marlowe s cont ribution towa rd Sh a kespea re s materia l is of th e s i h test et his mention in his t ra ns a t ion of t he l g , y l ‘ ’ ‘ Hero a nd Lea nder ofMuse us of th e ca reless a nd disda in ’ ful eyes of p roud Adonis is suggestive of j ust the Ch a ra c t eriza t ion ma de b Sh a kes ea re so ecu ia r is o y p p l ly h wn. It form s no a rt ofthe Greek of Muse us and it wou d seem p , l t h a t eith er Sh a kespea re noticed this special descript ion a nd ui t u on it or Ma r owe efore he died une 1 1 b l p l , b , j , 5 9 3 , h ke a m It wa ce t a i om saw S a spe re s poe . s r nly c posed a t a test b A ri it. is mentioned as in circu ation in un l y p l , l j ‘ ’ a nd may h a ve een seen in May . Hero a nd Lea nder wa s b ’ entered in t he St a tioners Re isters Se t . 28 1 a nd g , p , 5 9 3 , t he un nished fra ment eft b Ma r owe the rst and fi g l y l , fi ’ second Sest ads wa s rst rinted without Ch a m a n s y , fi p p ditiona Sest a ds in 1 8 a d l y 5 9 .

‘ Thc Men ofwea lthy Sestos every yea re Fo r his sa ke whom thei r goddesse h e d so deare ’ l - Rose cheek d Adonis ke t a so emne fa st . , p l

The out side of her a rments were of awa e g l , Th e lining purple silke with gilt st a rs dawne ; Her wide sleeves greene a nd bordered with a grove Where Venus in hir na ked beauty st rove To please the ca reless a nd disda inful eyes ’ Of roud Adonis th a t efore hir i p b l es.

‘ THE SHEPH EA RD S SO NG or VENUS AND ADONIS

‘ Venus fa ir did ride !

Si ver doves the drew her l , y B the easa nt awns y pl l , 61 VENUS AND ADONI S

Ere the sun did rise. ’ Vest a s beauty rich O ened wide to view her p , Philomel records ‘ P ea sin h a rmonie l g s. Every bi rd of Sp ring

Cheerfu y did sing. ’ ll Pa hos Goddess th e sa u e p y l t . ’ Now Love s ueen so fa i Q r, Had of mi rth no ca re ;

For her son h ad m ade her mute.

In her rea st so tender b , He a sh a ft did enter ; When h er e es ehe d a bo y b l y . Adonis wa s he namé d , By his moth er sh améd ’ Yet h e now is Venus joy. Him a one she met l , Ready bound for hunting ; Him she kind reets ly g , A d his ourne st a n j y ys. H he seeks o ki im s t ss,

NO devices wa nt ing. Him h er e es sti woo y ll , Him her to n ue sti ra s g ll p y . He with ushin red , bl g , Ha ngeth down the head Not a kiss ca n h e a fford

c i turned awa His fa e s y, Silence sa id h er Nay Still she wooed him for a word ” S ea k sh e said t hou fa irest ! p , , Beauty t hou impa irest ! See me I a m pale a nd wa n Lo vers a ll a do re me I fo r love implore thee !

Cr st a tea rs with th at down ran. y l , 62

VENUS AND AD ONI S

Every Nymph on the sh all tend All the God s sh all love thee Ma n sh all not rep rove thee Love himself sh all be thy friend

Wend th ee from me enus ! , V I am not disposed ’ Thou wring st me too h a rd Prithee let me go ! ie wh at a a in it is F p , Thus to be enclosed If love begin with la bour ; It will end in woe Kiss me ! I will leave Here a kiss receive

A Short kiss I do it ﬁnd Wilt th ou leave me so Yet th ou sh a lt not go B rea t he once more th y ba lmy wind It sme eth of the m rrh - t ree ll y , Th a t to the wo rld did bring th ee ! ” Never was perfume so sweet ! Wh en she h ad t hus spo ken She gave him a token ; And t h ei r na ked osoms meet b , ” ’ Now he said et s o ! , , l g Ha rk the bounds a re cr in ! , y g Grisly boa r is up ” Huntsmen follow fast ! At th e name of oar b , Venus seemed dying ! Dead co oured a e ly l p l ,

Roses over ca st . ” S ea k said she no more p , , Of following the boa r ; Thou un t for such a ch a se , ﬁ Course t he fea rful h a re 64 SOURCES ’ Ven son do not spa re ! f ou wi t ie d Venus race I th l y l g , hun the oa r I ra thee ! S b , p y ” Else I still will stay thee l Herein h e vowed to ea se her mind , pl ; Then her arms enla rged l

Loth she him disch a rged . wift Forth he went , a s s as wind ’ Thetis Phoe us steeds , b

In the west reta ined , Hunting sport was past ; Love her Love did seek !

oo n Sight ofhim t soo , Gent e ueen she ained ! l Q , g n he la On the grou d y, ood had eft his cheek Bl l , For an o rpcd swine Smit him in th e groin

ead wound his dea th did rin . D ly , b g Which when Venus found , She fell into a swound k h ands did w n And awa ed, her ri g ! N m hs and Sa t rs ski in y p y pp g, Came together tripping. Echo every cry exprest . Venus by her power Turned him to a ﬂower ;

Which she weareth in her crest . n (Henry Co stable.)

See a lso a dditional passages from Ovid a nd Lodge in - - otes fo owin on . 6 0 8 61 622 8 0 ll g ll 3 3 , 433 45 , 443 , 44 , 9 , 3

65 DURATION OF THE AC TION

W E t race of it is oo ked for the assa e of t ime is H N l , p g ‘ ’ shown to be c ea r ma r ked in Venus a nd Adon l ly is . Wit h one dawn it e ins a nd with a second dawn it b g ,

- — ends 11. 1 6 8 862 ( , 5 3 , An intervening da y a nd nigh t a re not merely t o be t a ken The d a i for gra nted . y s put befo re t he mind by means of t he mention of th e ch a nge in the sh a dows a nd t h e increas — in heat of midda a nd afternoon . 1 6 1 8 1 0 g y (ll 7 7 , 9 ‘ followed by the ending in th e west by t he Sun of his dayes ’ ‘ hot t a ske (11 . 5 29 Then the sh riek of th e owle ni h ts t he sh ee oin to th e fo d the i rds to ( g p g g l , b t heir nests the da rkenin c ouds th e ood ni h t kiss . , g l , g g (ll " ’ 1 oint ou h 5 3 p t t a t tis veric la te. The nigh t is ‘ ’‘ ’ ‘ ictured a s s ent da rk moon-o scured and ack p p , , b bl ’’ fa c t 1 — 28 Adonis a sses th rou h t he dark (7 7 7 , p g lawn like a bright st a r from the sky (8 1 3 — 8 1 6) when he goes ‘ ’ w H eaves e o f un e i t a ay . e l V nus c n o d d n he da rke (827 ‘ ’ 828 wea rin out the mercilesse a nd i chie ni h ) g , p t gh t wit m 8 1 la ent ation (l . 2 ) a nd spending it with echoes (840 ’ efore th e a rk mount u And wa kes the mo b l s p rning.

VENUS AND ADONIS

Two a llusions in th e Poem h ave been t a ken to indicate i f i co rroborat on of a date o composit on shortly before 1 5 93 . ‘ ’ ‘ The rst is th e a usion to th e ague a nd th e d angerous ﬁ’ ll pl ea re . 08 This if contem orar with the y (ll 5 , p y recent event refers to 1 2 when the a ue wa s severe. , 5 9 , pl g It was not so in 1 86 th e oth er nea rest a nd ea r ier a ue 5 , l pl g The theatres were osed in 1 2 on a ccount of yea r . Cl 59 the a ue from u to D ecem er and it thus seems not pl g j ly b , unlikely t h at Sh a kespea re wrote his poem during the t f he ica work th us a i ne va ca ion rom t at r l occ s o d . ‘ ’ e o u ion is th a t to th e na ke be 1 The s c nd a ll s d d ( . Ta ken to refer to a much q uoted line in an extremely ‘ ’ ‘ u r P a the rst eronimo ii . v : Wh a t outcr o a y, j , y p p l l ﬁ ’ ca s me from m naked bed this oints to a d a te of ll y , p m osition nea r the ea r 1 2 when th at P a was co y 59 , y p ’ ’ l a cted b Sh a kes ea re s com a n Lord St ra n e s m en at y p p y, g , - a the Rose twenty two times . Th e f ct seems convincing; ‘ ’ f e u mention of na ked- bcd in writin s of but the r q ent , g va rious ea rly dates with reference to th e nigh tgownless custom of the sixteenth centur for ids certa int see y, b y ( on 1 Note following .

68 EARLY EDITIONS

‘ ’ IN 1 5 9 3 th e first edit ion of Venus a nd Adonis was ed p rint . Th e dedicator etter refacin it written and si ned y l p g , g b Wi ia m Sh a kes ea re ust i es the inference th at th e y ll p , j fi publication of this volume by his fellow- townsm a n of St ra tford Rich a rd ie d wa s a uthorized b the Poet , F l , y h im se f. This ca n be sa id of no other issue of his save l , ‘ ’ his other na rrat ive oem Lucrece. p , His Pl ays were t he p roperty of his fellows of t he st age comp a ny to whom h e so ld t h em a nd fo r wh om h e wrote h em His Poems were his exc usive ro ert to u i h t . l p p y p bl s a s h e chose. Before th e close of th e seventeenth century thirteen ‘ ’ i e of enus and Ad nis ea ed a s fo ows : ssu s V o a pp r , ll na ment a to ENVS AND ADONIS Vili a I Q. [Or l p] V mi retur oul us mihi fla uus Apollo Pocula Ca sta li a g ’ I r u Prin cr s Device : A m eda ion plena mi ni st ei a q a . [ t ll ’ used b Va ut rollicr ie d s redecessor re resent in a y , F l p , p g h a nd rea ching from t he clouds a n a nchor l aurelled a nd surrounded by the mott o ANCHORA SPEI] LONDON I Im rinted b Rich a rd ie d a nd a re to be so d at th e si ne p y F l , l g

- of th e wh ite Gre h ound in Pau es Church a rd . 1 y I l y I 5 9 3 .

2 . Sa me t it e 1 . 0 [ l , 5 94

An oct avo in sh a e in t his a nd fo owin is ues. 3Q. [ p ll g s

Sa me tit e et c. but different orna ment a t o . Same l , , l p Anch or device but redesigned] Imp rinted at London by

R fo oh n Ha rison. 1 6. . F . r Ij 59 rna ment a to differin from those recedin 4Q. [O l p g p g] A NIS ili a mi retur ul us : u V ENV S I ND ADO . V o g mihi ﬂa us c a astalia lena minstret a ua Orn e t Apollo I Po ul C p q . I[ am n ]| 69 VENUS AND ADONIS

Im rinted a t Lo ndon for Wi ia m Lea ke dwell in in p ll , I g

Pa u es Ch urch a rd a t th e si ne of e re hou . l y g I th G y nd 1 5 99 . - a 5 Q. [ti tle page l cking] 1 600(

O . Orna ment a to diffe e t EN S AND Q [ l p r n ] . V V I ADONIS Vili a mi retur vul ar miiti a uus A ollo Poculo . I g , ﬂ p I m n r Printers v e : A ua e en os Castalid i is t et a qud . I [ De ic sq r cl in a win ed a ure - wrea th ed S kul a ove it a n h our- ass g g l l l , b gl

acked b a n o en oo k inscri bed I ive to d . I d to b y p b , l y y ' ive be ow it a o e showin th e Western h emis h ere l , l gl b g p ] Im ri nte o o Willia m Lea ke s dwe in a t the p d a t Lo nd n f r I ll g - si ne of the Ho y Ghost in Pa u es Church a rd . 1 602 . g l , I l y A reissue of sa me with colon instead of co m m a a fter vulgus . 1 602 . a a e ADONIS 7Q . [Orn ment l top diff rent] VENVS IAND I I Vilia mi retur vulgus : mihi ﬂa uus Apollo I F oca la Cas tali a l n mi ni stret a ua . This motto aced p e a q I [ pl between

a ra e ru es LONDON Printed for W. B. Wi ia m p ll l l ] I , I [ ll B a rret] . 1 61 7. a m n a to ifferen ENV A N ADONIS 8Q. [Orn e t l p d t] V S I D I Vili a mi retur vul us mihi a uus A ollo Pocula Cas I g , ﬂ p I ta lia lena mi nistret a ua [ etween a ra e ru es p q , I B p ll l l ] I

I . LO DO Printed fo r . P. [ oh n Pa rker] 1 620 . N N , I j E V A ND ADONIS One ru e a cr 90. V N S I I I [ l o ss p a ge] I Vili a mi retur vul us mihi a ous A ollo Pocula Ca stalid g , ﬂ p I r a u ev icc plena mi nst et q d . I [D z A Phoenix in a nest of

am es EDIN URGH . Printed b I ohn Wrei ttown a nd ﬂ ] I B I y , I a re to bee sold in his Shop a litle be I nea th the salt Troue. 6 e entire tit e- a e is enc osed in a n o rna menta 1 27. [Th l p g l l orde b r .] 1 0 P inters Device of Cu id th rowin down his 0. [ r p g

w P inted b . H. oh n Havi a nd and so d b bo .] r y j [j l ] l y

a ncis o es . 1 6 0 Fr C ul 3 . ‘ ’ ’ Th e 1 0 Lintott edi tion of Sh a kes eare s Poems in 7 9 p , t he a rt on Co ectio n oston ives a tit e- a e of the B ll , B , g l p g s a me d a te 1 6 0 with a Printers Device a nd th e motto , 3 , ‘ ’ Sua La urea Phe ba .

1 I An im erfect co a ckin t it e- a e but sh ow Q. p py , l g l p g , 70

VENUS AND ADONIS

Th ree Co ies of th e sixt h 1 602 : th e ri tish Museum p , B Co with th e comm a after vul us in the t it e- a e motto py, g l p g , bought by Stecvcns in 1 790 for eight sh illi ngs a nd by Da nie in 1 8 1 for £ 0 the od eia n e uea th ed to the l 4 4 ; B l , b q Libra ry by Robert Burt on in 1 640 ; th e copy belo nging to the Li ra r of th e Ea r of Ma cclcsﬁcld a t hi r u b y l S b rn Castle. One co of the seventh 1 61 eft b wi to th e Bod py , 7, l y ll ei o b a deco tt i l a y C l n 1 833 . One o of th e ei h th 1 620 eft b Ca e l t o Tri nit C py g , , l y p l y o e e of a m rid e i C ll g C b g Un versity . Two o ies o f th e ninth 1 62 : th e ritish Museum C p , 7 B co ou h t in 1 8 fo r £ a nd a much etter co py, b g 45 , 35 ; b py, ou ht b Pickerin for £1 1 a nd now in th e Li ra r of b g y g 5 , b y

M Ro ert Hoe of New York . r . b One co ea ch of th e t enth 1 6 0 a nd t h e e eventh py , 3 , l , oth in th e od eia Li a r b B l n br y . Two co ies of the twe fth 1 6 6 : th e ri tish M seu p l , 3 B u m

Co with mended eaves ou ht for £1 1 s . in 1 82 py, l , b g 4 , 9 ;

a ver much etter co so d in 1 8 6 fo r £ 1 0s . t h e y b py, l 5 49 , next ea r for £ 6 a nd ater for 1 0 and in 1 8 1 for y 5 , l $ 3 5 9 , 1 0 and is now in h e L M M 1 t i ra r of r . a rsden . Per $ 5 , b y j ry P v dence R of ro i , . I .

Two co ies of th e thi rteenth 1 6 . One of t h ese how p , 75 , v is a ctica n on e er, r y o ger ext a nt . It was ment ioned p ll l ’ in th e ca t a o ue ofMa one s oo ks in t he od eia n Li ra r l g l b B l b y , in 1 8 6 a nd a so in its ca t a o ues since th en a nd a t t h e 3 , l l g resent time but wit hout she f- num er a nd on a ica tio n p , l b , ppl fo r it rst b the Ca m rid e editors in 1 86 a nd a a in ﬁ y b g , 4, g , ‘ ’ ‘ ’ in 1 0 b Lee it wa s inaccessi e. Ina ccessi e 9 5 y , bl bl t ra ns a ted into America n Li ra r terms wou d denote l b y l , ‘ ’ ‘ ’ under such circum st a nces ost o r sto en. Fo r t h e , l l resent it wou d a ea r a t an rate th at t h e other co p , l pp , y , py

of this issue is uni ue. It wa s so d in 1 82 fo r £2 s . q l , 4, 5

6d . a nd in 1 88 fo r £1 1 0s . It is now in t he ossession , 9 , 4 p

H . o er . of New York . of Mr . . C g , jr , F l ’ Ent ries in t he St a tioners Registers Sh ow a ssignments in n f s fo ows a fter the p r ti g o 2Q. a ll : 72 EARLY EDITIONS

25 Jun!) [ 1 594] Ma ster Ha rrison Assigned over unto him from Rich a rd senior Field in Open Court h olden t his D ay a d book ca lled Venus a nd Adonis vj The which wa s before cutt ed to Rich a rd e 8 A i is 1 Fi ld 1 p r l 5 9 3 .

2S JumJ [ 1 596]

William Lea ke. Assigned over unto him for his COpie from m aster h a rrison t helder in fu , ll Court holden this day by the sa id m aster h a rrisons consent A bookc called Venqs a nd Adonis

° ° 1 6 e r 1 61 6 anno re is 1 1 61 F b . , g 4 [ 7] t ne n o m M Lea ke a nd a rret . Assi d over u t hi b r . M r. B g y by order of a full Courte the righ te in Copies

followinge viz. Palmcrin of Engla nde 3 d pa rte Venus 81 Adonis xiiij

° 8 Ma rt rj 1 61 9 [ 1 620] Pa rker Assigned over unt o him wit h the consent of M a r ett a nd order of a fu ourt ho den r . B r ll C l this day a ll his righ t in th ese Copies fol lowin e i Pa merin of En and d a rte g v z. l gl 3 p ” d Venus 8c Adonis viij vj

° 7 Mal l] [ 1 626] joh n : Haviland Assigned over unto them by m a ster joh n Wright Pa rker and by consent of m aster Islip wa rden A boo ke ca lled Venus a nd d Adonis vj

° 4 die Septembris 1 638 [ 1 639] Ma ster joh n Ent rcd for th ei r Copies a ccording to Havil a nd note under t h e h ande a nd Sca le of th e a nd joh n said Ma ster Ha vila nd a nd subscribed by Wrigh t senior Ma ster Mea d wa rden t hese Copies a nd p a rt es of Copies following the sa me being 73 VENUS AND ADONI S

th e proper Copies a nd pa rts of Co pies o f th e sa id Ma ster Havila nd salvo jure cuiuscunq uc Venus and Adonis

° 4 Ap rilis 1 65 5 Willia m Gilbertson Assigned over unto h im by Edwa rd

Wright Venus a nd Adonis .

VENUS AND ADONIS

’ ‘ ’ of oet s h is romance ack Wi ton a so th e o enin p , j l , l p g ‘ a nd c osing sonnets of his Poem The Choosing of Va en ’l l ti nes a nd orio dedica ted to him his monument a It a ian , Fl l l ‘ ’ En ish Dict iona r A Wor d of Wordes 1 8 . Rowe gl y, l , 5 9 reco rds on th e authority of Sir Willia m Davena nt th at the ‘ Ea rl gave Sh a kespea re a t housand pounds to ena ble him to go th rough with a purch a se which he hea rd he had a ’ in e th m ton s t he on at ron of mind to . S c Sou a p i ly p Sh akes ea re ositive known Lee fro m wh ose a ccount p , p ly , (

. . io t his one is condensed a r ues th at in the Diet Nat B g. ) g he was the at ron of the Sonnets as we a s of t he resent p , ll p ‘ ’ oem and Lucrece and th a t in a e a nd all other ci r p , g , cumst ances t his h a ndsome ue-e ed a u urn- h ai red son of , bl y , b Ref promise best suits t he req uirements of the ca se. using ’ to ma rr his Gua rdi an s ch oice fo r him La d E i a eth y , y l z b e and ca rr in on a n a rdent a mour with E iza V re, y g ’ l ’ eth Vernon a cousin of Essex s and one of t he ueen s b , Q wait in women who m h e secret m a rried in 1 8 sh ort g , ly 59 , ly efore th eir hi d was orn he a rred h imse f from ro a b C l b , b l y l

favo r a nd wa s for a time im ri soned . He distin uished , p g himself under Essex at Cadiz a nd th e Azores ( 1 596 81 in Irela nd in 1 5 99 ; but was implicated in th e t roubles of

Essex on thei r return. He then sent a message a nd fo rty ‘ shillings to the Globe Players fo r a p roduction of Rich a rd ’ ’ II showin a kin s de osition. A th ou h with Essex , g g p l g , , a rrested a nd convicted of t reason th e dea th ena t was , p l y commuted in his case to ife im riso nment a nd on t h e l p , accession of a mes h e was set free m a de a Kni h t of t he j , g Ga rter t e- created Ea r a nd m ade Ca t ain of the Is e of , l , p l i h t a nd ord ieu His favor with Wg l l tenant o f Ha mpshi re. t he Queen inﬂuenced his furt her a dva ncement unfa vor

a unti 1 61 when h e wa s m ade a riv counci or . bly , l 9 , p y ll Mea nwhile be distinguished himself a s a pioneer in coloni ’ za tion. He e ui ed mouth s Vi r inia ex edit ion q pp c g p , wa s inst rument a i n sendin out Hudson h imse f eca me l g , l b a member of the Virginia a nd of t h e East India com a n c After e o nc or he c ash ed with p i s . b coming p rivy c u ill l 76 LITERARY ILLUSTRATIONS

’ t h e Ki n s favorite uckin h am a nd led in th e o osit ion g , B g , pp to both Buckingh a m and B acon a nd to th e policy of e P ine nd i e E i a e h ja mes toward t he el ctor a l a t a Pr nc ss l z b t .

He was a a in 1 62 1 im risoned . A thou h soon re eased g ( ) p l g l , o o i i In 1 6 h e remained i rreconcilable with C urt p l c es . 24 h e with his elder son led a t roo p of English volunteers it h he Th ere oth were st ricken a llied w h t e Net rla nds . b it feve n died His interest in Literature was ife w h r a d . l

He e uea th ed oo ks a nd MSS. to h is co e e . long . b q b ll g raoer la bour : A criticism of t he resent oem a s 1 0 . g p p t eem s o im ied he na t ure of the raoer bour ligh s t be pl . T g la ‘ ’ romised here and the next ea r u ished i .e. Lucrece p y p bl , , a ppea rs to indicate t h at t his criticism wa s bo rn of t he ’ ‘ ’ po et s consciousness t h at Venus a nd Adonis wa s Open to ‘ ’ - es Lucrece su e t h e object ion of over sensuousn s . ppl m ents the fi rst poem and by put ting emph a sis upon Op o sition to ust oint s to t he conc usion th a t th e interest p l , p l o f th e Poet in the complement a ry pictures h e p aints was i n o ec i e p r ima rily a rt ist c a d bj t v . i e 1 1 . first hei re: Ma one too k th s to m a n th at the resent l ’ p k e s rst i era r om osi ion Ha i po em was Sh a esp a re fi l t y c p t . ll ‘ ’ we const rues it to mea n the rst com ete work recko n ll fi pl , i ng out his a ltera tions of th e dra m atic invent ions of o thers ‘ wh ich as ea r a s 1 2 he is known to h ave een en a ed ly 5 9 , b g g ’ ‘ ’ - o n this ein h is rst ori ina work st rict so ca ed . , b g fi g l ly ll ’ M a one s view reva i ed a mon t he ea r ier editors a nd led l p l g l , t o th e inference th a t th e oem wa s writt en as ea r y a s 1 5 89 . ’ p l H a iwe s h a s reva i ed a mo n more modern edito rs who ll ll p l g , i nfer th a t it wa s composed shortly before the inscription to n Dowden su est ed a third So uth a mpton was ve tured . gg ‘ ew h t settin a s a to eth er a a rt which were not v i , t a g y g , pl l p ’ lo oked u on a s itera ture in a hi h sense of th a t word p l , g , ‘ t h e Poet calls it his first poem beca use h e h ad written no ’ ‘ erse Lee sa t hese wo e a rlier na rrative or lyrica l v . ys rds ca n on y mean th at this oem wa s his rst itera ry design l p ’ fi l u ishe he if of h cert ainly first to be p bl d . T dr t t e writer i s erh a s ra ther to be fe t th a n roved a s t h at of one who p p l , p , 77 VENUS AND ADONIS sh a red th e literary prej udices of his time in favor of mere

oet r a s the hi hest t e of a rt istic creation. Hence p y g yp , for him it may h ave seemed th a t this poetic work of his own ch oice done u on his own initia tive a one counted , p , l a s i nventi on a nd was uite to be distin u shed f th , q g i ro m e scri d d a matic wo rk for h is Co n pre be r mpa y . ‘ 1 . co re : P ou h : To ca re th e Land th at h at h some 4 l g , ’ ‘ ’ ‘ o o i h . II III . ii . A si e r hOpe t gr w ( R c . lv r sa uce ’ ’ ‘ was ca red up by a plough (Ha rrison s Descript ion of ’ En a nd gl , ex e at on: Refe rin to the unusua i 1 8 . p ct i r g l p rom se of young South a m ton. efore h e was eight he wa s m ade ’ p B his fa th er s dea th th e hea d o f h is h ouse a nd a t th i me by , s ti h d not t ached his went ieth i r h Th e m he a ye re t b t day . p ro of his raiser is now seen t be mo e em ise p o fa r r r a r k a ble. He h a d ust reached his th irt iet h but the u k of a ll h e j , b l did was a h ead of him .

- d s . ur le colo r e Venus an Adoni , 1 p p u ed Th reddened lavenders Of the da rk sky suffused with t he ﬁ rst a pp roach

w Rea istic effect a nd m th a re h a i ende . of d a n. l y pp ly bl d Aurora begged Zeus to give immorta lity to her m o rta l f om e ut he lover wh om she h ad stolen r a rth . B s forgot to ask for eterna outh a nd Tithonus forever rows a ed in l y , g g ms with immort a freshness dwe s imm o h er a r . So l ll rta l ‘ ’ Ho e i H mn to Venus . Horace des 1 . a ge ( m r c y , O 2 2 ; 2 . ‘ Ma rlowe h as a simila r ima ge : Now h ad the m orn es ied her overs steeds Wh erea t she st a rt s ut s on her p l , , p ’ ‘ ’ ur e weeds Hero a nd Lea nder Seco nd Sest ad p pl ( , y , 87 wee i n : Litera a reference to the mist or sh ow 2 . p g lly, y er mornin usherin in a fa ir d a urative to th e y g g y ; ﬁg ly , ‘ f A o a Auro ra h a fe so faire her se f did never t ea rs o ur r . l l show Wh en from old Tith ons bed sh ee wee in did a rise , p g ‘ ’ ‘ ’ of h c t les fo win Ast r ( The Mourning Muse T s y llo g oph el . Edition of ’ ‘ Rose- cheekt : See uot ation from Ma r owe s Hero and 3 . q l ’ Lea nder in Sources. 78

VENUS AND ADONIS

’ h a s a n a ter edit ion from thence on inc udin Lee s y l , l g resto red it . Th e omission due to the editors no , t th e text, ‘ a i occa sioned criticism . M lone says : We m gh t better a rmer o serves to me th a n ov read (as Dr . F b ) d es a nd roses a re. I th ink it ro a e however th at fo r th is s i h t p b bl , , l g ’ inaccurac the author a nd not t he rinter is a nswe e y p ra bl .

The next editor a fter Ma one W. C . Ou ton seizes l , l ‘ ’ the ch ance to su ement this . In a ll ro a i it he ppl p b b l y , ‘ sa s it wa s t hus writ ten b Sh a kes ea re as m a n reater y , y p , y g viola tions of diction a ppea r in his works ; but let it be remem ered th a t writers of his da were not such nice b , y ’ a dherent s to ro riet s a t ese Unfort un p p y a pr nt . a t ely for the editors the oet is here the nicer a dh erent to ro riet . , p p p y i h heryel e J r 1 1 . w t f at t ife : Emulous of out doing h er i t te self ih h s crea ion. S evens saw in this different idea the sa me one a s th at of th e contest between Nature a nd Art ‘ ’ x ressed in T m . I . i . Hi ina ica e n e p y 5 2 . s ppl bl q uo t a t io s een common re e ature is not h a b ly p a ted . N a t st rife with

Art here but hersel e. The i ust ration a ies ater , , f ll ppl , l

(1 .

no . a mir h a mid lentie: So C eo a t ra a second f p l p , ‘ ueen of Love wa s said to m a ke h un Where mo Q , gry st she ’ ‘ ’ a is es Ant . 81 eo . II 1 1 6 s t fi ( Cl . . 27 ‘ 26. resident : A forerunnin si n of vit a fo ce p g g l r . Pres ’ ‘ ’ ident a nd p recedent were not dist inguished in Eliza ‘ ’ eth an s e in s see Lucrece the o nd s in b p ll g ( , O ll fi ‘ th e moist h a nd of Desdemona an a rgument of fruitfulnesse ’ d i era ] he t i . a n l b l a r III . v The soot h sa yer ‘ ’ ’ ‘ eo . I . 1 1 . ( Ant . 81 Cl 5 3) t a kes an oi y a m t o be a fruit ’ l p l — fu Pro nostica tion. And com a re here 11 . 1 2 1 . ll g p , , 4 44 — 3 5 3 6. fier deyi er : Th ese words were m ea nt to be pronounced in two sylla bles ; the repeated modifica tion of the rhythm by the int roduction at interva ls of double rh mes and wea k endin s a es es eci a at th e cou et y g yll bl , p lly pl , i c ea r a an of h His e i m a kes th s l ly pl t e Poet . d to rs a nd even his re rinters however h ave not ermitted him p , , p t o reta in this lingering cadence ; and in the Ch atswo rt h 80 LITERARY ILLUSTRATIONS

Co ot e facsimi e er a nd desier a re isted b Lee amon ll yp l , ﬁ l y g ‘ th e ca reless discrepa ncies which ch a ra cterize the spelling ’ ‘ ’ i ﬂa in the of co mmon words, a nd constitute a ser ous w

— text . Where the sin e rh me is wa nted e. . . 86 88 gl y , g ll 3 3 , - 6 th e usua s e in is iven con rmin the inten 49 4 49 , l p ll g g , ﬁ g ti n l e in h re o a ness of the double rhym a nd spell g e . t d i iste i oint of me a o 3 7 . J udded : Studde w th gl n ng p s t l r gems . We a re led to im a gine no ordinary h orse h a rness .

. sta l d P noun ed in two s a es 3 9 le : ro c yll bl . ‘ ’ 2 . hea res : Go din re ea ted s e s h a ir hea re 5 l g p ly p ll , ‘ ’ ‘ eit her when rh min with ea re or b i tse f see The y g b , y l ( ’ Tenth ooke 11 . 1 0 1 1 0 S enser ike Sh a kes ea re B , 9 , , p , l p , ‘ ’ usua s e s in s m a th with his rh me e. . fa ire lly p ll y p y y , g , ‘ ’‘ ’ ’ ‘ ’ h a i re tea re hea re aerie ueene Bk . iii . Ca nto xii . , , ( F Q , St a nzas xiv Sh a kes ea re not a one here t a kin , p l , g, ‘ ’ a s Ma one ut s it a i ert for the sake of rh min with l p , l b y y g ‘ ’ tea rex but re ea ted . 1 1 1 1 1 2 in Lucrece , p ly (ll 47, 45 , 9 , 9 )

11 . 1 1 0 h umors s e in to suit rh me whi e h ere ( 3 , p ll g y , l ‘ ’ . 8 a nd in Lucrece 11. 00 8 1 he uses the (ll 4 7, ( 4 , 9 ) ‘ ’ spelling h a ire when there is no q uestion of m a tch ing the rh me thus assurin th e conc usion th at th e E iza eth an y , g l l b s e in of th e most a rtistic oets i s a th ou h more va ri p ll g p , l g a e th a n modern s e in c ea r not the resu t of sheer bl p ll g, l ly l ca relessness a nd h a ph aza rd . n l : a ke e u mo e w t 5 2 . fa a nd b ow Sh sp a re p ts re cl a rly h a ’ ‘ ’ 1 — 1 8 seems to be Spenser s meaning in Ast rophel (11 . 75 2) ‘ Her e ow ocks th at shone so ri h t a nd on Sh e ﬁersl y ll l b g l g, y t o re And her fa ire brest th e t h rea sury ofjoy Sh e spoyld t h e of n o . Hi e f e i i re , a d ed with ann y s a d a c m ctured ﬁll p ll p ’ with death She a th ed oft with tea res a nd d ried oft . , b

min n n fo fau tiness . M a e 5 3 . e: Used as a ou r l lon ‘ ’ ‘ v n b ci ted sa lving thy a misse xxx . a d Pa le y ’ ’ ‘ my lookes to witness my a misse (Lyly s Wom an in the ’ Moone Acco rdin Ma one too k this for a con , gly l " ’ t ra ct ion of a min e a nd modernized to m iss . Editors

enera cite the sa me i ust rat ions . W ndh am however g lly ll y , , ’ ‘ ’ ef i to Minsheu s Guide into Ton ue h iv r err ng g s, w ich g es 8 1 VENUS AND ADONIS

‘ ’ to misse o r erre co rrectl a kes m s o , y t i s e t be th e noun ‘ ’ deri ved fro m t his ver which he ca s o so ete But b , ll b l . why ? Do we not hea r t he noun every da y in a lm o st a ny ‘ ’ ‘ a me for a fa u t Ro fe t st s I i g l . l a lso p ro e : t s not a con ‘ ’ t raction o f a misse. Neit her we m a a dd is it o so ete. , y , b l ‘ ’ An yuche in a misse is a s good a s a n ell (Ca mden Re ‘ ’ m a ins 1 61 is ext a nt in A m iss is a s ood a s a mi e . In , 4) g l the sense of a wrong doing the New English Dictio na ry ‘ ’ cites Ane oulde woma n t h a t is Licherus wy l not lefh i r mys ‘ er a d cura r i ( 1 5 00 . B n rd e ei n the sense o f fa ult ‘ or defect . Defer not (most dea re Sovera ine) t h e refo rm a ’ m ss 6 u ica tion Poo re t ion of thys i e ( 1 5 4 . S ppl Wit hout a nie ret misse in th e h a rdest o ints 1 68 g p ( 5 . ‘ ’ h cholema ster II Asc a m . S , . ‘ ’ . murthers : Corru ted to smo th ers rst in 5 4 p ﬁ 5 Q . a nd re ea ted in t he Lintott Gi do n D a r Sewe Eva ns a nd p , l , by, ll , ,

effer edit ions a nd th ence o n. The o ri ina tex t was J y , g l ‘ ’ restored a t hou h then modernized to murders b Ma , l g y

‘ one when editin t he oem fo r t he second t ime in 1 0. l , g p , , 79 ‘ ’ He q uoted a ptly : Murth er t hy brea th in middle ofa wo rd ‘ ’ ’ Rich . III . III . v . Oulto n s the rst America n a nd ( , ﬁ ’ seco nd a nd t hird os to n editions a nd Ch a mers ret a ined B , l t h e co rru t io n a nd not unti th e re et ition o f th e co rrect ion p , l p in Va riorum of 1 82 1 ca n t he o rigina l t ext be sa id t o be ‘ ’ reésta blish ed . Smo thers wa s used a ter in th e rst , l , ﬁ k i ion a b H itt a nt Whit New Yor ed t nd az . Gr e went , y l furth er th a n Ma lone a nd gave th e more poet ic a nd eu ho ious wo rd of the o ri ina murthers p n g l .

. em ti e Ea le : The sa me ure of a fastin Ea e 5 5 p g ﬁg g gl , ea er to tea r its re with i ts ea k e on s to two P a s g p y b , b l g l y ‘ ’ ‘ ’ his t ime 2 Hen. VI. III . i . 2 Hen. VI of t 5 9 , 3 . I . i . — 30 1 302 .

61 . content : orced to co ntent h er a thou h h im se f F , l g l ‘ ’ t a kin no a ctive a rt t h e rono un her ein understood g p , p b g . Ma o ne inter reted to th e sa me effect t i th e evi - mind ed l p , ll l Steevens a in on the word in t he sense of enti re sa ti s , pl y g ly ‘ f in o ected : It is a in th a t Venus was not so ea si y g, bj pl ly 82

VENUS AND ADONIS

‘ 1 . ra nke: Ma one rst cited a t t h e use of ra nk 7 l fi , p ly, ’ ‘ ness with t he implied sense of a violent excess : like a reti red ood Leavin our ranknesse a nd i rre u a r Fl , g g l ’ ‘ course V. iv . Co ier uoted : etchin , 5 7 ll q F g ’ ’ ‘ ’ fu tides uxurious hi h a nd ra nk Dra t on s Ba rons ll , l , g , ( y ’ Wa s Bk . r , teen h e s 78 . best : All the eigh t century dition up to ’ ‘ ’ Ma o ne s rst a ree in corru tin th is to rea st l fi g p g b , d a nd m in following the error fi rst m a e in H Q. a k g m ore i u a r the one correctio n t o best in t he effe ed it ion s ng l l ly J ry . The rst America n edition knew not Ma one a a rent fi l , pp ly, t i n Ou on since here again it reprints a corrup o . lt i s wil ‘ fu incorrigi e. He notes : In the edition o f 1 5 96 it lly bl ’ i s her best is better d wh ich as Sh a kes ea re wa s fo nd of ; , p ’ a in u on words wa s I dou t not th e wa he wro t e it . pl y g p , , b , y He then uses his editoria l t a ste to p refer th e co rrup t ion ’ ‘ ’ i nstead of the Poet s way of writing . r s i t he e 86. dive da ppe : Knight ca th s o tica na m e of ll p l ’ the dab chick a nd q uotes Beaumont a nd Fletch er s ‘ ’ ‘ Woma n Ha ter : The misery o f man m ay fitly be com d to a di-da er who when she is under wa ter ast pa re pp , , p es a in sh a kes but herse f o ur si h t ris ga , a nd is th e g , ’ l h was Ha iwe sh ows th at it was an o ld sa me s e . ll ll fo lk e for this itt e wa ter- ird whose h a its a re so ra h i na m l l b , b g p ca lly ma de use of to show how Adonis ra ised a nd ducked ‘ ’ - - chin. He cites : A dab ch ick a di da er or d oucker his , pp , ’ ‘ La nsd . a nd Some fo (Kennett s Glossa ry MS. lkys ’ ‘ cal her a dyve da pper or a doppe chyck ( Dia logues of ‘ Crea tures He adds th at it is st i a co mmo n ’ ll in En and a nd in Sh a kes ea re s time when th ere bird gl , , p , a n mo re reed ieces of water must h ave ee were so m y y p , b n ’ It is known as the itt e re e Podice ext remely so . l l g b ( ps

mi nor) . i n/es : A word ivin t h e ver ook of the uick 9 0 . w g g y l q the anc wince a nd t urn a side of gl e.

athes : In t h e ra in of h er tea rs 11. 82 9 4 . b ( od o wa rre: Th e wooin of Venus b Ma rs is 98 . g f g y 84 LITERARY ILLUSTRATIONS

to d b Ovid Bk . iv and b Homer l y ), y

Bk . ’ t ‘ 1 06. oy : The cha nge to coy m a de in th e edition of 1 6 is a co rru tion fo owed universa unti the Va ri 59 p ll lly, l o rum of 1 82 1 wherein Ma one h a d restored the ori ina , l g l wo rd .

r 1 1 0 . ed rose cha i ne : The Poet applies to Venus a nd Ma rs a n ima ge a pplied by Ronsa rd to t h e Muses a nd Cupid : ‘ ’ Les Muses li er ent a n jour De cha i nes de roses Amour ’ , Bk . iv . 2 a a ra h ra se ofAna creon s Ode xix 3 , p p , ) . Tra nsla t ions of Ronsa rd a re compla ined of by Puttenh a m ‘ in 1 5 89 : Finding Pynda rus a nd Ana creons Odes ver we t ra ns a ted b Rounsa rd our minion t ra ns y ll l y , ’ ‘ l a tes t he sa me o ut of French into English ( Arte of Eng ‘ ish Ronsa rd t rave ed in En a nd u n l ll gl . Q ee E iza eth ave h im a dia mond com a rin its wa ter to t he l b g , p g urit of h i ver e h p y s s (Wynd am) .

1 20 . e es i n e es : This t e s th e st a e usiness ski fu y y ll g b , l lly, a s so often in th e a s Th e recedin ines ut efo e Pl y . p g l p b r us the picture of the down- loo king boy a nd th en the ch a nge o f ost ure showin th a t he h a d o e ed the comma nd of p , g b y the go ddess . Th ey were now face to fa ce unging their ’ pl a ces i t o he e e Hers sure were no gl n n o ea ch t r s y s . ly t d roo in o r a ssive h ence t he tness of i n. It was cor p g p , fi ‘ ’ ru ted to on fo owin in a ll editions unti t h a t of p , ll g Q, l ‘ ’ 1 82 1 . Haz itt ater a ve on but a s h e a so ersisted in l , l , g , l p ‘ ’ ‘ ’ e o i n 1 06 a nd smoth ers for th c rrupt o s coy for toy (l . ) r it m a b c u ed th a t h e used o ne o murthe (l . y e con l d f the ea r ier versions to rint from a nd edited ca re ess . l p , l ly - e d ec v 1 2 5 . blew v i nd : Ba rnfield uses t he same a j ti e for ‘ the Vio et in th e ex ea 1 i his Afiect ionate , n t y r ( 5 94) n l ’ he he d S p r . nor not e e a i i ur ed th e 1 26. : Th doubl neg t ve d st b sense of ra mma t ica ro riet a s ea r a s 1 600 for then a s g l p p y ly , , ‘ ’ Ma one noted th e ine wa s ch a n ed to nor know the l , l g y .

1 3 0 . Beauti e wasted : La ter th is doct rine is a m liﬁ 6 p ed (ll . 1 3 85 VENUS AND ADONIS

’ i n li ttle ti me : Ronsa rd s ex ression of th is ure 1 3 2 . p fig much used by poet s of t he Rena issa nce closely a pp ro a ches ’ ‘ ’ Sh a kes ea re s vos bea utez ien u e es soient fieuries p , b q ll , n eu de tem s seront toutes fia it ries Et comme fleurs E p , , , ’ p periront . ’ 1 . ha rd avour d : Litera una tt ra ctive th a t is wit h 3 3 f lly, , , a favour or oo k t h a t is for iddin h ence u . l b g, gly reumati ue : St ressed on t he rst s a e b Sh a ke 1 3 5 . q fi yll bl y ‘ s ea re a s it sti is b o ld crones in th e count r . Th at p , ll y y ’ ‘ ’ i s Ni h t D r . II . Rheum a ticke disea ses doe a bound ( M d . g i .

re : om a re with . 82 . E es re or ue a re 1 40 . g y C p l 4 y g y bl freq uently eith er one or th e oth er a cco rding to t h e light or th e intensity of feeling expressed in th e gla nce. nch nt : The verse is ove ier if th e ronunciat ion 1 45 . i oa l l p n Hence it shou d be a ssumed t h a t the suit th e spelli g. l th so si ed Poet h a s by the spelling indica ted e und d e r .

Incha ntin a ter 1 . suits t he different sense th a t of g, l ( , a s e or ch a rm instead o f a son a s here and ca in for p ll , g, , ll g ia The modernized tex ts a co rresponding p ronunc tion. ik Lee ist s i nchoa nt a nd i ncha nti n a mo n spell both a l e. l g g ‘ ’ ’ i e t he ca reless discrepa ncies of t he Poet s spell ng. Th y a re on the cont ra r a mon th e ca refu distinctions . , y, g l ‘ no ooti n seene: E ves th a t on t he sands with 1 48 . f g l rint lesse foote Doe ch a se t h e e in - Ne tune a nd doe p bb g p , ’ ‘ ’ i . 0 ﬁie him When he comes backe ( The Tem p . V. 4 ‘ om a ct : Thou must h ave wo rds com act of ﬁre 1 49 . c p p ’ ‘ a nd ra ge The Frenchm a n is who lly ’ ’ ‘ compact of deceiva ble courtship (Nashe s Pierce Penni

1 . till : Co rru ted rst in the Ma one Va riorum 5 4 p ﬁ l , ‘ ’ which a d to . Kni ht nd a rr o rnwa fo owed re s g a B y C ll ll . Collier resto red till. ‘ ’ 1 6. should : Possi eft with out th e endin st fo r 5 bly l g , ’ ‘ ’ m ex touch with th of euphony s sa ke. Co ing n t into ‘ ’ ’ ‘ ’ thi nbe shou d st is ess smooth th an shou d see foot , l l l ( note . , p 86

VENUS AND ADONI S

bea ut breedeth : Com a re with th is a r ument in 1 67 . y p g — ‘ th ese st a nza s th e Sonnets 1 1 es ecia a so Rom. 7, p lly 4, l ’ - I i 8 . 8c Jul. . . 223 22 i n s ite o : Cert a in it is m a rt inet izin too fa r 1 73 . p f ly g ‘ ’ c e ss di cre anc to use in to count it a s Lee does, a a r e s y , l p ’ i h i Th e Poet s ca r h as spite of here a nd desp g t of n l . 75 7. chosen ri h t in o t h ca ses a nd as in s ite . 1 a nd g ly b , p (l 73) s ite is ﬁt l a ssocia ted with th e m a icious spight (l . p y l spite of Dea th .

. Tita n : Th e ch a rioteer o f t he Sun H erion was 1 77 , yp ,

he sun is fre uent so ca ed b Sh a kes ea re. a Tit a n. T q ly ll y p ‘ ’ a e T o . res . Let Tit a n rise a s ea rly a s he d r ( r 8cC V . x . ‘ ’ - common kissing Tit an II I . v . a nd as ‘ ’ u . II . iii . . oswe ex esses the ch a rioteer in Rom . 8cJ l 5 B ll p r ‘ ’ o i r idea th a t Tit a n ti red is Tit a n a t tired th e ext ra rd na y , i a nd this is commonly repea ted by la ter ed tors . Surely ‘ ’ tired (th e time of two sylla bles is req uisite fo r t h e line) here mea ns th a t t he very sun- god was wea ry with th e noo n hea t im atient with his t ask a nd read to a a ndon it , p , y b ’ for Venus s sa ke.

1 8 1 . s r ite : Lee re a rds th e s e in of s ri te h ere and p g p ll g p , s i ri t in . 882 a s due to ca re essness . It wou d ra th er p l , l l seem to be due to a n inst inctive nicety in suit ing sound a nd v he e Th e ca re ess of sense a nd con eying them to t ye. l ness ‘ ’ m i ers in s e in s ri te s ri ht seem s e th e odern z g p , g , to b p ll ’ p h the oet e more obvious t an P s car lessness. — Likd So wr i n : Two a a ent mi . 1 84 1 85 . g pp r sp rints The l atter is due m erely to a n interloping q uad between the ‘ ’ ‘ ’ ‘ ’ ‘ ’ o a nd w a s sowrin in Lucrece . 6 c ea r sh ows. , g (l 9 9 ) l ly ’ ‘ ’ unki nde: Mi ton s f 1 87 . l Doct rine o Divorce is q uoted ‘ by Knight a s a ffording the sa me sense of the word : Th e desire a nd longing to put off a n unkindly solita riness by unit in a not her od but not wit h out a ﬁt sou to his g b y, l , , ’ in t h e ch eerfu societ of we o om a re unki nd l y dl ck . C p

. On this W ndh am h a s a n exce ent note e in ( y , g l ’ ll b nin with Ma one s Th at is unna tura . Ki nd a nd g l , l ” nature were fo rmer s no u ly y nymo s . MALONE spelt 88 LITERARY ILLUSTRATIONS

unki nde . 1 8 wh i st h ere L 20 we h ave unkind al , l 7 l [ 4] , th ou h rh mi t i nd I m e b g y ng o m e. a p rsuaded y th e sense of th e cou et a nd s ecia b th e but th at th e word is pl p lly y , not th e ad ect ive but a a st a rt ici e which wou d now j , p p pl , l be S e t unbi nned without offs rin . The Poet ro p l , p g p b ‘ a y ayed on the dou e mea ning. Cf. Ham et : A bl pl bl ’ l it t e more th a n kin a nd ess th an kind l l l .

- 2 05 207. this a leis : This kindness. Stecvcns a nd ‘ ’ I O . wou d s oi it b ch a n in to thus The rh me Q , l p l , y g g . y wit h leis h as in uenced the s e in of the atter word a s ﬂ p ll g l , ,

at er in rh min . 6 a nd 8 l , y g ll 5 3 5 3 . ‘ ’ 2 1 1 . livelesse: Not q uit e the same as lifeless (See foot ‘ ’ note . Meant for without a iveness . , p l

2 1 . Sta tiie : A word th en rec nt int roduced It is 3 e ly . ‘ ’ ‘ ’ it a icized in Sonn 1 . . Th e m a rk over the u seem s l . 5 5 ‘ ’ meant not to divide th a t from th e e bu a st ron , t to denote g stress m akin the word a s ondee. , g p ‘ 2 2 2 . intendments : But I s in his intendments dis , py g ’ ’ ‘ ch a rg d my pet ronel into his bosom (Jonson s Every Man ’ ‘ in his Humour ) I : a nd sa id nothing but what I protest in ’ t endment of doing IV. ii . ‘ ’ 2 2 . Fondlin : ond in h im she s eaks Since etc. 9 g F l g , p , , Wyndh a m points out th at th e Ca mbridge text errs in uot in Fondli n as if it were a term of endea rment q g g, .

2 0 . ivorie ale: The enc osure of her ivor a rms 3 p l y , d u hi b er inter ac locke ro nd m y h l ed ﬁngers. 2 3 6. bottome grass : So th e luxuriant gra ss growing in a v e i a ll y s ca lled . ‘ - 2 0. rowse: You sh a sa uh kenne the oxe Rowse 4 ll y ll F , ’ ‘ th e Ha Bowlt the on e. e e f u t rt , C i Th s a pt termes o H n ’ ’ ‘ in a re iven in Guillim s A Dis a ofHeraldrie En a r ed g g pl y , l g by t he Aut hor himselfe in h is lifet im e : Together with his owne Addit ion of ex a inin t he Term es of Hawkin a nd ’ pl g g Hunt in 2d edition 1 6 2 cited W ndh am . g ( , 3 , by y )

2 . i himsel e: So th a t if h e h im se f etc. 43 f f l , 2 5 7 . remorse: In the sense of relenting his former harsh ness .

89 VENUS AND ADONIS

‘ na : Blun evi i i 260. Jen d ll n h s book on Th e foure Ch ief st ofﬁcer belon n to Horsem a nshi e 1 6 1 80 y gy g pp ( 5 5 , 5 ) enumera tes a mong th e va rious kinds of ho rses h ome bred ‘ ’ or im o rted a t this tim e t h e ennet of S a ine. p , J p ‘ 26 . bear i n ea r th : Thinko wh en we ta ke of Horses 7 g l , ’ ’ t hem rintin t heir f th a t you see , P g p rowd Hoo es i th t e ’ ‘ ’ ceiving Ea rth ( Hen. V. Pro l . 2 7 ‘ ’ 2 72 . compost : Arch ed or curved ; She ca me to h im th ’ ot her day into th e co mpa st window [t he bow window] ‘ ’ res . I . 11 . 1 1 1 Th e h irs f ( Tro . Gt C a o his m a ne, sta ndin on end u o n his neck bein used in th e ura t he g p , g pl l ,

. scorn ull li sters : An inversio in met e be 275 f y g n r , to stressed scornfii lly g isters . l ’ : k i 2 79 . lea ps In Sh a espea re s t me sa id to be pronounced ‘ ’ ‘ ’ ’ urnin a ll wi t h r He to him e t s lep . B g age l p (Spenser ‘ ’ aerie ueene Bk. i . ca nto iv . sta nza xxx ix . F Q , ) ‘ ’ ‘ ’ holIa : Mea nin Ha t ho-lei rench 284. g , ( , t here ) or ’l F whoa t here a s Cot rave s rench Dict iona r sh ows , , g F y ‘ inter ection. Enou h soft soft no more of Ho a , g , , ; t h at l j ’ v if you lo e me. r k n s urre : Pecu ia r a ro riat e s a 285 . p i c i g p l ly pp p a pplied to th e Ro ma n s ur acco rdin to a irh olt uoted b Ha i p , g F , q y ll ‘ we . It wa s never m a de with a rowe but sim : with ll l , ply ’ A cut is iven showin this ri cki n s urre a single goad . g g p g p a s illust ra ted by a pa ir of Roma n spurs from th e Museo

Borbo nico a t Na ples .

t stri e: ee recedin Not e on I. 1 1 29 1 . Art a f S p g . ‘ - h e ch a te ent it ed Wh at 2 . Round hoo t etc. : In t r 9 5 f , p l ’ ‘ sh a e a good horse ought to h ave in Ma ister Thom a s p ’ Blundevill his o ke o n ho rsema nshippe ( 1 5 80) his oints b ’ p re iven in a reement wit h Sh a kes ea re s words t h us a s a g g p , ‘ cited by Madden : Round h oofe ; p a sterns short ; h is joints grea t with long feawter locks behind which is a signe of force ; his b rea st la rge a nd round ; his eyes grea t ; h is jawes slender a nd leano ; h is nost rils so open and puffed up e a wit hin 0 te to receive a i re his a s you m ay see th re d , p ; 90

VENUS AND ADONI S

th e Romans from Greece was th e only form adopted in both count ries by t ravellers ; h ence it wa s conventiona lly used by t heir a rt ists to indica te a person on a j ourney ; s a nd is a lwa ys worn by Mercury as messenger to th e god . In th e Pa na thena ic rocession from t he Pa rt henon now p , th e ritish M th e horseme occa siona wea r the in useum , n y B ’ ll Peta sus secured e ow t he chin b a a nd . , b l y b

- - 3 5 9 3 60. dumbe play Chorus like: The Pa nt omime o enin the P a found its comment in th e Ch orus p g l y ,

the a ssembly of her tea rs .

6 . A lillie i n a a ile et c. : n li uidi s tr a nslucet 3 3 g , I q uis ut ebu ns a i ui s i na te at cla ro vel ca ndida lili a a q , r e s q S g g , , ‘ ’ vi tro. In th e t ra ns a rent wa ter th e o s white od p , b y b y shines like ima ges of ivory or white lilies enca sed in clea r ’ ‘ ’ ass Ovid Met . iv . Or a s Go din t ra ns gl ( , 3 54 l g ates this assa e descri in h ow t h e fa ir disd a infu bo l p g , b g , l y with whom the n m h Sa macis fe in ove swa m in h er y p l ll l , ‘ sight in a goodly poo l : in t he wa ter clea re h is bodie h ist in l a ea re As if a m an a n faire and white dot gl r g y pp , Ivorie Image o r a Li ie white shou d over ay or c ose wi th ll l ’ l l ure white gla sse t h at were most p a nd . ‘ ’ w t Touch t h e en in th at ove s bow 3 67 . engin : S ee g l ’ ‘ ’ doth end Ovid a n uet of Sence t ra ns . b Ch a b ( , B q , y p te e w ma n. A fa vorite rm in the young r o r k of ‘ ’ Sh a kespea re : 0 th at deligh tful] engine of h er th ough ts ‘ ’ ( Tit . And . III . i . d : h r se eservin t h e common cus 3 9 7 . na ked be A p a p r g jtom in Engla nd from th e t hi rteent h to t h e ﬁfteenth cen ‘ i In st retch n forth turies t o sleep with out any cloth ng. y g ’ ‘ ’ my slout hfull limmes a mid my na ked bed ( Gra nge s ’ ‘ a rden 1 cited b Ha iwe enn ever used to G , 5 77, y ll ll) ; J y ’ ’ ‘ lye na ked as is t he use o f a number (Armin s Nest of ‘ ’ Wh en in my na ked bed my limbs I lay ‘ ( Mirror for See Da te of Composition.

2 . M love et c. M ove towa rd ove is on the ove 41 y , y l l ly l

I h ave of scorning love. r e : The ca re of a s a inst a kin an editor as 424. alla m s p g 9 2 LITERARY ILLUSTRATIONS

M a lone even is not enough to prevent corruption in a m o derni ed tex This i exem i ed in t h e fa ct th a z t . s pl fi t ‘ ’ a la rm was substituted fo r alla rmes in a ll th ree of h is editions as in a ll others from . o n. Co ier rst ch a n ed , 5 0 ll fi g ‘ ’ ‘ ’ to a a Ha itt ke t a a rm but ave f l rms . zl p l g a ootnote ’ i ‘ ex a ning t he meta hor : A a rum ; t rum et summons . pl p l ’ p But th is sense a ies etter to the Poet s own word used ppl b , ‘ ’ in th e ur Be e die to di rect t hese home A a r e pl a l . r a l m s ‘ ’ ( Rich . II . I . i . ‘ 429 . ma rma ides voi ce: Th e mermayden hyghte Sirena is a sea bea ste wonderly shope a nd d rawet h shypmen to ’ ‘ peryll by swetenes of Songe ( a rt ho omeus de ro riet a ’ B ’l p p t ibus Rerum Sh a kes ea re s a usions to mer , p ll ‘ m a ids here 1 . a n e sewhere 1 1 1 o , ( 777) d 4 , C m . ’ l of Errors III . ii . a wa s a ttri ute to th em t he en , 47) l y b ch a nting ua ities of t he siren. q ’l r d : o u h e 43 0. p ess She bore l ad eno gh in her a rt before ea rin t he m f v i Now she is ressed h g usic o his o ce. p down wit h e u den th b r . ‘ ’ 2 . Eares : Corru ted to Ea rths in . a nd not 43 p 4Q , co r rected unti 1 82 1 b Ma one. None of t he ea r , , y y l l ’ l Am erican edit ions needed Ma lone s correction ; Neit her d id Haz itt in 1 8 2 . Kni ht the rst rominent En ish l 5 g , fi p gl editor after Ma one to inc ude the Poems rst ave the l l , fi g co r rections b Ma one a so a ter a rr Cornwa y l , l l B y ll , n Co ier a d ll . — 43 4 43 6. i nvi sible i nsensible : Like for thee a nd

- abhor me . 1 a nd one a nd bone . 2 2 t hese (ll 37 , (ll 9 3 94) a re for recisia ns o ectiona e rh mes. But ike ot her p , bj bl y l a a tements from th e oetica norm a such occa siona b p lly l, l im erfections ma seem a t t ra ctive ike its of com in th e p y , l b b a o ne rst a ed a ttention to th e rh min f h oney . M l ﬁ c ll y g o ‘ i nvi sible a nd i nsensible simi a r in Loves V. 1 1 . , l ly,

- 28 28 . Stecvcns a stick er for form but not for t h e 7 9 , l , ‘ oet ic as th e fo owin evidence shows thou ht t h at for p , ll g , g t he sa ke of etter rh me a nd et ter sense we shou d read b y b , l , ’ invincible. VENUS AND ADONIS

‘ ’ . eeli n : on reason a 4a f g Fro m 50. a ppe rs h ere ia ‘ ’ ’ stea d of eelie wi th one exce tion — effer s ed ition j g p J y , until Ma lone the h t A a restored rig word . g in, th e t h ree ’ ea rl Ameri can editi ons a nd Oulton s et ra t he ca reless y , , b y ness of their texts. The rint e corru tio n y rep th p . — 0. no e es di sturbe etc. : These t wo s a n as 43 3 45 y , t z condense and apply to the present situation the enti re out ’ ‘ ’ line or ar ument of v d s u ce The g O i Banq et of Sen . y con elude with fearing th e interru ti on of th e feast of Love by p ’ u v m is t a the nwelcome guest (1 . O id s poe s o pped by simila r interruption of th e fea st by the sudden sigh t of ’ e oth ers looming u on th e view. As a who , Sh a kes ea re s p l ’p stanzas h ave the eflect of a litera ry allusion to Ovi d s love feast of the five senses . It must have een a reciated ’ b pp at t he ti me by th ose knowing Ovid s oem oth for the p b ’ sa ke of th at and beca use of t he oun En ish Poet s , y g gl h trea ent of As resen b h a a fres tm it . p ted y C pm n ( 1 59 5) th e senses of heari n Auditus smel in Ol actus seein g, ; l g, f ; g, Vi rus ta ste Gu it a r and touch Tacti cs a re successive ; , ; , , ly ‘ a ti ed be in o mes. Ovid gr fore th e terru ti n co , new fi ’ p ly enamour d of j ulia (daugh ter to Octavi us Augustus Ce sar ’ a fter by him ca lled Corynna ) secretly convay d h imselfs into a Ga rden of the Emperours Court : In a n Arbour whereof r nna was a thin a u on her Lute n Co y g, ying p , a d B pl ’ sin in : which Ovid overbearin wa s exceedin lea s d g g g, gly p t se of her vo ce h mselfe with he sweetnes y , a nd to i uttered th e comfort h e conceived in his sense of Heari n . Th en ’ g the Odours shee us d in her a th rea thin a rich savour B , b g th e o he fe in hi sense of Smelli n h ee expresseth j y lt s g. Thus rowin more dee ena moured in rea t contents g g ply , g t ion wi th him selfe hee venters to see her in th e ride of h er , p na kednesse : which doin b stea th hee discovered th e g y l , comfort hee conceived in Seei n a nd th e or of her g, gl y ut Not et sat is ed hee uset h a ll his Art to ma ke Bea y . y fi knowne his ein t here without her offence : o r ein b g , (b g necessa ri offended to a ea se her : which done h ee in ly ) pp , fo sa t is i f t rea ts a kisse to serve r fact on o his Tast, which he 94

VENUS AND ADONIS

lew wi ndows : Wheth e mea nt for e e ids or e es 482 . b r y l y ‘ ’ f Lids a re mea n in . benea th is sometimes do ubt ul . t Cymb ’ — ‘ II . 1 1 . 28 2 a nd Rom . 8t ul. I . i . 1 0 . Yet even where 9 , J V 3 wi ndows seems most a t for th e ids instead of t h e e es it p l y , may be th a t Sh a kespea re somet imes t hinks of t he eye itself e o H the a s t he window whenc th e spirit peers f rt h . ere compa rison wit h t he sun a nd t he closing line (486) m a ke it he e f me unmista ka bly clea r t h a t t ey itsel is a nt (see 1 . : x m h o Ma o e cites 88 . shi ne As a n e a e of t e n un n 4 pl , l ‘ ’ u : His i htnin ave shine unt o th e wor d. Psa lm xcv . 4 l g g g l ‘ ’ . wea re : As ast 1 . 0 show mea nin wea out 5 06 l ( 5 7) s, g r

lxxvii . ’ v rdour : reshness to cure th e summ er heat . 5 07 . e F s A ract ise ofthe a e is a uded to Ma one sa s to revent p g ll , l y , p i nfect ion in t ime of pl ague by st rewing th e rooms o f the d o us he house wit h rue a n od ro rbs . — 1 sta r - a zers a ue : h e a l usion the 5 09 5 0 . g pl g T l t o pla gue a nd t he da ngerous yea re eing cou ed wit h t h e t erm b ’ pl sta r- ga zers suggests t h at a st rologists eyes h ad seen po rtents ’ a s enus s e es h a d wa rnin t hem th at the ea r wo u d be V y , g y l n a ue st ricken W ndh a m h a s inted da ngerous a d pl g . y po out t h at t he d a te of t he poem may be indica ted by this reference to the a ue see D a te ofCo m osition reced in . pl g ( p , p g) ‘ ba r a i nes sea li n : Persona sea s were used in 5 1 1 . g g l l a ce of auto ra h s m a st t imes and a cce ted a s creden pl g p p , p ’ F irho t uo d b H iwe . t ia ls from messengers . ( a l q te y a ll ll ) Hence t h e ert inence of e a document s co nt ract s or p l g l , ba rga i nes bea ring sea ls in wax of t h e signet rings o f t he cont ractors a nd hence th e im a e h ere of t he red i s ike , g l p , l ‘ wax soft to t he im ress o f t h e kiss vowin ove. M , p g l y ’ ’ ‘ for kisses Sca les o f love but sca l d in va ine ( Meas . ’ ‘ ’ Mea s . IV. i . 8 a so Sonn. cx ii . 7 , l l sli s : Count ers or met a disks used a s counterfeit 5 1 5 . p l coins ; employed by Sh a kespea re freq uently a s a pun on ‘ ’ ot h er kind of s i . You ave us t h e counterfeit sa s a n l p g , y ‘ ’ ‘ Wh a t counterfeit asks Romeo . Th e s i t o . Mercu i , l p ’ ‘ ’ ‘ sir t he s i Rom . 8: ul. II . iv . If I cou d , l p ( J 45 l 06 LITERARY ILLUSTRATIONS

’ h a ve remembred a ui t counterfeit thou wou d st not h ave g l , l ’ ‘ ’ . . I . 2 s lipt ( Tro 8r Cress I iii . 5 ‘ ’ - 2 1 . non a iment double : The oet wa s thinkin 5 p p g, ‘ ’ s a s Ma one of a conditiona ond s ecomin forfeited y l , l b b g fo r non- a ment in which ca se the enti re ena t usu p y ; , p l y ( a y the dou e of the rinci a sum ent wa s former ll bl ’ p p l l ly r ecovera ble a t law. r l - 5 2 2 . Is t oub e : Wh a t a n ea r ch a rming line ! Fit fo the kiss- seekin s of v e e wonder r g lip Lo e h rs lf. No t he f bo y unbends and a pologizes or his stiffness . e 5 68 . l ave exceeds commi ssi on : The p rivilege love t a kes s f o verpa sses th e term o the permission gra nted .

. w e be t c. : Whe he cho n e e 5 70 o s s , et n t se on is th most

un ie din then ove o osin O osition woos est of a ll. y l g, l , pp g pp , b

5 71 . had gave: Wh at a ch a nce for co rrection the ‘ ’ ‘ e itors h ave let a ss ! It is a wonder s s Ro fe d , ay , th a t p ’ l v t h ey h a e all let gave a lone here.

5 78 . poore joale : Some scorn of him a nd envy of his k i e It a ke e ch a nce spea s n this endea ri ng t rm . m s the r a der e the s m ath s h a r y p y . ’ ‘ ’ 1 b Cu id s bow: I swea re to thee 5 8 . y p by Cupid s ’ ’ s trongest bow Mid . Nght . Dr. I . i .

a le: A a or . Accordin o t e env a 5 89 . pa p ll g t h i ble ﬂexi i it of En ish a s Sh a kes ea re used it a nd in his b l y gl , p , t ime nouns ver s a nd a d ectives were ca a e of turn , , b , j p bl to o a oth e a a ing in ne n r t ple sure. ‘ lawne u on rose: i rst red as Roses t a 5 9 0 . p F h t on Lawne we a ie Then white a s Lawne the Roses tooke ’ l , he ont ra s x a waie 11 . 25 8 T c t a s e pressed ‘ ’ in Lucrece is hei h tened b rst a in the redness u on g , y ﬁ l y g p n s n h en d ra in it H t he colorless e s a d t with w g . ere it is

different under t he a or the rose is softened in co or. , p ll l

- . lists : Th e technica term for th e ti tin ﬁeld a nd 5 9 5 l l g , rs enc osin the tourna ment W e f t he ba rrie l g ground . h re ore comest thou hith er Before King Rich a rd in his Roya ll ‘ lists no person be so bo ld to touch the listes except the ’ ’ — ma rsh a Rich . II. I. iii . 8 8 ll 37 3 , 4 9 7 VENUS AND ADONI S

. ma nna e : A ain a technica term a s in lis ts for 5 9 7 g g , l , th e discipline of th e horse by th e rider t ha t m a kes him ‘ res onsive : his horses a re red etter for th e are p b b , y ’ ‘ ’ ‘ au h th eir ma nna e A Yo I . i . 1 t g t g ( s u, 3 Sh ees not ’ ’ ac ate et ou must worke her to our m a nna , y , y y ge p ’ Per . IV. vi . 5 7

5 9 9 . Ta ntalus : Whose sufferings in Hades were wit ’ ‘ nessed b U sses Od sse Bk . xi : I sa w i kewise y ly y y, ) l sta nd u to the Chin amidst a i uid a ke Torm ented p , l q l , e Ta ntalus ; y t cou d not s a ke His urning Th i rst . Oft l ’ l b a s h is sco rnfull cup Th old man would t aste ; so oft twas swallowd up ; And a ll th e bla cke ea rth to his feet e descried ; ivine owre a uin him th e a ke sti rie A u D p (pl g g ) l ll d d . bo t h is hea d on hi h trees c usterin hun Pea res A es , g , l g g , ppl , ra nets O ives ever on De icious i s an m a f e G , , y g ; g , d ny ruit l l F ’ s more Of oth er urth en whose a uri o t ree , ; ng st re, wh en th ’ b ll old sou e st riv d to uck th e winds from si ht In loomie , g , g l pl ’ ’ va ours ma de th em vanish uite Ch a m an s t ra ns a tion . p , q ( p l ) ‘ ’ 600 . Elizi um : The Pa radise a s Ph a er ca s it of the , ll , ‘ The word is used in th e o enin Pa ga ns . p g lines To the ’ ’ ‘ ’ Reader in Cha ma n s Homer : He in E zium etc. In p ly , ‘ these a dsome feeldes a mon t he Laure woods a nd gl g ll , onres of a r ers sweete Where u in sof sme ing , g t wi th ll fl b b ’bbl sound t he river fresh dot h b them ecte i Enea s was led y fl , ’ ‘ b the Sibyle to seek his fa ther s ghost ( The six t oo ke of y ’ ’ B he {Eneidos ofVir ill Ph aer s t ra ns a tion t g , l , a i nted ra es : So vivid were t he ra es a i nted 601 . p g p g p p by ‘ Zeuxis th e Greek th a t t he very birds of the a ire flew ’ ’ flocking thith er for to be pecking (Philemon Holla nd s

P in Bk . xxxv . ch . The sa me a usion a ea rs in l y , ll pp ‘ efore th e bee did seek t he a inted ower And irds Ther p ﬂ , b ’ ’ ‘ of grapes the cunning sh adow peck (Joh n Davies s Nosee ’ um Of the ch a n e in this ine of Even so to teips , g l ’ ‘ ‘ with comma a fter maw W ndh a m sa s : Th e Even a s, , y y ra tion rea ks th e rh thm a nd th e second ﬁrst alte b y ,

awkw d in 6 . ma kes the const ruct ion a r l . 04 Lee restores

but not the co on after maw. so, l 98

VENUS AND ADONIS

‘ His eies did glister blud a nd ﬁre ri ht d re a dq wa s to see His rawned necke ri h t d redfull g b , g wa s hi s h ai re which grew as thicke With p ri cking po ints as A i e o ne of th em co uld well by other sticke. nd l k a front of a rmed Pikes set close in ba ttell ra The sturdie ristles y, b a A h o n his ba ck stoode sta ring up a lw y . grea ter tus a a d this Boa e h a l not i h tl ﬁ uch th n h re y s l l g y nde . S

i h tnin ashed fro m his ch a es a s sea red u th e rasse. l g g ﬂ pp , p g Now t rampled he the spindling co m e to gro und wh ere he d d a sse Now ra m in u th ei r ri d hO he m e e i , g p e pe a d th p p p ’ Plowmen weepc. And ch ankt th e kerne in t h e care. ’ ll It is noti cea ble th at Sh a kespea re s la ndsca pe ba ckground is ‘ ’ not th a t of th e owmen of whom this descri tion s eaks pl p p , w but Open woodla nd and ild .

626. roo e: Armo r of roof im ervious to t he s eares p f p , p p poi nt . ’ root s : The a ostro he shows the e isio f e 63 6. p p l n o th e in roote a nd th e ca re to ma rk th e s a e as sin e. , yll bl gl

6 . cabi n : Used to denote a den ike a urrow o r ho e. 3 7 , l b l

La ter 1 . 1 0 8 it is used for the e e sockets as h ousin the , 3 , y g eyes . withi n hi s da n er : Within rea ch of his dea -d 63 9 . g th eal ‘ ’ You sta nd wi thin his d an do ing tusk . ger you not ? ‘ ’ ( Mer. of Ven. IV. i .

6 2 . Kill kill : The a usion to th e senti nell a nd th e who e 5 , ll l ei co ntext suit t he sudden s zure of a town by t h e enemy. ‘ ’ The cr Ki Ki is th e usua cr of those a out to sa ck a y ll , ll l y b c1 ty .

bate‘ breedi n : reedin dissension. Wh en Mistris 65 5 . g B g ‘ ’ Quickly decl a res th a t John Rugby is no breede- ba te ‘ ’ Wives I . iv . 1 2 she mea ns no mischief m a ke no ( Mer . , ) r, o fomenter f q ua rrels . ca nker s r i n : S rin in the sense of th e s ut 65 6. p g p g p ro springing forth th at t he ca nker or worm ﬁnds a soft mo rsel to devour. ‘ tale : Knowin aforeh a nd of our merriment 65 7. carry g ’ ‘ - ii . 1 In th is Some ca rry ta le ( Loves La b V. 5 4 LITERARY ILLUSTRATIONS

ca se the ca rr - t a e is the resent iment of evi th e ver y l p l , y t enderness oflove in th e goddess crea ting the fea r th at gnaws a t her hea rt and teaches it how to divine her a pproa ching sorrow. ’ ‘ ’ 668 . th i ma ination : Th e e ision of the here to ether g l , g with th e Eliza beth an pronuncia tion of i ma gi nati on to rh m e with divi nation oth ein ronounced in four y , b b g p s a es is re uired to ive the ri ht rh thm . Th e yll bl , q g g y ch a n e in the modernized text see footnote . 28 s oi s g ( , p ) p l th e effect .

Uncou le: Loose th e h ounds from t he eash co 674 . p l up ‘ o We ter lin th em to eth er . Unc u e in th e s ne va e g g pl ll y, ’ ‘ ’ let them goe ( Mids . Night Dr . IV. i . downes : h a kes a re seem s t be thi kin o t 677 . S pe o n g f he ‘ wo d dow he t o c Cots l ns. T bes s yl su h as is ra ther h i th an ain fu of downes a Cotswo d count lly pl , ll , l y i most ommodious fo h awki h be ng c r ng, unting a nd a ll ’ ’ ‘ m a nner of plea sures (Burton s Anatomy of

6 . urbli nd ha re: Th e h a re a cco rdin to Dame u i 79 p , g J l ‘ a na a rnes in h er ooke of s ort in is t he mervellest B , b p g, beest th a t is in a ny onde. Th at eest Kyn sh a be ca de ’ l b g l l The huntin of th e ha e i of a ll Venery . g r s a bove fox or ‘ b a dger hunt ing says Gervase Ma rkh a m in his Count ry ’ ‘ Contentments ecause in them t here is not so much , b’ , a rt a nd cunning. ‘ ’ - 680 . over shut : Stecvcns su ested overshoo gg t , and D ce ado ti n it it h a s t a ken the ace of the ori ina y p g , pl g l word see footnote . a thou h it ha s no wa rra nt in the ( , p l g ech nica term of s ort n no a u t s i g, and rt ic a r ust i ca tion l p p l ’j ﬁ , th erefore for ein referred to Sh a kes ea re s word . Ma , b g p p ’ ‘ lone said th a t in Sha kes eare s a e over shut meant to con ’ p g , e ude but he ave no exam e of it . In New En an l , g pl gl d ‘ ’ country regi ons we still occa sionally hea r t o get shut of a thin for to et done with it . Hudson wh o is a most a one g g , l l

- i n ret ainin over shut h a d noted th e same usa e. Co ier g , g ll , ’ ’ a lthough co nsidering Ma lone s expla nation a litt le st ra ined aw no ason for a a ndonin th e also s re b g text . Overshut is 1 0 1 VENUS AND ADONIS

ivcn in g the New English DicL a s an o beok te h rm d ‘ ’ overshoot , on th e stren th of this exa m g p le, and 001: 01 k : ‘ ea r ci ta tion : h ly The oundes h ad over s h ette hyla i lk An ’ ’ ‘ d were upon a defa ult falle Ch a u Detll ’ y ( cer s Bla un che, ‘ ’ 68 . mer its : A a or musit in 3 g p a h ed ge (Couture). The round ho le made in a hedge th rough which the hue tra ces her run derived from the re nch n a ; F , m e, a 110k. ‘ a nd th e diminutive mussette a it tle hole , l . Good and ap pro ved hounds when the h ave found t h e y h are, make sh ’ ew th ereof to th e hunter winding to th e h ares m ’ ‘ ’ ‘ (To sell s oure ooted Beastes e p F F , IVi th har es set in a musit ho e Wi t th ou decea ve th e - pyp l , l d eep earth ‘ ’ de vi n cone The Aﬂectiona te She h erd 1 ted l g y ( p , 5 94, ci ‘ b Halliwe i uote : y ll) . Kn ght q s We term the pla ce where she sitteth her form ; th e place th rough which sh e goes to ’ re ief .e fo helter from o serva l [i . r s b tion] her mus i t (Mark ’ ‘ ’ ’ h a m s Gentlemen s Aca dem Ma on d y, l e restore ’ ‘ ’ the re adin of the ori ina in 1 80 Linto g g l 7 , t t s Umﬁts or ’ ‘ ’ ildon s umsits a ea rin efore a so in O G pp g b , l ul ton and the ns afterwa rds ea rly American editio .

onies : Ra its. Ma in th e Co ne 687 . C bb ll y g reen or ‘ ’ ra it wa rren Two An r Women of A in to n bb ( g y b g , IV, i .) ‘ sa s : Good Lord wh a t rett thin s these co y , p y g ni e s be ! How ne do t he feed t i th e be fa t And t h e fi ly y ll y , n what sweet meat a cone is And wh a t smooth skins t he y y h ave, k and ra An e u fe ets n t both blac g y . d th y p t rr i he h oles ’ And t he o u a nd down w ere co fie, fie y g p h nies li e . cold a ult : The scent no on er ein wa rm e 694 . f g g , b ’ l b cause of the h a re s cunning in interrupting their t rack of it t he hounds a re a t fau t a nd a t much a do to uzz e out , l , p l ‘ Madden sa s : Th e scent of deer is m the tra il a ga in. y uch more powerful to ca nine percept ion th a n t h a t of fox or h unt in t he h a re t here must be m a n c a mo r h a re. In g y l ’ ‘ ousl demanding his sh a re of t he fun ( The Dia ry of y ’ Ma ster Wi iam Si ence . ll l , ’p i r mouth s : A huntin term for t he cr of 69 5 . spend the g y 1 02

VENUS AND ADONI S

‘ ’ rendzie wo d : M d fren ie a i w 740. f s o a z s, r g ng ood ’ Hen. VI . IV. vii .

- 2 . Love lacki n Vestals etc. : The O osition of the 75 g , pp inﬂuence of Venus to th a t of t he Moo n goddess underlies ‘ h v t is decrying of h er ch aste inﬂuence o er Adonis . Know f You ca endure the Live e of a unne Fo e i n ri N , r ay ’ to be 1 n sh ad C oister mew d To ive a arren sister all y l , l b our ife Ch antin fa int h mnes to the co d fruitlesse y l , g, y l ’ ‘ ’ Moone ( Mids . Nigh t D r . I . i . 77 ‘ ’ reaves : An a rch aic form of ereaves . An o 766. b gl ‘ ’ Saxon reo a n to de rive wh ence come the modern forms , f , p , ‘ ’‘ ’ ‘ ’ reft ereft a nd ereaves . , b b old more old be ets : hi i a so one of Le n 768 . g g g T s s l a ’ ‘ der s a rgument s to persua de Hero : Trea sure is a busd When misers keepe i t : being put to loa n In time it will ’ ‘ ’ return us two for one Ma r owe s Hero a nd Lea nder irst ( l , F

Sestyad) . ‘ 6 . Adan : For thilke ove thou h addest to Adon 7 9 l , ’ ’ ‘ Have pitee on my bit ter teres sma rt (Ch aucer s Knightes ’ Ta e 222 l , 7

M rma ids : See recedin Note on 2 . Indi 777 . a p g 4 9 e o a there t h a t A onis onsiders e oice r ctly, it is t be g d d c h r v o a lso sweet and peril us . ‘ i et closure : Within the entle c osure f m 782 . qu g l o y ’ i brest xlvi i .

ere e : An act ive use of the ver . Here it s 79 7 . b av s b m ean ‘ ’ v v ed lea es de astat . ‘ se: In ea rnest in all seriousness . I 807 . in sadnes , n ’ ‘ ’ ’ ood sadnesse I do not know A s We IV. iii . g ( ll ll , ‘ ’ te n : Of i hes of rones of sorrow a nd f ene 808 . e e s g , g , , o t e ‘ ’ ( Loves Lab . IV. iii . ‘ o e L un n 8 1 3 . lawnd : A out t he midd e f th a d a risi g b l ’ o fro whence a m a n m i ht overlooke th e ﬁeldes gr und, m g ’ ‘ in s id Bk . viii . 1 00 Th ei r com (Go d g Ov , 9 y l l ’ coursing steedes a long t he l a undes doe feede unbound ’ ‘ Bk . vi . For th rou h this La und a non (Ph aet s Vergi , ) g l ’ ’ the Deere wi come Hen. VI III . i . ll , m 4 LITERARY ILLUSTRATIONS

‘ ’ in er 81 5 . sta r shooteth : As shoots a st reaming st ar m W t s ’ ‘ ’ Ni ht Pecle s Ta e ofTro g , ( l y,

826. mistrust ull : u of mist rust a forest fu of fea r f F ll , ll for t he nigh t wa nderers . - r 83 0 840 . the neighbou caves eechoes so So Lodge m a kes Scilla wa ke the echoes wit h her lam ent a tion ’ ‘ over her lover s coldness : Eccho h erselfe when Scilla cri ed out 0 ove ! With iteous vo ice from out her hol , l p en e w e e wo s of sorrow no low d R turnd t hese ords , t h s rd , ( , ove NO ove uoth she then fie on t ra iterons men Th en l ) l (q ) , fie o n hope : th en fie on hope (q uo th Eccho) To everie wo rd th e nimph did a nswere so . For everie sigh t he rockes returne a sigh : Fore everie tea re th eir founta ines yield a d ro Ti we a t a st th e a ce a roa ched ni h And hea rd p ; ll l pl pp g , nim h t h a t fe o o owes so m a e woods and waves th e p d n s rr p k , , a nd rockes a nd hi s a dmi re The wonderous force Of h er , ll , ’ ’ e 6 unt a m d d sire (ll . 9 7 r : H e t i —fl ere wh h o . a a sits a n on cour er att rs o l 848 p g rs , lowly a nd therefore a s it seem s m ockingly echo her own ‘ ’ T eo a a ro osed wi h ts to t a ke the words . h b ld r shly p p g ‘ ’ i e o h m e w a rasite pl ace Of wits (l . 850) n ord r t r y ith p s ’ ‘ in th is modernized form ( ortin s Miscellaneous Observa ’ J o s o Au o t i n n th rs,

8 . Ta sters : Like rancis a nd h is fe ow drawers of 49 p F , ll ‘ ’ 1 Henr IV. II . iv who const ant cr th e same thin to y , ly y g ‘ ’ ever od Anon anon sir . yb y , , , is s i s : A v io ike the fore oin 85 1 . t o t so a ri at n l g g ’ ‘ upon Lodge s st a nzas : Gla ucus (q uot h she) is fa ire wh ilst Eccho sings Gl aucus is fa ire : but yet h e h a teth Scilla The wretch repeats : a nd then h er a rmes sh e wrings

Whi st Eccho te s h er th is he h a teth Sci a . No ho e l ll , ll p uoth she : no ho e uot h Becho t hen Then ﬁe on (q ) p (q ) , ’ ‘ ’ men when she sa id ﬁe on m en Scillae s Met amor hosis ; , ( p Enterla ced with the unfo rtuna te love of

8 . mo st cabi net : His dew nest a itt e ca in in the 5 4 y y , l l b ,

d not e f o vit . o e 1 6 . sense a lrea y ic d o a r unded ca y N t on . 37 ‘ he m r n : H ke h e 85 5 . wakes t o ni g ea r , ea rke th e La rk a t 1 05 VENUS AND ADONIS

’ Heavens a te sin oe s ins a rise II iii. g g and Ph bu g . 23 of o 85 8 . Ccader tops : The peculia r beauty g lden light on the lustro us green of th e ceda r tops singles out these t rees a s ﬁt to ma te with th e hills th a t also t a ke th e glory of th e i h t with the burnis ht ook noted . l g , l

863 . sonne ea rthly mother : Mea ning Ado nis whom sh i od of i His e pra ses in compa rison with th e g l gh t . ’ ‘ ea rth mother was M rrh a a s is to d in Go din s Tenth ly y , l l g ’ ’ ook Of Ov e o B e id s M t am rphosis .

mi rt e rov : e m s red t o s. 865 . l g e Th yrtle wa s a c Venu Sh a kespea re m ay ma ke his goddess mindful a mo ng these t rees of e m rrh r h en e A onis wa s o His th y t ee w c d b rn. mother M rrh a a skin a rdon Of t he od s fo r th e a ssion , y , g p g p Venus h ad stirred in her a nd which she h a d indu ed lg , Hee her begged th em to deny her bo th life a nd dea t h . ding p rayer she was turned into a t ree d ropping myrrh fo r tea rs. ‘ He son Adonis rew th ee- t nk ti th e ks r , , g in e t r ru ba r ll ’ deviding made away And yeelded out th e chyld alyve.

8 0. coasteth : Ski rt in a out th e ed es of thicket s and 7 g b g , o st ac es in the di rect wa for which sh e must ike a b l y, l ‘ o Th e Kin er vessel a longsho re c ast a nd ta ck . g p ’ ‘ eive him how he coa st s And h ed es his owne wa Hen. c s , g y ( ’ ‘ ’ III . ii . 2 Posteth wa s su sti tuted in VIII . 5 b a c ums a nd intentiona sort of ch a n e much li ke an l y l g , ’ editor s .

- h r nnes the bushes i n the wa some etc 87 1 872 . s e u , y, ,

As she runs the ushes ein in h r wa et c. W ndh a m , b b g e y, y comments u on the omission of the comma after wa in p y, ‘ modern editions th a t this m a kes the next h ra se awk , p ’ ‘ “ ” wa rd . He omits the comm a a fter runs e ievin t h at , b l g ver to be t ra nsit ive a s in th e h rase th e fox ra n the b , p ’ o m si n seems es ecia desira e mea dows. Neit her is o p lly bl when th e sense is so well shown a s it sta nds. — a tch hi sse twi nd : Th e use rst of the 872 873 . c ﬁ

esent t hen t he a st seem s to be intended b t h e Poet . p r , p , y It suits the beauty ofthe picture to suppose th at some ofth e 1 06

VENUS AND ADONIS

over the eeli n a rt s who a re ike soldi ers under its uid f g p , l g a s a e a ead of t he a in a ea a nce of e a nce, h e g r y run h r th l pl pp ’ fi ure in . 8 a nd a rea d here h as in uenced t he Poet s g . l 9 3 , l y , fl ” 7 pronoun 1 0. - h sica sensation a nd oo k are 09 2 . cold pa le : Th e p y l l The essn ss offe er reported at one stro ke. bloodl e a r m a kes h both cold a nd a e in wea kness . p l ’ Bids them etc. The Poe s a rran ement to e the M . , t g ma k co min event sur risin whi e so a rtfu re a rin for it g p g, l lly p p g , finds a ch a rming inst rument in this a ssert ion o f a word of ' e o ve fl co mma nd over h er fea rs . Th a re t ea o she sa s y l , y , s ea ki n to th em ike nau h t chi d ren when sh e s ies the p g l g y l , p

boa r. ’ r h be i nte red : id s o w a 9 01 . f ot ie pa d Ov a r as ’ b fo rerunner of Sh a kes ea re s. The fo owin ines in p ll g l , addition to those before q uoted (see Note on a re in ‘ point : The sca ding fome wi th gna shing h o a rse which l ’ i h i e as r es a i e A a in : he did ca st a side d d w t Cu d b d . g ‘ t he moodie bea st ch afing ut t reth forth h is ire. The fire did spa rkle fro m his eyes : a nd from h is boyling brest He brea th ed fla ming fla kes of fire conceyved in his he t And runtin fla n h is fome a out to i er c s . g g g b g th ’ - - mixt with ood the ei h t ooke . 80 8 1 6 bl ( g B , ll 3 3 , 47 479 ,

‘ 0 m d ned b W ndh a m as e ua t o con 9 9 . ate : Defi y y q l founded : from rench mater to fa t i ue Old rench mat F , g , F , s e m ers n t worn out : a ll from th e ches t r , P ia sha h ma , “ ” En ish checkm ate itera th e Kin is dead . gl , l lly, g res ects: Ca refu considera tion of det a i s a nd sma 9 1 1 . p l l ll ‘ ’ Ma one sh rewd referrin t o the o st ac es . This sa s b l , y l , ly, g o m a rison of t his mood with th a t of a drunken bra i ne c p , ‘ ’ ' is one of our a uthor s nice O serva t io ns . NO one aflects b ’ mo re wisdom tha n a drunken m a n. ‘ ’ la mouthed mour ner : The who e assa e as 9 29 . f p l p g , ‘ ’ ndh am O serves a t tests the Poet s intimat e know Wy b , l ed e of t he ch a se a nd it re ects th e use of such th emes g , fl ’ n c t medie va oet r . The death of e on in i our ly l p y B g , 1 08 LITERARY ILLUSTRATIONS

‘ ’ a e d e fo est b G rin l Loherain, which is mourne in th r y

his do s is a n exa m e. g , pl

3 5 . worlds oore eo le etc. : An ex ression showin 9 p p p , p g h ow t horoughly the Poet app recia ted th e folk-superstition t h at h a s crea ted such a od of omens and ortents fu b y p , ll of interest and of dread .

. e a es n death : ee ou ces f ention 3 0 xcl im o S S r . 5 4, or m 9 p ’ of a similar apost rophe to Deat h in Tarch agnota s ‘ - Lee oints o t th e curious stanzas 54 5 9 . p u ’ ‘ a ra e th at on Sh akes ea re a nd t his It a ian oet assign p ll l ly p ’ l p a n s eech of this kind to Venus and th at oth ma ke y p , b ‘ ’ ’ et e e h a kes ea s is so much h er r ract h r indictm nt . S p re more rea istica ortra ed a nd human thou ht out l lly p y ly g , th a t it is ossi e to su ose th at th e event — death p bl pp , be on in to the Adonis ot so to s ea k ma h ave ta ken l g g pl , p , y o e i tw po ts n a simila r direction.

Ha rd avo rd : ee I. 1 a nd Note. 9 3 1 . f u S 33 ,

0. ra ndon : Not with a eve a im but with a swerve. 9 4 l l , A h untin term for the whee in curve in the same ace g , l g pl on th e f a e st th a t is wounde The old form ground o b a d . f o m d Not e oo t his r the Old French ra n on. b ing underst d ‘ ’ wa s ch anged to random st ill perpetua ted in the modern i ed t exts Oth er eanin s a kin to th is e o to th e e v z . m g b l ng d ri ‘ a tives from th e rench ra ndonner to st ra at a r e : free to F , y l g ’ ’ ‘ randon of the r wi e errex 8cPorrex I 1 Her rod y ll F , . ’ ‘ ’ to him with rea t randoun Beves of Hamtoun . g ( , p

Loves olden arrow etc. : Ovid re resents Cu id 9 47 . g , p p a s saying to Ph ebus th a t h e would a gree to shoot th at ’ ‘ ’ od s wa ik a ever ea s e u to oot h is g r e wea ons t y t , b t sh l p ’ b own a rrow Phe A o o s dead da rt is erh a s ike s at bus. p ll ly p p l ’ ‘ ’ dea th s a s Sh a kes ea re fa ncies it ebon but Loves a rrowes , p , , ‘ ’ a re described thus ( The First Boo ke of Ovid s Meta ’ ‘ mo r hosis 11. 66 tone ca useth Love the tother p , 5 , dot h it s a ke Th at causeth ove is a ll of o de with l . l , g l o int fu sh a e nd ri h t t h a t ch a se ove is unt r a g , th , p ll p b ’ l bl whose stee e with eaden h ead is dight . Ma one sees a l l l ’ reference in this ine however to a fa e in Whitne s l , , bl y 1 09 VENUS AND ADONIS

’ ' Em ems . 1 2 to th e eﬂect th at Dea th a nd Love once bl , p 3 , sojourning togeth er in a n Inn on going away in t h e mom

ing exch anged a rrows by mista ke. ‘ 6 f v 9 5 . va ild Do not orever with thy ayled lids Seeke ’ ’ for th No e a ther in the dust sa s Ha m et s Mother y bl F , y l

I . ii . 76

6 . Christals : The c ea r cr sta a s of th e m a icians 9 3 l y l b ll g , n ‘ used for divining. Scot gives directio s how to ma ke a ’ ‘ ’ it a ea r in a cr sta Discoverie ofWitchcra ft Bk. spir pp y l ( ,

xv. ch . xvii) . 8 1 Or ient dro : A sti more recious and su reme 9 . p ll p p tea r t he ea r s of the Orient ein the choicest a nd this , p l b g , dro instead of swimmin in the ch r sta l rison of her p , g y p e ike ea rles i n lasse we s out u on her cheek to me t ey l p g , ll p l ‘ the e ha i instead of ein drunk b ea rt h . Shores r pp ly, b g y ’ ‘ rink ed with rich orient ea r e Or a ndo urioso sp l , p l ( l F 88 es a i re a nd ho e ma ke a 1 3 de 9 . D p p s : Th t , spa ir and

hO e a ternate each makes etc. p , l ly, , “ a ni n w n 999 . whenas . Me ng o more th an he , a com ‘ ’ io of o d i used in whe ea binat n w r s st ll r s. ‘ 3 002 . decesse: from the La tin decessus e ual to de , q ’ cease t his form ein ch osen to rh me with con esse. , b g y f 1 01 t mbes tories : Two taste ess ch an ave 3 . o s l ges h ’ ‘ ’ een ro osed Theo a d s of tombes to domes fortu b p p , b l ’ , natel not ado ted Ma one s ma kin stories a ver b y p ; l , g , b y t a king out the comma after th at word in t he origina l text . The o ection is th at the two verses of th e cou et mate bj ’ pl one another in idea as in form . Dea th s victories a re the mementoes of his power in the trophies a nd sta tues of his st rong opponents of h ero ic life whom he ha s conquered ; their tombes a re his tri umphs the stories of th ei r a chieve

ments to d by minstre s and oets ecome h is lories . ’ l l p b g Malone s cha nge h as unfortuna tely been adopted (see footnote . Kni h t went even further uttin a , p g , p g ‘ ’ semico on a fter tom s . On Co ier Grant White l b ly ll , ,

Ha iwe Herford and Verit h ave not fo owed Ma one. ll ll, , y ll l Fa ulcons : As fa cons ﬂto the re attractin l y p y, g 1 1 0

VENUS AND ADONIS

1 08 1 086 a i re a i re: a irness a i re osin its 3 , . f f F f l g ‘ a s a n a d ect ive be omes a noun M deca ed fa ire form j c . y y ’ ’ A sunnie loo ke of his wou d soone re a ire Erro rs II . i . l p , 1 03

1 0 t L on e . In o de o see him et not fr i hten 9 3 he i , tc r r t y g e i e him th l on wa lked a long behind some hedg .

1 1 00 . shes s read et c. : Gi din his sh adow t h e so ﬁ p , l g ; y oved a ll t he cou d rea ch of him th e desired to m a ke l y l , y k fa i s ife its d a r ness r a l .

1 1 - 05 . urchi n snowted : With a snout like th a t of a hedgehog. 1 1 1 0 thou ht to ki sse him : Th eocri tus in a n Id . g yl common a scri ed to him th ou h dou t fu so h a s a ly b , g b lly , simi a r fa ncy . As a ready o inted out it a grees c ose y l ’ l p l l with Ta rch agnota s st a nza t o th e sa me effect . (See

Sources . fo r t h ese a ssa es . Ma one cited a so a , p 5 4 p g ) l l

La tin oem De Adoni a b A ro I nterem to of Minturnus . p , p p 1 1 28 o m s i es : It is fort na te th a t i so . tw la p l u n m a ny ca ses t he rhym e m a kes it impossible fo r t he edit ors to m odernize the s nt a x a nd thus disco o r the nai vet ies y , l of t he o ri ina . Here t he rh me e es m a kes li es im era g l y , y p

ve The una tered o io tex t ives m a n a a ra e : e. . ti . l F l g y p ll l g ‘ ’ The grea t m an downe you m a rk his favourit es ﬂies . This in th e modernized text the ua rtos a nd oo rer , Q p ‘ ’ ‘ ’ o ios is co rrected o r edited a s th e ca se m a be to F l , y , ‘ ’ fa vourite ﬂies . ‘ ’ i ht : This s e in of s ite is intended to 1 1 3 3 . sp g p ll g p — m a te it with the rhyme light.

1 1 3 5 I propheci e : This prophecy of th e goddess (11 . 1 1 46— 1 1 66) is th e deepest a nd most peculia rly Sh a ke t o ke of t i spea ria n s r a r n th e wh ole poem .

1 1 - 43 . ore stra wd : St rewn over a s rushes or st raws on ‘ - ﬂ A f esh e fee d of ie whom a er t h e st a ge oo r . r r l a r l rg ’ ’ i h t dot h overst row Ph a er s Vi r i Bk . vi . Edition of l g ( g l ,

- 1 1 4 . sta r i n : o d e ed a n a d ect ive t ha t ut s the 9 g B l y , j p bl ust ering loo k of t he ruﬂi a n before us suddenly q uiet ed 1 1 2 LITERARY ILLUSTRATIONS

in ance b ove. Rou hm a n a s modi ed b his hum er gl y l g , fi y bl ’ ‘ a t t a chment for ess ridges in Heywood s ai r Ma id of ’ B B F t h e West exem i es th e ch a n e in ooks. W ndha m , pl fi g , l y ‘ ’‘ ’ su ests th at stari n m ea ns unkem t rist ike the gg g p , b ly, l ‘ ’ st a ring coat of a n ungroomed ho rse. r le oure : See Sour e fo i ower in 1 1 68 . a pu p fl c s r th s fl o ther versions of the sto r . Th e a nemone or wind ower y fl , ‘ ’ a nemone or naa mon ( th e da rling ) called by the Ara bs ‘ t h e wounds f a a m on 1 s su osed b intended o N pp to e . ‘ ‘ ’ Com a re t he mi ke- wh it e ower now ur e with ove s p l fl , p pl l ’ ‘ ’ wound Ni h t D r . II . i . The s e in of ( Mids. g p ll g oure is mea nt to show t he ronunciation in one s a e fl p yll bl ,

- a s in 11 . 1 1 1 1 1 1 1 88 inst ea d of the two s a ed 7 , 77, , yll bl

ronuncia tion of ower rh min wit h ower in . 6. p ﬂ y g p ll 944, 94

ee a . S lso 11 65 and 66.

1 1 0 . s ilver doves : See 1 . 1 a so 1 . 1 0 and Note thereon. 9 5 3 , l ‘ ’ Sh a kespea re h a s chosen doves in pl ace of the Swa nnes ‘ ’ ’ a nd Cygnets of Golding s t ra nsla tion from Ovid (see ‘ ’ ources fo ext ract . The Dove of a h I S r ) P p os V.

Pro l . Pa hos : The cit of C s dev cia 1 1 9 3 . p y ypru oted espe lly t o t h e adoration of Venus a s E h esus to th at of ia na p D . ‘ ’ ‘ I met e eitie sa s Iris cut in e c a h r d , y , t g th ouds tow rds l ’ P a phos : a nd her Son Dove-d rawn wi th h er

IV. i . 1 03

1 1 . immure hersel : This touch showin th e i ht 94 f , g l g oddess seekin to sec ude herse f in th e so itude of rief g g l l l g , ri n s her c oser to mort a s a nd adds a h ea rt—ca turin b g l l , . p g nish to th dain ﬁ e ty story.

1 1 3

Sta unton

it A. W. Ver y Wyndham . Poems Herford Sidney Lee (Ch atsworth )

1 1 6

VENUS AND ADO NIS

r n a u . 8 stor s u Cba n V n. Ba es (b r ns ) , L e , 9 , e p ﬁ g , e Ad. , 2 . 5 , - te br t n Ven . Ad. 6 fretti n t a Ba eed g , , 5 5 , g , g ; 1 1 1 .

ls. ii . 1 1 6 M ca using ua rre ; a c I i . 1 09

a telesse ﬁa teless Luc. not to Cb a m a i ne clea m a z n B ( ), 9 , p ( ﬁ k ), Lue.,

be b unted . 1 247, level country .

a ttell ba ttle Ven. 81 Ad . 61 Cba r a cter d cba r acter ed L . B ( ), , 9 , ( ) , uc - t . 80 on seco ba tle line 7, stress nd sylla ble

t r ba t V n. A . 2 6 ra w . Ba t y ( t ery ) , e 8: d , 4 , d n s l Clzea r e c er u 2 a s a u t. ( ﬁe ), L e., 64, coun

a nk lk . 6 6 ref s t tenance. B (ba ) , Luc , 9 , u e o

Cko s . 2 p Lue , 1 4 , lines, furrows.

a V n. A . fa ci n th e Clzur i s lz V n. Ad . 61 6 sa B }, e d , 877, g , e , , va ge.

a me T°m of Sh r . . ii. 6 . C ner Lue. 8 1 1 deci h er . g ; V 7 to , , , p

8 C1 r cums ta nc Ve . . Be Lue. 8 a11 r1 e n Ad 8 , , 3 , , 44,

Be ni ld (66 utted Luc. 1 d eta s of to . g g ), 5 44

1 lin or d ece tive. C[ a iluc. go ge r ma d e be u a ve. g g p y , , z g

b Luc. a n Beld a fne ( elda rn) , 9 5 3 , Cle ly , Ven. Ad . ,

a n oth er . letel clea ne o nn. g r dm ; cf , S ,

C y . L c. E s Ad Ber ea ves Ven. 81 Ad . u e en. & calls d ubs. , , 79 7, y , 5 , , im a irs s oils . Cl Ven. Ad . embra ce ; 3 73, p , p f, , . 1 1 2 th ree s l i a s il 1 B s ed , Luc , 4 9 , y s . P g . , 7.

labes Closu r e Ven. A 8 , 7 2, close, '

ew r a xd bew r a ed Luc. 1 6 8 enclo ur e on . B e( y ) , 9 , s ; S n

ex osed Sonn. Mus . Coa s tetlz Ven. Ad . 8 p ; , 70

A . 0 h a V f a ba s e V en d c al h er n. I Bid , . 8: , 3 3 , w y ; He I, I l

l n to a ra ce Two . Gen. of Coa te o t L e ge ; (c a ), ue., 2 06,

V . 1 06. m er . , iii . a r s .

Bl nt V . Ad . 88 Lue. Cock ea tr ic cocka tr ic u , en 81 , 4; , e ( e) Lue.,

1 rou h sa va e. 0 fa bulous wi n ed se ent. 5 g , g 5 4 , g

Bo1n bollen Luc. 1 1 swollen. Cold Ven. : Ad . 6 08 ( ) , 4 , 8 , 94, e right 1 wn gl onn n Bond Lue. 6 o ers S . sce t. , , 3 , p ; ,

Colour Lue. 2 6 retex t , , 7, P

ss bootles s Ven. A d . Tv 0 Gen. l . Bootle e ( ), , 5 . ' 2 1 un ro ta ble. Com or ta bz‘ uc. 1 c$1eenn 4 , p ﬁ } , g r a s se - s I Bottom (bottom g r a s ) Lear , I . ii . 1 68.

. fd . 2 6 ra ss rowin m is si on V n. V n 81 Com e d . e , 3 , g g g , A , 5 68,

lle or low m ea d ow . a nt ch in a va y wa rr , a rter.

B r a vi n Luc. 0 ch a llen n Com a ct V en. 8: Ad . 1 com g, , p , 4

11 1 i d sed Mi s . N t B r ea tl un 1 0 e Ven. 5 o d i h r . 1 0. ; i . g , p g

1 2 time of d ra win a brea th Com a r e L uc. 0 . com a rison. , g p , 4 p

ad e bulk Luc. 6 ch s t . m a r ed Ven. A . B ( ), 4 7, e Co , 81 d 70 1 , three r - wi s e L l l B u den uc. sy ab es.

1 1 as in th e refrai n of a son . Com a s t com a ssed V 33 , g p ( p ) en. Ad ., h r 2 72 , a rc ed ; T o . Cres I.

a bi net V n. Ad . in . 1 1 2 . C , e , 85 4, ca b , u

nest . om lled 1 C pe , Lue., V Ca nk er , en. 81 Ad . , 65 6, ca nk er la bles .

worm Sonn. . . 2 om la i ne ; 3 5 5 C p d , Luc. - Ca r r ta le Ven. 8: A d . 6 ell lai ned of b ewailed . y , ’ , 5 7, p V V l o si ove s La b I t nc a l d . ta e s L Co e e en. 81 A d . Lue. , g p , , 3 33 , ,

6 800 th ree s lla bl . , y es

Ca r ved Luc. 1 two s lla bles Concei t concezt t conc i , 45 , y . , j ( e t) , L uc.

a tcl un Ven. Ad . 2 1 bei n 0 1 1 2 8 th ou h t 1 C g , 3 , g 7 , 9 , g ; 42 3 , inven

ca ugh t. t1 0n.

Cens ur e Ven. Ad . B ed . 6 Conce ted conceited Luc. 1 1 , , , ip )i 3 7 t h a ud e Sonn. if ed wi t ima i n t o j g ; , g g n. GLOSSARY

Lue. 1 1 60 ex eri 1 002 r in wi Conclusion, , , p h ym g th conf use;

. . 2 6. ea 3) ment : Ant. Cleo . ii (1 , V

ond uct Lue. 1 uid e ich . D ecli ned Luc. 1 0 th ree s lla bl C ’ , 3 3 , g ; , 7 5 , y es .

I I IV. i . 1 . D a m e L ue. 68 8 1 1 0 noun , 5 9 ef , , 7 , 7, 3 3 , ,

n r d Lu 1 1 th r s l i nfa m . Co ﬁ me , c., 5 3 , ee y y 0 m V la bles. m ” en. 8: Ad . 6 , , 73 , dis 2 em ent 60 . confound s, Luc. 1 ,

2 0 1 202 1 8 destr o d estro s . D e d Lue. 1 02 th ree s llables. 5 , , 4 9 , y, y , , 9 , y

n ea l d V n A . 1 1 2 2 Luc. D e r i ve Lue. 1 1 86 1 2 ta k Co g e , e . 81. d , p , , , 75 , e

1 th ree s lla bles. a wa . 744, y

om es V n. A . 68 r a bbits Des ca nts d esca nt s t Luc. 1 1 . C , e d , 7, ; ( e ) , , 34

A s Y ou I II . 1 1 . 2 . sin est wi th var i a tions . , 3 9 g s on D es i sed V n A d 1 th Lue. , 5 68, stres p , e . 8: 3 5 , ree l e so emnly ch a rg es . sylla bl s . D d e 8 Lue. 8 str ess on rs t emise ( vice), Ven. Ad . , , 94 , ﬁ 7 l s ll bl m nner conc tion A Y ou . y a e. a , ep ; s ,

Contr old contr olled Luc. 8 i . 1 6 . ( ) , , 4 , 3

6 8 overcome ; contr olled 011 . D i a a son Luc. 1 1 2 d ee tones 7 , , p , , 3 , p

Ad . 2 0 Lue. 2 th ree in h a rrn n wi th a n ai r . , 7 , , 7 7, o

lla bl . D r es s i on no. 20 2 error tr a ns sy es ig , , , ,

C nver t onver ts Luc. 2 r ession. o , c , , 5 9 , g

tra ns1 t1 e turn turns . D i s bur sed Luc. 1 20 th ree l m v , , , , 3 , { sy

Conver ti te Lue. str ess o n lables. , 743 , l l m t n D i sch a r ed L . 1 0 three s l third s l a b e e e t. uc y ; p g , 43 , y

e Ven. A . 888 nco nt la ble Cof , d , , e u er ; s. ' ' co t co ed wi t/z Luc. D r a i ned Lue. 8 th ree s lla p ( j ) , , 99 , , , 9 7, y t f t un red Tro . s . i es. me , enco e ; 8: Cre

d i sho nour ed Lue . I . 1 1 . 3 7. D is honor e (d ), ,

Co es ma te Luc. 2 com a ni on. 1 1 8 th ree s lla bles. f , , 9 5 , p 5 , y t L 8 1 Rom i i ned Ven. A . Cote ( uo e , uc. , 2 , note ; . i rjoy nd (d syb ) , 8: d

ul . xv. 1 . 1 se a ra ted h imself. , 3 5 4 , p - unt a i te unter i t L e. D is enc di s ens e wi /1 c. Co erf (co fe ), u , p e ( p ) t , Lu

1 26 reflected ima e. 1 0 0 1 2 ex cuse Sonn. 1 1 2 . 1 2 . 9 , g 7 , 79, ,

Cour a e Ven. 8: Ad . 2 6 tem er D i s ens a tzon Lue. 2 8 ﬁve s l , , 7 , p p , , 4 , y

o en. Ad . 1 1 2 cornful. la l C y , , , s b es.

owck etk couc tk Lue. 0 zir er s r L 1 80 C ( ke ) , , 5 7, p t (disf e s ed ), ue. , 5 ,

tra nsi tive mak es cower . stress on r st s lla ble b eca use , ﬁ y ,

C r a nk es cr a nks Ven. 8: Ad . imm dia tel ollowed b th e a c ( ), , e y f y

682 , twists . cented n um - r es t wound i n . 82 8 st s a o 1 tim es . C Luc a in m l . . s g , , , p , no , Arg 9 , ° £12s lla in fa mil h o nor . uta 6 g y tzon, Luc., 24 , y

r osse cr oss Ven. Ad . ﬁre C ( ) , 8: , 734, s.

a rt i n er . D zss V A . ca us th w , h d enti ous , en d , 65 7,

r ious Ven. A in n C u , 8: d . , 34, ela b g diss e si on

t L e. 1 00 11 ci all . D is t m Ven. ora e ; u , 3 , y e

r l d Luc 8 1 two s lla bl s 8 6 isturbin . Cu e , 9 , y e . : A 5 d g - Cu r sed bless ed Luc. 866 four s l D i s tur bed Ven. 8: Ad . 0 Lue. , , y , , 3 4 , ,

la bles . th ree 8 lla bles . 45 4, C ur s t Ven. 8: Ad . 88 erce ; D w ed a er en. 81 Ad . 86 d ab , , 7, ﬁ pp , , ,

T o Gen. o f Ver . I II . i . . ch i ter fowl resemblin w , 3 3 7 ck , a wa g

th e g rebe.

. 6 0 ﬁ D i vi na ti on, Ven. 8: Ad , 7 , ve

a n er Ven. A . 6 th e s lla bles . D g , d 39 , y

r a n e of h is d an erous o wer . D o Lue. 1 0 2 d o wi th ; done g g p , , 9 , ,

e. 2 f . 2 t D us k , Lu , 06, m a rk o i nfa m Lue , 3 , a a n end . V r 1 t lla bl D eeesee (decea s e), en. 8: A D enck ed .Luc. 1 00, wo sy es.

1 2 1 VENUS AND ADONIS

Luc. 1 1 2 m our nful F ier r e Ven. Ad . Dung“, 7, (ﬁ ), 3 34, two ‘ ‘ m e I wo Gen. of Ver . I I I s lla bles i us ; , y , j

1 1 . sé F 1 er 1 e Lue . 2 , 3 7 , wi th bla zing ea rns .

r a r V n. 81 A d . D e . 1 F i ne ue . 6 t E a e (e ) , e , d 3 , , L , 9 3 , pu a n end to

lo u h till. F la wes a ws Ven. A . g , (ﬁ ) , d 45 6,

E on Ven. Ad . 8 bla ck a s bur sts of wind C or . v. iii . 8 . , , 94 , ; 2

o F lower Ven. Ad 8 two eb ny , 81 , , sylla n 6 1 2 2 ei ne bles E ien ( ey e) , Luc. 43 , 9 ,

ne V n A . 6 o ne s l F olli e oll Lue . 8 1 w (ey h e d , 3 3 , y (f y ), , 5 , anton la ble: eyes . ness

E lement Luc. 1 88 sk ; H en. F ond Ven. & Ad . 1 0 2 1 L uc 1 , , 5 , y V , , , 3 4,

V 1 1 0 tin lu d . I . i . . d o g, d e d e

k d . Ad . 8 1 8 th r ee F ond li e ond l L E mba r e Ven 81 , , (f y ): ue. , i sylla bles . bl ndly.

E m t ti e em Ven. & Ad . F ndli n Ven. 81 Ad . 2 2 i ( ) ), 5 5 , g , 9 , da r 1 h ung ry l1 I . i . 3 0 . om g .

E nti tu a t i nti tula ted Luc. F or r wk Lue. 1 1 2 1 2 l e ( ), , ﬁ ] , , 4 , 2 2 ,

h a cla im . b eca use. 5 7, a ving ' nvi ous Ven A d . 0 m ali F or ce Luc. 1 02 1 value Cf. Love s , , 7 5 , , , , ;

io La b . . ii . 2. , V 4 f w s es oused Lue. 20 F or ced Luc. 1 0 1 E s ed ( p ), , , , , 7 , two sylla ree sylla bles .

E teem ed Luc. 1 8 1 1 th ree s lla F or es ta ll Luc. 2 8 revent th e , , y , 7 , p il s a ction of.

E x elli n Ven. 81 Ad . ex F ed Ven. & Ad . 80 two s l c g , , 443 , , 4, y h a ling lzg ,

E x / d Lue. 2 6 str ess F or swor ne or swor n V en. 81 ﬁ ‘ , , (f ),

on rst Ad . 2 6 h a vin br ok en h er ﬁ , 7 , g V A d . E x ta s i e (ecs ta sy ) , en. 81 , ord .

ﬁt ex citem ent . F oule oul Ven. 81 Ad . 1 1 0 0 89 5 , , (f ) , , 3 3 , 3 ,

E x tr em e Lue. 2 0 stress on rst u l Sonn. 1 . , , 3 , ﬁ g y ; 4

s lla ble. F r ets Luc. 1 1 0 sto s on the y , 4 , p stri ng s of a m us ica l i nstr um ent ;

F a ct L1 1 c. 2 d eed crim e Ta m . o f Sh r . I I . i . 1 6 1 66. , , 3 34 , , ; , 3 , ' 9 l . F r ets Ven. Ad . 6 t s 9 . u. ea i nt . A ll eli , 1 v 5 4 , 7 7, s o

. Ad . r i 1 V n. A . 2 F a i ned Ven 81 F e (f y ) , e 81 d 5 6 sma l

2 two s lla bles . les t of ﬁsh . 4 5 , y

i r a zr Ven. & Ad . 1 086 F r om Lue. 6 1 1 out of. F a e (f ), , , , 5 5 , 44,

1 1 8 . etc. bea uty : So nn. 1 6. 1 , 7,

F a ls a lb Luc. 1 1 lets fall Ga e Luc. 1 sta k e ri sk (f ), , 5 5 , g , 44, , ,

. I V . . 2 . Ga lled L . 1 0 two ll Oth , 1 73 , uc 44 , sy a bles.

m i sk Ven. Ad . 20 transi Ga n Ven. A d be a n used F a , & , , , 9 5 , g ; ‘ ’ tive sta rve. wi th out th e followi n to . , ’ g F a nc1 es a nc s Luc. 200 love s . Ga ve Ven. 81 Ad . 1 i ven. f ) , , , , 5 7 , g L F a ult v gAd . 6 d efecti ve Gentr ie ntr uc. 6 entle , , 9 4, y ), 5 9 , g th Wi nt Ta le 1 1 sce t bir ; , I 4.

F a vour Ven 81 Ad . a ea r Gznnes i ns Ven. “A . 6 , . 747, pp g ) , ’ t t e begi ns ; no a con racted form .

r v Ad . 1 0 fri h ten Gli s ter s Ven. 81 Ad . 2 sh i nes . F ea , en. 81 94, g ; , , 75 ,

T m f h r . 1 . ii . 2 1 . Goet/z a bout Ven. A d . 1 a . o S , 3 , 3 9 ,

F ea r e ea r L uc. 08 ob ect of a ttem ts . (f ), 3 , j p

Gor ed Lue. 6 two s lla ble . fea r . g , , 9 4, y s - nd m Lue . 8 1 a ttend Gover nm ent Luc. 1 00 self c n F ea s tﬁ g , , 7, , 4 , o

i n ba n uets . trol H en. I I I I I . i v . 1 1 . g q , V , 7 '

Luc. 6 d efend . Gr a e r a Lue. 1 062 raft. F ence, , 3 , j (g f ), , , g

VENUS AND ADONIS

Lue. 86 M ts V n. A Lothed (loa th ed) , 662, 7, usi , e d . , 683 , h oles

8 o s lla b es . ma e b a nimals th ro u 9 4, tw y d y gh h edges

st n se ond th i ck et . Lucr ece Luc. , 7, ress o c or s

s lla ble elsewh ere on rs t . y , ﬁ

ure Ven. 81 Ad . 1 02 ca ll of L , 7, N a m na elesse ( meles s ) , Lue. 5 22, th e fa lconer . h a vi n no lega l fa mil a nd name. Tim g y Lust, Luc. 1 84, leasure ; . 3 p Need le Luc. 1 th e second 3 9 , IV ii 8. of i . 5 3 s ble is ylla elid ed befor e hi s , - ’ L us t br ea th ed:Luc. , th ree s l 3 y need l h is . l la b es. i ce N , Luc. 1 41 2 sk ilful. ou h t na u ht V lV g ( g ) , en. Ad . ° Ma ne Ven. Ad 2 1 used wit h , , , 00d - for- noth g ng , wi ck ed ; a lura l verb , s ta , beca use th e p om . 81 ul. I I I . ii . 6 J , se a ra te bra id s 01 locks a re p Nousli n” nm li n en. Ad . g ) , , th ou h t of. 1 1 1 gra ti n 5 , g th e nose. Ma uc. 02 ima e icture p, 4 , g , p Sonn. , 68 . 1 , Obdur a te Ven. Ad . l Luc. / m a r r V 8 , g Ma d ( ed ) , en. Ad . 47 , 2 stress on second 5 ﬁa ble. ma d e ; th e verb i s as simila ted 4 9

On ven. 81 Ad . 0 1 002 Luc. a b ect th e , , 93 , , to th e ide of its o j , [ 1 a a t 74 , t, ga ins . h ur t] tha t. Onel onl Luc. 6 tra ns osed Ma r m a id e m er m a id m a r m a ides y ( y ), 49 , p ( ) , ’ from its na tura l osi t1 on a fter th e m na id s Luc. 1 1 1 Ven. p ), 4 , verb . ag 2 siren sir en s . 4 777, ’ - Or e s tr a wd o er s tr a wed ) Ven. hr ee s lla ( , {uc. 2 2 1 t Ma rr i a g e, , , y Ad . 1 1 str ewn covered b e 43 , ’ , . - Or e wa r ne (o er worn ) Ven. n Ad . 86 r , Ma tch , Ve . , 5 , ee g 1 o w rn out. t “1 , , ment a ointmen Mer . ves 5 , pp ; , 0r 1 ent ven. Ad . 8 1 si1 l , 9 , n ) l Ant . Cleo . V A . 0 bewil Ma ted , en. d 9 9 , i Errors le ed Ma cb . . . z , V 79 ; , Luc. two s lla bles Il l i s6 5 5 3, y , L means Mea ne (mea n), ue., 1 045 , , Or ts uc. 8 scra s. I i . , , 9 5 , i t strument ; Jul. Cres. p Over see Luc. 1 20 su ervise th e a , 5 , p executors of ; over seene (over Mea s ur es Ven. Ad . 1 1 8 ste s , , p e s en), Lue. 1 206 bewi tch ed dis I i 2 . , , , M o 5 . . of a d a nce ; uch Ad , 7 a bled . of Miss e (miss), Ven. 81 A d . 5 3 , w V 1 O e, en. , 81 Ad . 1 , Lue., 82, Sonn. 4

own ow d 1 o . ; e , Luc. 803 , wned

Ven. 81

A . 826 ca usi n distrust or P a i nted cloth Luc. 2 d , , g , 45 , wall fea r . h a nging s wi th ictures a nd mot

i t moi et Luc. D . toes 1 I V . Mo y ( ), ed 7, ; H en. , I . ii 2 . . y 7 a le V orti on. P , en. Ad"2 30, enclosure

or a li se Luc. 1 0 i nter ret ; As Errors i 1 1 2 4, p , 5 , . i . alenes W t I s i . ou lI ; n ale IV . ﬁt. 6. Y , , 49 p ,

Mor e Ven. 81 Ad 8 Luc. 2 P a lm er s Luc. 1 il rims from , , , 33 , , 9 , p g t rrors I ii . 1 th e H g rea er ; E , 7 01ly La nd

Mor ta ll mor ta l Ven. Ad . Luc. 1 00 S ca 11 m ( ), , p g - 61 8 d ea dl d ea th d ea li n . La h . . ii . 1 2 , 9 5 3 , y, g , 8.

Mot Luc. 8 0 m otto . P a s sen er Ven. 81 A d . 1 w , , 1 , g , , 9 , ay °

d L c. 88 two s lla bles . fa r er Two en. o f Ve Move , u 5 y ; G r . I V. 1 .

n Ve . A 866 on r M us i g n 81 A , w d e 7

i n Two Gen. oi Ver . I P a s s io ns Ven. A . 1 0 ; , , d , 5 9 , verb, g gri eves . GLOSSARY

er s Luc. 0 ti e ows Remem br ed r em ember d Luc. P e , 47 , transi v , sh , ( e )’,

lets a ea r. 60 be r em embr ed remember p 7 ,

c. Remor V u 1 41 8, throw a n se, en. 81 A d . 2 5 7, me :

s lik t Re a le r . 0 word e s ones. ( epe Luc ’64 , rec

1 6lex ed Ven. o r . I i . 2 . P e 3 , Ad ., 1 043 , three w Gen. of e , I 3 7

s lla bles . Re Ven. 81 A d . 0 noun y , 49 , ,

h i lom ele Luc. 1 0 th r l iscon en P , 79 , ee sy t t. s tre R l t la ble , s ss on th e ﬁrst, P epr or e, Ven. 81 A d . 78 , refu e,

rove false. Much A 0 p , , P i ne, Ven. Ad . 602, transi tive, 2 2 1 .

e m r i n askin . R q g , L1 1 0. Arg . 5 ,

th Ven. 81 Ad . 2 vi or Hen. R s oluti on Luc. 2 ﬁve 3 a P i , , 6, g ; e , 35 , Il l Pro bles unless som e oth er s ble V , , y ni n la min L ha s been lost from th e li ne. P la g (f g ), uc. 5 59 ,

t s ect Luc. 2 th ou h t ru t, en rea ty. Re p , 75 , g , p l nce P a ts 9 3 , fo ds , d e

flowi n robes. Res ectv Ven. 81 Ad . 1 1 no p gg , 9 , P la us ib ticin . y’ ’ g ns t i nt t uc. 8 a Reti r es L 0 iti P oi fo s ), , 79 , p , ue., 3 3, tra ns ve, d ra ws

pointest . Luc.

1 h te Erro I . 5 2 i ntra nsi ti e i T r P os t, Luc. , as ; rs, v , return ng o

6 8 m . iii . 2 2 7 9 . es ulent r ecedent V n. 81 Ad . Rev/ 0 1 1 4 L 1 8 th ree s l P r (p ), e , 3 , uc. 77 , y

2 6 Luc. 1 2 61 ex a m le m od el. la bles. , , p ,

Luc. 6 intend e . Ri oll r : ol L 1 P r etend ed , 5 7 , d g ( i ), uc. 745 , circle r c f v P r ioke ick Lue. 8 1 oint on enr v (f ) , , 7 , p oo r V th e d ial R te ( oa t), en. 81 Ad . 636,

P r i me Luc. 2 s rin . u r oot d estro . , 3 3 , p g p , y

r ne . h ea dlon . P o , Lue , 684, g

V n Ad . 62 6 P r oofe (pr oo e ,

im enetra le Rich II I . iii . S a ei ei i e sa ti et Ven. Ad . 1 p ; , V ( y ), , 9 , - over a bund a nce. 2 50 . ’ P r o a r ti on d S a w Lue. 2 max im roverbi al f , , 44, , p r sa in 774, egula r y g

P r ove Ven. 81 Ad . ﬁnd b St a es Lue. evil deeds. , ’ 59 7, y g , , 747, ex er ience r ov d r oved 608 S cla nd r ous sla nd er ous Luc. p ; p (p ), ( ), 1 tested . 1 00 , disg ra ceful.

P ur z ed Lue. 2 ur ed ren Sea led Luc. 1 1 situa ted . ﬁ , 5 3 , p g , , 44,

d ered armlesSs Secur e Lue. 8 uns us ectin . ’ ly, , 9 p r Luc. 1 curl . S ekes r l d t u led 0 ed e seeks to Luc. 2 see s P u ( ), , 4 7, ( ) , , 9 3 , , a ppc to . encelesse S (senseless ) , Luc. 820 , L 1 1 26 serve i nsensibl o o Ra si sh ( r eli sh ), uc. , e f wr ng d one.

a s a relis h b rin out wi th lea s Sens i 61e Ven. 81 A d . 6 ca a ble , g p , 43 , p V 1 ure ; Two Gen. of er . , H . i . 2 . of ta k 1 ng a n im ression.

r a nk V n. A d 1 S e a ls /1 n d se b r ed L Ra nh e ( ), e 81 , 7 , p ( pu ) , uc., 805 ,

- over full, too ull. stress on second 5 lia ble.

rob s d e S er m le Ve A . Ven. 81 Ad . 6, , , n. 81

ri es ; All s Well . iii . 1 0 1 . S et Ven. Ad . 1 8 sea ted ; v. p v , , , , 1 1 1 1 1 1 1 1 Luc. wh a t h as b een Com . 1 Hen. IV II . iv. 3 , 3’ p , 39 ; , ta k en or sw1 11owed ; C01 . I 43 3

S ever e Ven. Ad . 1 000 merci i . 1 1 4 , ,

less. R a r d , Luc. 1

5 1 m V n. A . 2 h Re g , e d 9 s a g gy . .

S h o mes s h a m m i uc. 1 0 8 sitive, softens ; , g 1 1 is a sha m ed bein a sh am I II . i . 2 50. 43 , , g VENUS AND ADONIS

S i ea tﬁed Lue. 1 2 two s lla Stch ed Lue. 1 0 1 1 8 1 two l , , 7 3 , y , , 59 , , sy ie bl lz s.

20 t1 ic er S ta lled Ven. 81 Ad . two s l 9 , yz , 39 , y

ti n no. 0 gece1 m la bles. , 9 ,

“M 15 1 11 r e Ven. 81 Ad . S teld s telled Luc. 1 xed ( , ( ), , 444. ﬁ - b ar h ill na tured Tam. of Sonn. s , ; , l till V h r . 85s S , en. Ad . , 1 000, (sti ll

Silli e si l Ven. Ad . 6 Lue. 1 88 8 8 ever mod if in ( ly) , 4 7, , , 5 , , y g

ora nt V n. d . 1 0 8 th e follo ecuve or i ; e 9 , wing adj

uc. 1 6 h el less innocent. t1 c1 le. 7, ’p , p i m uc. 1 th ree Sti lIztor i e sti lli to1 V S 1 1 no s (Si ois L , 43 7, ( 7 ), en. Ad . ,

s lla bles stress on th e rst still di stiller . , ﬁ , 443 , , y - o Sto s Lue. 1 1 2 co ntrol o f th e p , , 4,

Ve . Ad . inno tone f mus1 cal i nstrum ent Si 1 1 1ple, n 81 795 , s o a

H a m . Il l uch cent . , . ii , 75 ; M A do .,

S 1 1 1 1 le Luc. 0 otent h erb ; I I I. ii . . f , 5 3 ’ p 4

ou V 1 8. S tor i es en A . 1 0 1 A s Y , I 31 . , . 81 d , 3 , L ue. ,

“ Ven. & A d . 62 1 1 6 since. 1 06 verb tells. S 1 , , 7 , , , ,

a moutkd lu moutbe3 Ven S tr a n Lue. 1 2 2 forei of S l p ( f ), g e, , 4 , gn,

A . 20 wi broa d h a oth ers . 81 d 9 , ,

tr a n ss Ven. 8 Ad . 1 0 p S g ene , 1 , 3 ,

11 Ven Ad . 1 blund ers cold ness indiﬁerence 5 1 13 , 81 , 5 , , ,

(zcmnter feu coins om . 81 ul. S t ict Ven. Ad . ; J , r , , I l 1 9 ﬁg h t

r lla r a n tr a nd Luc. 1 6 sh ore. S tea ed , Luc. 1 3 81 , two sy St d (s ), 43 '

zl u er en. 81 A d . S j d ,

S mi led Lu 26 tw s lla bles. 8 if let a lone. , e. , 4, o y 3 5 ,

8 2 ﬂa tteri n . S u es ted Lue. tem ted 9 , g gg , , 3 7, p

Snea ed c. two s lla bles Sonn. p , , 3 ’ y , - frost ni ed Love 8 La b S u osed Lue. ima ined pp fp , , 3 77, g

wo s llables . l 45 5 , t y

Sod Luc. 1 stee ed th e ar S u r eme Lue. 80 stress on rst , 5g p , p p , , 7 , ﬁ ‘ ’ ’ i le o gth Love s L a b . la l . ti c p se e , syl b e V i r 1 66 cea se on I . i . 2 S u cea s e, Lue. , 7 , ; C , 1 1 1 05 , 1 06, some III . ii . 1 47.

. 8 r ﬂection. ti mes . S ur m ise, Lue , 3 , e

no. 8 select Ri ch . I II S u ect Ven. 81 Ad . 1 0 1 0 8 11 5 , 99 . ; , sp , , , sor tetl1 Ven. 81 Ad . 1 ci on. , ’, p m 1 n le n rts Lo ve s g s, co so ;

i s r Luc. , 2 5 9 ; o ts ,

1 2 2 1 a d a ts . Ta ke Ven. 81 Ad . 82 ma k e. , p , , ,

Sounds Lue. 1 2 a ters. Ta k i n Luc. tre id a ti on. , , 3 9 , w g , , 45 3 , - ound woumt L 1 8 a r ea r disla i ne Lue . 1 86 S s (s s), uc. 4 6, Te e (t ) , 5 ;

swoo ns Rom . . II . ii . 2 6 l bles . ; & Jul , I four 5 l a

t/1 ei r u . V . Ad . 808 mo ths , Ven. 81 Ad , Teene teen), en 81 , ,

b a rk i nstea d of followi n ri ef discontent Lo v. C om . 5 , g g , ; p , 1 0 . 81 Cres . v i . 1 9 2 .

es s n . A . Tem r a nce Luc. 88 cha st ( plee s ) , en 81 d pe , , 4,

h umors whims . Tender Luc. fa vor ; Two , , , 534

h . 8 1 Ver. II . ti . 1 2 . (sp r ig t), Ven. 81 A d 1 , of , 4

1 2 1 1 2 s irit. Testi e test Ven. 81 A d . 1 , 7 7, p ( y ), , 3 9,

S m s r u s Ven. 81 A d . 6 6 ex ed . f r g , p g , 5 , v

Lue. 0 oun sh oots blos Th a n Luc. 1 0 th en. , 9 5 , y g , , , 44 ,

h a V A . 2 2 8 o T t, en. d , 4 , 5 99 , 30,

ta m e s ta i n Ven. 81 Ad . th a t L11 0 x 6 x 3 2 S ( ), 9 , , 9 41 771 4 71 3 5 3 1 5 41 hi ch out 1 8 s t w shines . 73 , th a .

VENUS AND ADONIS

m ndows Ven. ser ent Mids. Ni h ( ), p ; g t D r . , 1 1 1

Ad . 82 e elids ; Rich . I II . , 4 , y , V 7 W t L . 1 o ue knows. i1 i . 1 »s9 . , , 345 , V Wr a ch e V Wink (mi nh ) wi nh s , en. en. Ad .

Ad 0 1 2 1 a sh ut th e 5 8, Luc., m“ 9 , , 5 5 3, 5 “ Luc. 8 ” t wr a di 6 over ; g: 45 , f ( 5 ,

gec c sh utt éSm wh elmed : ”al . iii 1 . ’ 49 k l; Wr a h t wr ea e . W I nd . e d en. 5 7, b ra ( ), Ad ,

W1 s t i wis t wis tl Ven. 1 00 re n ed le ( y ), y , 4, ve g

A Lue . 1 search Wr etch Ven. Ad . 0 used d , 343 , , 3 5 5 ; , 7 3 , ' i Ion mgl 1 ty‘ngl y Kl W00 v g xd 0 mad 1 ” ﬁ t on. en. Ad . 0 re 1 , ; , 74 , 5 9 , p

V i . . B en. VI , I . vi 40. dicted

Wood ma n wood m a n Luc. 80 Lue. 8 1 1 8 1 8 two ( ), 5 , , 9 , ,

h unter ; Mer . Wives , . v . 3 1

Ven. A . Wom e (wor 1 n), d , 93 3,

1 28 VARIORUM READINGS

1 29

VENUS AND ADONIS

- - - sullei n I sullen 3 x3Q. G. ga thered 8 9 x r ' ’ - ' h e I sh e 3 4 I ed o . gather d s h a m e a n a n r sh ame 76. , I r ' and a n er ItI I '” 1 h a r d a vou r d h ard fav u e g . 33 f I o r d - — a sh i e le ash ale MAL . G. . ha rd fa voured 8 y p Q 9 , xx ° - 2 9 9 Her est Her b rest xx n . 3 h Her b reast LIN. GIL . D AR. wr i no led old I wrinkled

best nr s MAL old nrr . MAL. G J . . J — ’ ’ r d bettered x . fet I ll-nur tur d Ill bette 5 3Q na tur d 6, ' I I - — ter d (with brea st (THBOB. 8Q. Ill na tur d 9T x . ' Q ' m r e d e i h an er de 6 w o ce - a o l t o x3 . ﬂo ] j y s x Q li h t (WARDS. AN. 1 0 GIL. “ n d.

- h se u . x 8 Loest 5 : e use c oo n MAL . G . 30 x I J . 3 5 , xx 3o ta x 2 s 53 L ta h e kes . . i s o t as 3 IN GIL . Q 4 f I . 8 m tlesse com tles - a w lum u G 4. co p I p 3 4Q. ﬂ I p p 9 . Q — - ntle s x . G . lum lum cou s 5 p 4Q 4 9 . 1 0Q. 86. d w ed o er die da er x . s m ooth moi st a nd smooth 1 pp 7, 43 I ve-da er LIN MAL moi st-h and m p . . ’ i- a r " 1 d i sh eveled degs .evell d H Md d B . UD S. p e 47 l h er g1 5 s h ea r e h a ire - x h 8 . [ £ . air 9 s m 9 , I xx 3 Q 0 t tu s 1 4 1 o 9 . w nh s , a nd r n . ' ‘ d turnde 2 7 12es e i he - x an o . x5 . w 5 3Q. - t h er et In x . et ! ti ll to MAL . 94. e I 5 3Q y 5 4 I 3 — A g 1 8 . cea ze seize x LI N. G ’ 5 4 3Q. . — — - o d woo d . x . x6c 1 9 7. oe 3 9 Q xx 3Q . 3 3Q — g x68 . wa st wert x . I ’ 4 3Q i n i e i nowie . sl ti r ed ti red a tti red 99 . s ow s n 4Q 1 77 I ( ) COLL. wxe x xn w — x 8 r i te e o s o y gQ xx 3 a x x . L ze I ine %I . G . x86. e G f . xoa . s h a lt sh all x6Q. x87. A] IA — nh i nd e kin xc3 . h ang h un 3 x3Q. G u un d, 4Q. un

b r ed a ttard 6 ba t kind ? 2 MAL . xc4. a tt I Q. tered o x90 . h ea te I hea rt 4Q. — - xc6 to co x . h ea r es h a i res xa x . hairs . y I y 3 3 x9 x I 3 Q - r a ve LIN. MAL . x09 . one sw y ed o r — ve a e th a t th e xz x . x3 o rsw y d G x94. 3Q - e . nd a nd this xxo . r e r os e n d ros x98 a 7, o . — a w MA E s aoo . s teele . r elenteth S . L. qq - tr on tem er d stron tem steel relenteth MAL . xxx . s g g tron tem ered N a mor e th a n Na r Q. g p 5 , y , I y nrro tem t ed . S more th a n GIL 7Q. ’g p , e ? M tem er d GIL . MAL . love lov AL. G . p ’ , I — h a r d h ad a- x obey ed Iobey d 9 x3Q. 20 3 . I 3Q - m a i str i n mastri n x . th i s th us . CA P. MS” xx4. g g 5 3Q I o’ ( ) AL 2 0 i ntr est int rest - 8 x — masterin . x . I 5 , o x3Q. th a t w o o . i nterest 9

i e es . xI 6. L th e are GIL a xx. li veless v l lifeless a r e t I y . I 4Q 8 i n th e on the Sa w. Sa w. G xx . - . th er e wh ere x . a n . i m a e ima e xx9 I 4 3 Q g I g , 4Q — x20 i n e es on e es x . 3 1 . S ta tue etatue x . G. . y I y 3Q 3 I 5 3 Q 2 ls ri vals . contenti n contemnIn x 3 . r eve I o g — th er e a r e th ere be 2 2 1 . no wom a n a woman | 9 , xx 4 d brea d . x3Q. ey be m br e I 4Q w ate - a x h oh es choch es 1 26 n w not kno x . . c . k o I y 5 3 Q 7 o I I ton - x30 . sh ould I would L N. G L. m ew I s 3 7Q x3 2 VARIORUM READINGS

— - . would wold 6 . 28 u r r e s ur x . s ur ? I 3 , 9Q 5 . I p , 4 3Q p i ntend m ents I intendmens I L. G . 6 286 t r a i n s tra in 2— . ff ‘ pp g, 9 , xx 2 lihe a ba n as a han x trI in 2 5 . d l d o . 3Q. g o . e w - 2 26. h e 20 1 11 I h ould o . say I say 4 1 3Q G , 2 2 8. h er I th ei r ( FARI I IIR . 288 a ees a es xo nin q: 2 29 s h e s a i th sai th sh e N. GIL. unni ng I li m g IN. GIL. sa id sh e W g - 1 . a a r h the ke x r r tioned ro orti ond 2 3 p e par 3 3Q. f ofo p p h a k 2 I;1 I e I t r A L . ro ort ond o . y p . 9 , x ’p p Q - d ea r e deere x G . ro ortion d x . G . I 4 3Q. p p 3Q 2 . ou nta i nes founta i ns 2 . th i s his x 3 4 f I 4Q. 9 3 I , xx , 3 r 2 3 6. S w eet bottom e g a sse ISweet a I ea ch ﬁl NNE A R — bott me rasse 1 0 Sweet 2 . a c ase x . o g Q. 94 p e I p 5 3Q - — bo ttom ras s EFF M G 2 6 e e c e e es x . g J AL . . 9 I 4 y 5 3Q c — o i e e 8 2 39 . d ea r e I deer 5 x3Q. 3 . om etrm e Som ti m s 9 , - 2 6 ch ea ch x G C xI x 24 , 3 4 e I 3 Q. 3Q. 2 lovel lovin g— — x 02 s ta r ts sta res - x 47. y I g o, xx 3Q 3 . I 9 3Q. th ese ound th ose round a ba se a ba ce 6 8— I 5 I , 9 xx x a base xx , x 3Q. x - - O né n I . 0 h e And wh t 2 8 . e I O e ed 8 . A nd w er e 4 p ’ p 9 , xx 3Q 3 4 ’ h e M Open d x0Q. G . Jnr r . MAL . And w r 2 AI.. “ 249 . m a d I made x3sQ. And h eth er CAM. And ' 2 5 0 . Str neh e IStr uckt 4Q Strooke whe er NELSON. s - r 3Q ot wh eth er I not wh ith er i n s ca r ne Iwith sco rne ! x3Q. gKW. / h s t e s a y we sa y 4Q. SOS~ th r oug h I th ou 4Q. ' r n s tCh wa ve sp i g s prI ng Ih o . 306. wh o wa ve I W 9Q. r m h h hea f o for th Ifrom th ence o . wh o h a ve LIN. w i c ve / i d ot t I d d o GIL . R

- r a i ns t ei ne . ea t/t r ed feth red 4 . I g 5 7Q ’ I Q - - 8 x . {ea th red xc . fea therd 9 , xx 3Q x - fea w oven I wooven I fea th ered 6 9 Q. th - — g i r th es I irt h s 2 3 . G. er d i a x3

i rts x d out IN. g 4 3Qg 3 xx . a n I ombe ma e nt t w 2Q. G . w6be m a lcontent I l co en

- wo alec ntent I . 3Q 7 4Q. m o 5 3Q - - 26 . cr ush eth 0rushes I v le veils 9 I 5 3Q. 3 x4. a i les I a s 5 , 7 9Q.

h i s hi r 2 . I Q ga w. - a x. m a ne ma i ne 2 . b h buttocks x . 7 3Q 3 5 0 uttoc e I 4 3Q — 2 72 . s ta nd s ta nds I 3 Q 3 1 7 wa s I i s 3 - x3 n end a n en i t a— x e - x x o I c 3Q tes ti e tea sti 5 8, 0, 3Q. — - 2 . or na ee furna ce 8 te x2 . 74 f I 4, 9 , xx as xx Q - 3Q g aet? I oes 5 x3Q . - send lend LIN . GIL . 2 ch a n ch a sin x0 . I LI 3 5 . fi g? g 4 5 , 7, — - 2 . scor n ull li s ter s s tet s 2 8 love In Italics x 75 f y g I i 3 . I 3 9 , xx 8 scornfull Sa w ve AM y . in Ca 5 . o . Lo . — li h e r e lik e the fire r x . G fi I o . 3 3 4° fi e rfire 4 3 . 6 h e h t — t 2a w 2 . a t o x . G . d oth doth of . 7 I 4 9 , xx 3Q I h ote h z h h i h h ot ! n ti ce notich . g I g . . 3 4 o I Q A O ? ( N N . 3 43 vi ew view 46. — — - 2 . Som etxm e Sometimes x . ew iew 8 x . h ue 77 I 4 3 Q. 345 I 9 , xx 3Q x t i s th u - x 2 . h I s 4 3Q. gIL . G

- — - 23 sta r r e s tur x 8 a s a nd 6 8 x . 3 I 4 3 Q. 34 I , 9 , xx 3Q - 2 8 . sa sa ? x . G . 0 lowl slowl . 4 y I y 9 , xx 3 Q 3 5 . y I y 4Q 1 3 3 VENUS AND ADONIS

h e h k - 3 5 2 c e h e I c ee es 5 x3 MAL . G. tend r er tender 2— x d ee 3 5 3' I 3 eep s w t d eep sor e I ch eeh e r eceives ch eeks re dee -sweet dee -sore un , I p p j . v h ec c v vi es 4Q. c k s re i ves S. MAL . h - c eeks recei ve 6Q. sweet nm s i h I sweet musick h k e - c ec cs receiv 8 I . C PNMS. 9 , xx 3Q ( A new a lne new fa lle - 8 nd i n - 3 54 f I n 5 , sor e wou g I so re wound - GIL. new fa lne i n GIL. C PN S ’ xx g ( A . ‘ x r ew g n M . i i b in 3 . L . 434 i nv s le vincible (S rnnvu)

8 . w ed g 6. ? e me 3 5 i a 43 I of GI L. - MA . G . erm e n . 439 5e y l r a so 5 x Q - 360 . Ch or us leh e ch orus like . sti lli tor i e stilla torie I o . I o 443 ’ I 7 , Q 6 unwi lli n willIn s til t a n . M 3 s. g g 4Q l o y J A L . ' r }h w - . S h ow e o 2 e 3 66 d d I 3Q. G ex celli ng x h aling ( STA li h e two like to I m i h - 4, 7 3Q g t I s ould 3 I 3Q. — - - 1 . th m 8 x . 8 . d ouble looh e double lock 3 7 y I y 9 , xx 3Q 44 ' 2 . bod i es bod s GI L . G . Sa w. double ock a va C . 37 I y J . - . s a i th . sa zth said d or oore ? 3 73 3 74 I e d 4. xo .

sa Id o . stea I n I n stea li n 45 l g I g ; in 1 0Q.

m h ea r t th h ea rt GIL . ea st feast 3 74 y I y ’ f l - - , 80 d a es es a 1 . n - 3 y I d 4 7Q. d y s 45 r ub colo a I ru y coloured GI L MA L g - - l 6 . rul co lo ure Q w d o . 8 r om th e for th e Wr a h ra 3 4 f I o s5 4. c le ck g a - - 8 r e li es re lies ? . s ea ma n a men 3 5 p I p 9Q I xg . — — e sh e 6 x . s h e h er ds the s h e bear I 9 , xx 3Q 45 5 . p I p ds d s h oul I sh old 6Q. ' s u r suﬂ — — 388. j e d I red 5 9Q. suf 45 6. Gusts Gust 5 1 3 - fered xc x . . h ea r d men bea gme 3Q 45 7 n 6Q. x t x e 3 9 . th e tr ee Il a ree Q. bea rd m n o .

? e if . Ser S er vi ll S rv 60 . s ta i neth s tra ineth S9 y | y 4Q 4 I 4 Q. vilely 5 - 3Q G sta i ne x — m a i s ter d ma ist d . 62 I r 4 7 , o 4 . str uck e strook e 5 ma stred 8 — - x stroa ke I strok e — 9 , xx ;3 x2 x3 e e e h lea th er ne Ileth rn 4Q. l t 464. h I ll kils 4 - - a n l I I 66. B ut And mAL 5 9 ' 3Q 4 .) / — — a i ue rei ne x . rei n ha nk r ont ba n ro u I xx 3 Q g l q t s x .

6IL . banck ro ut xa — sees I seekes 2 4Q. love I loss (W L II) Hans tr ue-love true love — 8 looks KINNM R I 4 , xx ( ) ' 1 3Q. 469 . a ll a ma z d a ll In a m i i s so I so s o . in amaze o . i n a ma ze 5 — ' d a r es d a re xa x - - I 3Q. , xI x3Q. a ll a maz d MAL. ﬁ er I h re 4— x A — w i ll not wil LIN. GIL. a . F a i r e a ll fa ir fa ll r I 47 9 3 . G. m d ea th of dea th b r a t eth b rea h I o 474. e t ed x wi th in Sa w. 80 . Wi ll Would GI I ’ 4 I L. - bur th end burden d SEW. 8 ea r h w rl a I 4 4. t I o d I 3Q. ea rth oseth L seth L I o o 7, o . a CO LL . G . wa x eth wexeth h I r eleevet relieve th e o . — ’ a lla r m es ala rmes 2 . 88 . ha r r owed borrow d I I I 3Q 4 I 9 , a la rum 4Q. ala rme S‘ I 3 Q t 3Q-

a rm MAL . G . a l s 490 . eIond ed , wi th I clouded with m a r m a i d es ma rma ids G ’ 3Q. i s in - x e3 merma d . I uoth s h e I uoth she 4 3Q ’ 49 3 (q , ) I (q ) — — a r a th s x . Ea s E es E r 4 3Q r 3 I 3Q. I ! (q uoth sh e) GIL. 1 3 4

VENUS AND ADONIS

- h h l . s ould I s al o 4 I I I 3Q. boutch ers ﬁre a ngr i e ch aﬁ ng I angry ch as I

a n e ch asi n 1 0 . l ing 4Q. n g lik e I i ks 7Q. - ' an r ch a ﬁn EFI . MA L 8 on wor se u w g y g y , I y o o rse 4 - a n r ch afed AL KER . I g y ’ ) 3 em IL h a h a - th em I G . ve I th I c I 3Q. d r oo dro LIN . GIL . m a r m a i d s m irm p p I a tdes 4Q. — — tr emb): t emblin 1 . merm a ids I g 3 3Q 5 3Q. ilt wi l eG I n m i ne in In — - w I I I . ’ ’ ’ I 5 9 , 3Q er G - - 0 r e ou r 1 o . hed ch a m ber rbed ch almer wel-br ea th d well-b rea th ed I — H ns . on unt I o toI o 4 3 Q.

Ma r h e Ma ke . us ur t usur e I 4Q p I p 4Q. “sums - versh ut - 1 over sh ut o 4 3Q. LIN. GIL .

ve sh t a zv. D vca . G . a w e es a o r oo ) l I a lw y I oQ. ts L I N msi ts m us i ts I umﬁ . U lus t lus ts I

Inu Its a r s . MAL . Inu tr ntr tr t L S ue GI . J I

s H Ds G . t k a l L set U . a l e I c ls I N . GIL . — m a ze aze CA P MS . la w nd a e a I ( Il wn s 4 I 3Q. lanes m a a mo n tB - 1 LIN I L a o T g 3Q . G . f the ﬂocks 1 0 . h a oc 6 L oo e h ow Look h ow LIN. ﬂ I I ,

m So meti mes 1 0 . - So m eti e I Q GIL . G . ' - e r h e rd LIN. G . k sk h a d s y e ; I , 3 I 6Q G — - d ea r e dee re I . SI 8 . Ga zi n a zeth CAP MS. 5 , 7 9 , xx 3Q g I . h ot s ent-s nu ng I h ot sent la te em ba r k ed la te-em - e n nufli u . ot s t s n E sn ffing 4Q g ba rked J F F . (CA P . S . ) MAL . - fli n L N - — h ot sent s nu I . 82 2 . F old i n Fo ld in 6 8 I I I . o ’ g I , , 3Q - h m uth s 1 . G 2 a - m out s I o 4 3Q 8 5 . nIgh t w nd r er s I nig h t wa n

— - - r w1 th . th ei I 3 4Q dr rs M Q. nigh t wa nderers i ntendi n i nd enti ng I g 4Q. I ag th - 2 i d o I do m 8 8 . d scover i e I discoverer th selfe — my s el/e I y 3 5 , 7, (STE E VJ.

8 2 . d ee l do ubl W L K E R 3 p y y ( A ) . ’ - m n h eeves rich -men 8 AII tr ue e t I 3 3 . A y I MA L . eeve rich men th eeves 8 6 x tem or a l th 3Q. 3 . e p l y ex temp ra lly ' - — tr ue men th eeves GIL. ex te ra 4 I 3Q. 4Q. mp lly 5 I 3g

I) i a n Di a na GIL . 8 8. oolIs h wi tti e fooli s l wi tt ' I 3 f I y

n h rIne Sa w. M s h i e s E FF . A I J L . G . — - m a d s ad 1 8 0 . ni er ui re I I 5 3 4 q 5 3Q.

ea ver s fever E w. a nsw er a nswere f I 4, 7, I oQ. a ues a le a ues a le a ns wers 1 g p g , p 4 3Q. It L 843 . If I I N.

r end zi es frensies 1 0 . oth er s oth e f I Q I r I oQ. I - 1 frenzies x . 8 8 . i d le sou nd s r es em bli n i l 3Q 4 g I d e, - h ea ti n bea tIn LI N. GIL . so unds resemblin ST g I g g AUN . i m os tu m es Impos th umes a r a s i ts a ra s i tes — I p I I p ; 4 3Q. SE W. G . é

a r e Swea res - S w e o . 85 0 . w i ts Wi ts : I i ts ? I I 5 7 , W - - - h t S t h t I . g 5 3 8 I I I . h ts H E ﬁg I Q 9 , zQ ( OBJ. . - m a r ti a ll im e rIa ll 1 . 8 I . s a s - I p I p 4 3Q 5 y e s a Ies n3 sa td 4 I SQ

SEW. Th a t Th us 8 8 . Th a t 5 Th e L IN. GI L.

t dea th . d ea r I 4Q Cea d e r tops I cedar to s 4 — d a r k e th ei r 4 1 3Q. l ced a r - to s SEW I Q, p . t° 8 . ti i s d o | 4Q 5 9 I his I oQ. tch er sI r e butch ers sire 862 . bea utious bu I I beauti es LIN. 1 3 6 VARIORUM READINGS

Their luck st luclttst — I 4 p I p 5 9 , I : - d oest G. I luclt st LIN Idost 4 1 38. 3Q p e . m or nsng or e-wor ne ﬂed I sped morne bo d a - . . over worne I oQ. e n r t I ebon da rt SEW.

86 . ti di n s tithin s I . D os t D oest 2 D 7 g I g 0Q I , 5 , 7Q. 00“

868. h i s h ound s h oundes . 6 I 4Q , ’ 8 0 . c s 7 oa teth postett I OQ va I l veil d LIN. GIL.

8 2 . h er b h n i sse wh o hich GIL t e ech e . h 7 y . I I W . her e e n ck , and some doe h i ss H er ey e Her eie 4Q. Her - “ 8Q “6! eyes 5 7. 9 ' 8 twi n e 73 d I tWind 3 . twind 3 4Q. twi ne 5 (2 8 the tea r es I h er tea res 5 8 d 79 j b l s fold 1 0 .

882 . A : A a4es n throu h I o m I ep 4Q 3 g I g Q. s I r I t s i ri ts I wh o wh ich - I p ’ p ’ 3 I 5 3 en r t m e Ico urt sie I oQ cour 3 a ss i on la bour s passions tes CO fa bo u y LL . G. t 4

8 2 . m a n: 0 r es t I 9 I numbs I oQ. G. 9 7 . f en plesent c Th e e a ll to eth e ther I T y 9O. g r I altog 4Q.

8 6. 1 s a lto ether 1 9 u g r Q g 0Q. - - 8 . Ids I th I a h far ff 2 WIa3 s !I I . r ne t is o 99 9 3Q 9 73 of I , t - I — to i er to ether 8 I . G . , wthis fa r off I I g I g 3Q 4 , , 5 9 ,

06. i r x 9 r et es I retiers I oQ. - ' - - r h e dI I 1 1 . m u t er I murder I 2 I 3Q. 9 75 l re 6, 8 9 , 3Q h — é 03 . a t a lbs I 2 I Q ( g 3n 9 p p 3Q ’ t ) a - 8 A d s ni W m I . . Ad s SE . G m a e I rred 8 3Q 9 7 am o . - I I . r es ects res ect I . 80 li k e . la ss e e e 9 p I p 3 3Q 9 g , I y , — - I a }h! t I . lIke la e e e eIe 9 I or 2 . n g t I nough 4 3Q . . g ss 4Q. y ( ) — not G lIke . . lasse I . . g ; 5 3Q - 2 h d In h a n s I o 8 1 som etI m es sometIme I . 9 x . I n a n d Q. 9 I 5 3Q - a ffectin I . 82 . a s se asse . as se g 3Q 9 p p , 3 4Q p - I 9 1 3 a n h ound I c 3Q. d h - 1 th e she 9 84. r on en ldrunlten 3 . G I . ' I 1 2 h a r d bele i n h a r Lli ev I m venom 0 8 . e d 9 6. v enr d I d , 9 5 g I i n g 1 30- g

s eem es seems C P. MS . s h owli ng Iscolding LIN. GIL . l , ( - 88 m a h es ma ke - I h a th I h a d 5 I 3Q. 9 . I 5 3 Q - 8 i n th ou h s i n thou h t I 0 s or a teh t ea r es I scra tch d 9 9 g t . - I n li h el h e lilte - ea rs 5 I 3Q. GC y I y 3 48 h h o w th Looke h ow With likel - I 9 3 5 L oo e , e I y 5 3Q - I . h a th h a d th e 3 I 3Q. 99 I 5 — a m lgme 2 - I I a z d to H e oo b . 9 2 5 9 2 7 . a ma zed . g e I l 9 , Q ' ’ a ll to no r h t a ll to na u h t a m a z d . . ga z d 2 5 8 W. 99 3 g — I I ig u h t DYCE . to na . 9 2 9 th es e I the I Q . 5 Q g - a r d H a rd a ll to na u h t 2 DYCE . a ll to 9 3 1 . H r d fa vou I g - voured . H a rd fa voured na ugh t D E 4 7Q ’ — - h 8 I I I 2 Ha rd fa vour d 99 4 h onou r s I h onors 2 4Q. on ' our - I I oQ. Ha t fa voured I 3Q. 5 3 - - 6 Im er i ous Im erial . oug ly I 0 8 l1y s s G o 99 . p I p 5 7Q ’ - ea r th s -wor m e ea rth 5 W0 Im eri a ll 8 I . Im erious 9 3 3 ° I p 3Q p - MA L 3 I 3 2 . — 6 3r ea th ? vi olet. I oo2 . m th 9 3 4 9 . I y I y

8rea th violet MAL . G . d ecosse deceass , . I 5 - 9 3 5 s et cea se I I I 3Q. cea sse I o 943 h e a d Ih a be I oQ. Q. VENUS AND ADONIS

’ sta tues I sta tii es Q f r a t e I pray 3—70 pi t y 8 tom bes d mes ““ G ll o BOB. wI th h I In with h ith him g the I 3Q. I 099 . [ u 4Q. — - th e s na ile a sna ile I o . n le i n I Q i a 6 I I I . I 9 , 3Q s mooth r ed smothered I oo }: e — I 4 I . I Th re 9 I I Q. Their I — I m 9 , I 3Q. s oth red 1 . x II I II s h a d e u in sh3 I I I I Ti s tr ue ti s tr u } , I p . , e Tis true, - LI N. GI L. . true true I I I G , n 3$ i W LK I — [u s th s ER H p s . I I l a ! Iwoul d rr I ( A ) . o 3 . I I 3CQ. — ca b I ns cabins 6 I I I I I . nous lI n nuzzli n MA L . . I 9 , 5 g I g G - I . ca bine I o I I I 6 th e h is 2 I 3Q G s Q. . 3Q . ' s I — I O39 . r e i e res n d LIN. GIL. I I I 7 . bI II Ibeen 2 I 3 Q. 1 h er h ei r rd 2 th m 0 0 . t Q. 1 1 0 . ou outh I . 4 y ’ I 3Q I 0 I ou l u l l - 4 . g y I g Iznr li a n1 3 I 3 CZ.

I 0 . s u esti on su esti ons 1 1 2 2 . con ea led con a len GIL. 44 gg gg 9 , g I g — - I I I 3Q. t 1 2 5 . ca r es ea re 3 I 3aQ I 0 6 I III r i soII d im ri so ned I I 26 th e I‘e — 4 . I p 5 , y I s s I I I o a nd a n 3 . d more,

I luIId a ti on funda ti n I o . TH o47 . f I o Q ( EOB. or ter I - I 048 . ter r ro rs L N. 3Q III I II s mi d LI i — l n N. {l olh 3 7Q. sh ould Z - eII l opened 5 I 3Q g h ui ht — S I h ﬁg t I 3 4Q. g t 5 I I 36. Q

I . li t M L VAR S . h b ut h i A . I I but s e 3Q g G . 3 9 . g 4 h - - tr ench t I d renc t 3 4Q. h igh 5 I 3 to h igh ' ’ trench t LI N tren h d GIL. I r k a s u r e leas ure L IN. c 4o . é I p s MA L. G .

we t wee t I o . I I 2 B ud a nd h e A nd sh a ll be f I p Q 4 . , I h - Inor ega sh es no ga s es I oQ. 4 1 3Q - - s h uld sho l o s hould 1 1 one s tr o wd ore stra w . I 43 I , I Q 1 G 1 1 tr uest sh a r es t — I 3 44. I p 4 3 Q. ‘ limb LI G a m a d . s i lli e m lI III I N. . I I 5 I . r g I ng . i ld In le melt i -mad si ll -m . lea d elt I a d , (CAP. ra g ng y il

MS. MAL . G MA L. ) . G. r e re a h I wh en L N G I es r ed ﬁ e I yes d s I r s7. w er e I . L . e eies as red a s ﬁre s h owes seems or seemes r , 3Q. ( )

es as fire ro . e es 1 4Q. ey , , Q y , SI 3 — - as fire I I I ca use th e ca use I SE W. . 9 , 3 I n u ton 2 - toon I I 62 conI bus tIous co mb us tuous to g e g 3 g . I 4 LIN. GIL ' h i n s I o e l ve - I a n th i ng I a ny t g Q. I I 64. lov s I o 4 3Q. T e flower s Thy flowers I I 68 pu rple I purp ld 3Q. pur l ( MAL ) . Q e we t s ron u t r ue s w eet I tru s e spr oong p g 4Q. s pr ng AL s- t sQ m In h Im - I I I neavm br on' new-s ru w i th h i I 3 I 3Q. 7 . g I p ng - — — nor or I 8 I I I . I 5 Q 9 , ’ 3 h h 1 2— h enc or t encefoorth 2 1 4. cr o s cro s I Q. . ef I , 7 f I p 3 G h encefooth . 1 1 8 . sw eet s m elli n s weete 4Q. 3Q 7 g I - l se 2 I wellin . lose oo 5 , 7 , oQ. s g 4 I 2 e ee I I 83 . h er e I II er is I 3 Q. — k es 6 . I I 8 . L o I II LO w i n loeh s lo 5 Q 5 I 4 . wa k s L I GIL I I 8 - wa lk t I l N. . 7. I n of5 I 3Q I I G I I 2 a i d e c nve e song l sung . 9 . conv o y d GI L. ' ’ I fle z nve PP M L w co d E . A . . wolfe I o %. y J G 1 38

’ ’ S'I'I L ﬁnest wits a re stilling Venus Rrose

Robert Southwell. The Aut hour to the Rea der. Saint

Peters Compla i nt. 1 595 .

th ADON deaftly masking ro, State t rou es rich conceited ly p , ’ Shew d he well deserved too And h ad not ove herselfe intrea ted l ,

Ot her nym hs h ad sent him aies. p ’ b r r Thomas Edwa des . L Envoy to Na cissus .

S AKESPEARE thou whose bon -ﬂowin Va ine H , y g i do h ob i (Pleasing the World) thy Pra ses t t a ne. Whose Venus a nd whose Lucrece sweete a nd ch a ste ( , ) , ’ Thy Na me in fames immort a ll Boo ke h ave pla c t Live ever ou a t east in a me ive ever : y , l , F l

We m a the Bod e d e but a me dies never. ll y y y , F r i ers H mor Richa rd Ba nfeild . Poems i n D v u s . I 59 8.

m Muse in thine ow con nes kce e BUT st ay y n p , ﬁ ’ 8cwa e not wa rre with so dea re lov d a nei h or g g b , t h vin sun th da son rest a nd slee e Bu a g g y y g, p preserve thy sma ll fame a nd his greater favor His Song was wort hie merrit (Sha kspea re hee) a he fai e blossome thou t he withered t ree S ng t r , . hi and wit La urell is due to him, s a rt

h a th urch ast it C res th row wi ﬁt . p , yp y b ll

Willia m Ba rkstead . Mi rrha the Mother o Adonis . 1 60 . , f 7

1 40 SELECTED CRITICISM

‘ ’ TII E younger so rt t ake much delight in Sh akespea re s Venus a nd Adonis but his Lucrece a nd his t ra ed of ; , g y Ha m et Prince of Denma rke h ave it in them to ea se l , ’ , pl ’ t he wiser sort . ( rom Manuscri t Note in S e ht s F p p g ’ Ch aucer now ost . irst rinted in oh nson a nd Steevens , l F p J

Sh a kes ea re 1 . Ga rie Ha rve I 8 or a fter 1 600 p , 773 b l y, 59

‘ As t he Greeke tongue is made famous and eloq uent by Homer Hesi od Eur i edes E schilus So hocles Pi nda rus , , p , , p , , Phocylides a nd Ar istopha nes ; a nd the La t ine tongue by Vi r ill Ovid Horace Sili us Itali cus Luca nus L re i us g , , , , , uc t , Ausoni us a nd Cla udi a nus so t he English tongue is m i hti enriched a nd or eouslie invested in ra re orna g ly , g g m ents a nd res endent a biliments b sir Phili Sidne pl y p y, S encer Da niel Dra ton Wa rner ha kes ea re Ma rlowe p , , y , , S p , , a nd Cha pma n. ‘ As the soule of Euphorbus wa s t hough t to live in Pytha gora s : so t he sweete wit tie soule of Ovid lives in melli ﬂuous 8c hon - ton ue ha kes eare witnes hi Venus and y g d S p , s Adonis his Lucrece his su red Sonnets a mon his riva te , , g g p friends, 8tc. ‘ As Ovid sa ith of his worke ;

I a m ue o us exe i uad nec avi s i ra nec i nis g p g , q j , g , ” ec ate t errum nec edax a alere vetustas N p n f , b .

‘ And a s Horace sa ith of his ; Exegi manumentum a ere perenni us ; Rega li que ; si tu pyra midum alti us ; Quad nan i mber edax ; Non Aquila i mpatens passit di ruere; a ut i n 1 41 VENUS AND ADONI S

r s a nnaru er nume abili m s ies ti c. fuga tempor um : so say I severa of sir Phili Sidne s S encers Da niels B ra tons lly p y , p , , y , h kes ea res a nd Wa rners warkes S a p , ; ‘ As Pi nda rus Anacreon a nd Callim h s , ac u a m o ng t he Greekes ; a nd Horace a nd Catullus a mong th e La t ines a re the best Lyrick Poets : so in t his faculty t he best a mo ng our Poets a re S encer who exce et h in all kinds Da niel p ( ll ) ,

Dra ton Sha kes ea re Bretton. y , p , th ese a re t he most passiona te a mong us to bewa ile a nd bemoa ne th e er exities of Love Henrie Howa rd p pl , Ea r e of Surre si r Thomas W at the e der sir Fr a ncis l y, y l , Br i a n sir Phili Sidne sir Walter Rawl sir E r , p y, ey, dwa d D er S encer Da ni el Dra ton ha kes ea re Whetst y , p , , y , S p , one, Gasco ne Sa muel! Pa e sometimes fellowe of C r y , g o pus ’ Chri sti Co ed e in Oxford Church a rd Bretton. ro m ll g , y , (F ‘ Pa lladis Tamia . Wits Treasur ein th e Seco nd y , g a rt ’ B p of i ommonwea t h . a ci e e I Wts C l Fr n s M r s.

‘ — Gull. Pa rdon faire ad t h ou h e sicke t h o u h ted , l y, g g Gullio m a ks a m a ine unto th ee a nd ike a ou d - fa ced ’ , l b l suta re gins to woo t hee. ‘ n en We sh a h ave noth in e but ure Sh a ks I g . ( ll g p pea re a nd sh reds of poet rie th at he h a th gathered a t th e th ea tors !) ‘ Th i e f i er th an m selfe u I e Gull. r s a r y th s b ga n The ods faire rich es sweete a ove com a re g , b p , Sta ine to a ll nim hes m ore ove the n a ma n p , [ ] l ly I ] . Mo re wh it e a nd red th a n doves a nd roses a re I ‘ w t Sh a ks e I ngen. S ee e Mr . p a re ! wh a t vayne woulde it plea se you to h ave th em in ? ‘ ’ Gull. Not in a vaine veine rettie i fa th I (p , i ma ke ’ mee them in two or th ree divers va us in h auce y , C r s , ’ ’ ’ Gower s a nd S encer s a nd Mr . Sh a ks ea re s. Ma rr I p p y, thinke I sh all entert a ine those verses wh ich run like t hese

Even a s th e sunn with purple coloured face

Had tane his laste leave on the wee in morne 8 m. p g , 1 43

VENUS AND ADONIS

‘ Tm anLv Books treatin of i ht subicts are Nurseries , g l g , of wa ntonnesse : they inst ruct the loose Rea der to beco me naught ; Venus and Adonis a re vnﬁtting Co nsorts for a La dies osome. Rema ne th em time from ou if t h e b ly y , y eue d e terta i ment b ou e ike th e Sna k n t e r ha n n y y , st, e i h ’ l l ’ fa e the a nno ou. rom The En lish Gentlewoma n bl , y y y (F g ,

Richa rd Brathwait .

‘ WI'r In enuit and Le a rnin in erse even E e a nc , g y, g V , l g y it se f thou h th at comes neerest a re one th in t rue l , g , g, Na tive Poetry is another ; in wh ich there is a cert a in Air and S irit which erha s the most Learned a nd udicious p , p p j in other Art s do not erfect a rehend much ess is it p ly pp , l a tt ainable by a ny Study or Indust ry ; nay t hough a ll the Laws of Heroic Poem all the Laws of Tra ed were ex a ct , g y ly o served et sti this tour entre ea nt this Poetic Ener ie b , y ll j , g , if I m a so ca it wou d be re uired to ive ife to a ll the y ll , l q g l ’ rest which shines throu h th e ou hest most u , g r g npo lish t and anti uated Lan ua e a nd ma h a l be wa ntin q g g , y pp y g, in the most o ite a nd reformed Sha kes ea r in s i ht p l p , p g of all his unﬁled ex ressions his ram in a nd indi est ed p , bl g g ’ a nc s the au hter of th e Critical et must be confess t F y , l g , y a Poet a ove m an th at o e ond him in Literature so me ’b y g b y r s Amon the h a Tr i umvi rat of deg ee . [ g] ppy th e Chief Dramatic Poets of our Nation in the ast fore o in , l g g A e there mi ht be said to be a s mmetr of e g , g y y p r fection whi e each exce ed in his ecu iar wa : Ben. , l ll p l y ohnson in his e a orate a ins and know ed e of Aut h ors j l b p l g , Sha kes ear in his ure vein of wit a nd na tura Poet ic p p , l hei hth Fletcher in a court E e ance and enti e fa g ; ly l g , g l ’ ‘ t e i ia h a kes ea r milia rity of s yl . Wll m S p from a n Actor of Tra edies a nd Comedies ecame a Ma ker g , b ; a nd such a Ma ker th at thou h some ot hers ma erh a s , g y p p retend to a more exact Decorum and a canomie es ecia p ’ , p lly T a ed never an ex ress t a more oft and Tra i c in r g y, y p l y g heighth never a ny represented nature more purely to e ife a nd where the o ishments of Art are most wa nt th l , p l 1 44 SELECTED CRITICISM

i n as ro a his Lea rnin was not ext raordina r he g, p b bly g y, pleaseth with a cert ain wild a nd native Elegance ; a nd in a ll his Writin s h a th a n unvu a r st e a s we in h is g lg yl , ll Venus a nd Adoni s his Ra pe of Lucrece a nd oth er va rious ’ ‘ ’ Poems a s in his D rama t ics rom Theat rum Poet a rum , . (F . Prefa ce Th e Modern Poets Edwa rd Phi i s . . ll p ,

‘ ’ TIIE Remains of Mr. Willi a m Sha kes ea re ca ll d The p , , P assi onate Pil rime and Sonnets to sundr Notes o g , , y f Musi c/e at th e End of this Co ect ion came to m h a nds ( ll ) , y ’ k d fo W a r in a itt e st itch d oo rinte a t London r . a d l l B , p f gg , ’ i n t e Yea r 1 It is enera a reed he d d a ou h 5 99 . g lly g y b t 6 6 o th at it a ea rs a in the we t he Year 1 1 . S pp pl ly y re u ished b himse f ein rinted 1 Yea rs efore his p bl y l , b g p 7 b

Death . ‘ I wi a n f en s a n d nis o of s y nothi g o V u d A o , n r the ll ’ R e o Lu e he ein u iversa a ow d o b a p f crec , t y g n y ll t e ’ b ll Sha kes ea r s o h a ave rinted t h em from ver o p , n y t t I h y ld l ’ p Editions which I rocur d a s the Reader wi ﬁnd b m , p , ll y y ee in c e is n k p g los to h Spelli g. ‘ The Writings of Mr . Sha kespea re a re in so great Es ’ l t eem t h at severa Gent emen h ave subscrib d to a a te , l l l Edition of his Dra m atick Works in Six Volumes ; which m a kes me ho e th a t this itt e ook wi not be nu p , l l B ll P k a ccept able to th e ublic . ‘ I sh a not t a ke u on me to sa an thin of th e Autho y y g r, ll p ’ a n ingenious Person h aving compil d some Memoirs of his ’ ’ Life a nd reﬁx d it to th e ate a ove- mention d Edition , p l b ’ But I cannot omit insert ing a Passage of Mr . Sha kspeare s Life ver much to his Honour a nd ver rem a rka e which , y , y bl ,

w a s eit her unknown or fo r otten b th e Writer of it . , g y ‘ ’ h at a d P ince a nd a P f T most le rn r , gre t a t ron o Lea rn ’ in Kin a mes t he irst was leas d with his own g, g j F , p Ha nd to w ite a amica e Letter to Mr Sha kes r r n bl . pea e;

l This refers a a rent y to the rst edit ion a fter the ’pp l ﬁ Fo ios i .e. Rowe s of 1 0 . l , 7 9 1 45 VENUS AND ADONIS

’ wh ch Letter tho ow ost rema in o n s i , n , d ng in the Ha d ’ l l of Sir Willi a m D avena nt a s a credi e Person now ivin , bl l g ’ ‘ ca n testif . rom Preface to A o ection f P ms y ( C o oe , F ’ ll i a m h a kes ea e. e a d intot t . by Mr. Wlli S p r B rn r L

‘ ’ ’ 1 11 0 the Poems a re ext rea mly dist inguish d in ence a nd a ue et there is not o e of h m their Exce , V , y n t e , ll l ’ th at does not ca rr it s Author s Ma rk a nd St a m u on it. y , p p Not on th e same Ma nner of Thinkin t he sa m e Turn ly g, of T o ht but even th e sa me Mode of Dress a nd Ex h ug , ression t he Decom ounds his ecu ia r sort o f E ith ets p , p , p l p , which distinguishes his from t he Verses of a ll his Con tem orice or Successors a s in t he Poems p ,

rom a ll a Hi whose concave Wom reworded F ll , b ” A a intfu Stor from a Sistrin Va e 8 m. pl l y g l ,

‘ And in his Pl ays this very Epithet we find even ” her Art Si sters the natur al Roses whoever knows a ny thing of Sha kes pea r will find his Genius in every Epigra m of these Poems and the freq uent Catachreses ; his St art s aside in A e o ries a nd in short his Versifica tion ll g , , which is very uneq ual ; somet imes flowing smoot hly but

rave ike the Tha mes a t oth er times down ri ht Prose. g ly l , g m e in a n of them b ut he He never touch es on a n I a g y , p ro ves the Poem genuine. ‘ But some erh a s who a re for underva uin wh at , p p , l g he ve o a e in ma sa th a t ra nt in th em to be t y ha n Sh r y y, g g Sha kes ea rs et the a re not va ua e enou h to b e t e p , y y l bl g rinted a s was ain b the rst Edito rs of h is Wo rks p , pl y ﬁ ’ ’ o who wou d oth erwise h ave join d th em a ltogether . T t his I answer Th a t t h e Assertion is fa se or were it not l , it is mo re th a n th e O ect or knows b h is own ud ment bj y J g , a nd Underst a ndin but to rove it fa se we need on g, p l ly consider th a t t he a re much ess im erfect in their Kind , y l p , ’ th a n ev n th e best of his Plays . 1 46

VENUS AND ADONI S

‘ ’ Tm s poem is received a s one of Sh akespea re s undis uted erforma nces a circumst a nce which recom mends p p , t to the ot ice it mi ht otherwise h ave esca ed i n g p . ‘ Th ere a re some excellencies which a re less g ra ceful tha n even t heir o osite defects there a re some v irtues pp ; , which ein mere constit utiona a re entit ed t o ver b g ly l , l y i e m d sma ll degrees of p ra s . Our poet igh t esign his Adonis t o en a e our esteem a nd et th e s u ish co dness o f his g g , y l gg l disposit ion is as offensive a s the impetuous fo rwa rdness To exhi it o of his wa nton mist ress . b a y ung ma n insensible to t he ca resses of t ranscendent ea ut is to describe a b y, being too ra rely seen to be acknowledged a s a na tural ch a racter a nd when seen of too itt e va ue to d eserve , , l l l io e such toil of represent at n. No logiums a re due to Sh a k ’ s ea re s hero on the score of ment a ch astit for h e does p l y, not pretend to h ave subdued his desi res to his mor a l obli

a t ia ns . He st rives indeed with Pla tonick a su rdit g , b y, to draw t h at ine which wa s never d rawn to ma ke th a t dis l , t inction wh ich never ca n be m a de t o se a ra te the urer from , p p t he rosser a rt of ove a ssi nin im its a nd a scri in g p l , g g l , b g ounds to each a nd ca in th em b different na mes b , ll g y ; but if we ta ke his own word he wi be found a t a st o n , ll l ly to refer one rati ca t ion to a nother the s o rts o f th e p g ﬁ , p o the en o ment of immort a ch a T ﬁeld t j y l rms . he reader will ea sily confess tha t no grea t respect is due to the judg ment of such a wou d- be Hercu es with such a cho ice be l l , W fore him . In short th e sto r of ose h a nd t h e wife of , y J p Pot iph a r is t he mo re i nterest ing ofth e two ; for th e pa ssions of the former a re re ressed b conscious rectitude of mind p y , nd o edience to th e h i h est l w Th e esent a b g a . p r na r ra tive on inc udes the disa oint ment of a n ea er fem a e a nd ly l pp g l ,

t h e dea th of a n unsusce t i e bo . Th e deit from he p bl y y, r a n ua e sh ou d seem to h ave een educated in th e sch l g g , l b ool of Messa ina the outh fro m h is ackwa rdness mi ht l ; y , b , g be suspected of h aving felt the discipline of a Turkish

seraglio . ‘ It is not indeed very clea r whether Sha kspeare meant 1 48 SELECTED CRITICISM

on this occa sion with Le run to recommend continence , B , a s a virtue or to t r his ha nd with Aretine on a icentious , y l ca nva s. If our oet h ad a n mora desi n in view he h as p y l g , een unfort una te in his ondu f i The s ie d b c ct o t . h l which he ifts in defence of ch a stit is wrou ht with such mere l y, g t ricious imagery as cannot fail to counteract a mora l pur

ose. Sh a ks ea re however wa s no unski fu m tholo p p , , l l y ist a nd must h ave known th at Adonis was th e offs rin g , p g o f C na ras a nd M h a His ud ment there o w d y yrr . j g f re oul h ave p revented him from ra ising an exa mple of continence — out of th e roduce of a n incestuous bed . Considering p ’ t his iece on in t he i ht of a eu d es rit written without p ly l g j p , ecu ia r tendenc we sh a even then be sorr th a t our p l y , ll y a uthor wa s unwilling to leave the cha ra cter of his hero a s he found it ; for the common and more pleasing fable a ssur es us, th a t

when ri ht Venus ie ded u her ch arms b g y l p , ’ ” d h The blest Adonis la nguish in er a rms .

We should therefore h ave been better pleased to h ave seen h im in th e situat ion o sca ius th an in the ve ct o f A n , ry a f re u na nce to fema e tem t at ion se f-denia ein ra re p g l p , l l b g ly found i h e n t e cat a logue of Paga n virtu s. Ifwe en uire into t he oet ica merit ofthis erformance q p l p , it wi d no o t a on of it s a tho The ll o honour t the repu ti u r. great excellence of Sh a kspea re is to be sought in dra ma tick dia o ue ex ressin his intima te ac ua inta nce wi th ever l g , p g y assion tha t sooth s or rava es exaIIs or de ases th e hu p g , b m an m d i i om sit ion which h a in . D a logue s a form of c po s been known to q uicken even th e genius of th ose who in m ere uninterrupted na rrat ive have sunk to a level with t he mu t itud of i e The sma er ieces l e common wr t rs. ll p of Otway a nd Rowe h ave a dded nothing to thei r fame. ‘ Let it be remem ered too t h a t a contem ora r author b , p y ,

D r. Ga ri el Harve oints out th e Venus a nd Adoni s a s b y, p a favourite on with the oun whi e r aver readers be ly y g, l g 1 49 VENUS AND ADONIS

stowed th eir attent ion on the Ra pe of Lucrece. Here I ca nnot help observing th a t th e poet ry of the Roma n legend is no ot su erior to th a t of th e m t ho o i ca A j p y l g l sto ry. t a le which Ovid h as completely and effectively t old in a out o ne hundred a nd fort verses our aut hor h a s d b y , col ly a nd im erfect s un out into nea r two thousa nd h e p ly p . T a ttent ion t herefore of these gr aver persona ges must h ave een en a ed b the mora tendenc of t he iece rather b g g y l y p , ’ t ha n b the force of st e in which it is re a y yl l ted . (STEE VENs)

‘ ’ Tm s ﬁrst essay of Sha kspea re s Muse does not a ppear to me so ent irely void of poetica l merit as it has bee n repre sented . In wh a t high estima tion it wa s h e d in o ur a u ’ l t hor s ife- time ma be co ected from the e o l , y ll l giums ’ ‘ n thi iece. MA L E o M n o s p ( ON .) (Fr m alo e s Supple ’ ’ ’ ment to ohnson and Steevens Edition of Sh a ks ea re s ’ J p P a s l y ,

‘ LE'r us view t hese oems uninﬂuenced b , p , y any a ut ho rit . To form a ri ht ud ment of an wo r k we y g j g y , should a lways ta ke into our consideration the mea ns by which it Was executed and the contem orar erform ances , p y p h The a e e of w a of ot ers . sm ll r pi ces Ot ay nd Rowe a dd nothing to the reputation wh ich they h ave a cq ui red by th ei r drama tick wo rks eca use recedin writers h a d al , b p g rea dy p roduced h a ppier composit ions ; a nd beca use t h ere were m an oets durin the eriod in which Rowe a nd Ot y p , g p wa exhi ited their a s who roduced etter oet r not y b pl y , p b p y , of th e dra m a t ick kind t ha n t heirs : but if we ex ce t , ’ , p S encer wh a t oet of Sh a ks ea re s a e roduced oems of p , p p g p p e ua or nea r e ua exce ence to th ose efore us Did q l , ly q l , ll b Turberville ? Did Golding ? Did Ph aet ? Did D ra nt ? Did Googe ? Did Churchya rd ? Did Fleming ? Did Fraunce ? Did Wh etstone ? Did Gascoigne ? Did Sid ne ? Did Ma r owe Nashe K d Ha rrin ton Li y l , , y , g , lly, Pee e Greene Wa t son reton Cha ma n Danie l , , , B , . p , l, 1 5°

VENUS AND ADONIS

Venus a nd Adoni s b Henr Const a e receded the , y y bl , p

oem efore us. Of th is it ma be said no roof h a s een p b , y , p b roduced a nd certa in I am a t resent unfurnished p ; ly, p with t he means of est a ishin this fact t hou h I h ave bl g , g m se f no dou ts u on t he su ect . But Ma r owe who y l b p bj l , indis uta wrote efore Sh a ks ea re h a d in ike m a nner p bly b p , l “ represented Adonis a s insensible to the ca resses of tran ” scendent eaut a so a madri a in a a m hlet b y, l [ g l ] p p entit ed Never too late b Ro ert Green 1 0 l , y b 59 ‘ I h ave not been a ble to ascert a in who it wa s th a t ﬁ rst ave so extraordina r a turn to t his ce e ra ted fa e but g y l b bl , I suspect it to h ave p roceeded from some of th e Ita lian ’ ‘ rom The P a s a nd Poems of Wi ia m Sha k poets . (F l y ll ’ Edmond Ma one. spea re. ( l

‘ IN the Venus a nd Adonis th e rst a nd m ost oh , ﬁ vious exce ence is the erfect sweetness of t he versiﬁca ll , p tion ; its adapt at ion to the subj ect ; a nd th e power dis a ed ia va r in the ma rch of the words with out a ssin pl y y g , p g into a loftier a nd more m ajestic rhythm th an was dema nded b th e th ou hts or ermitted b the ro riet of reserv y g , p y p p y p fme od redomina nt The de i h t in ing a sense o l y p . l g richness a nd sweetness of sound even to a fa u t excess if it be , l y , evident ori ina a nd not the resu t of a n ea si imita e ly g l , l ly bl m ech a nism I re a rd a s a hi h favoura e romise in the , g g ly bl p o a n The sense of composit i ns of you g ma n. musical de i h t with th e ower of roducin it is a ift of im a ina l g , p p g , g g t ion a nd t his to et her with t he ower of reducin mu ti ; , g p g l ude into unit of effect a nd modif in a series of th o hts t y , y g ug b some one redomina nt th ou ht or fee in m a be y p g l g, y cu tivat ed a nd im roved but ca n never be lea rnt . l p , ‘ A second p romise of genius is the choice of subjects very remote from the p rivate interests and circum st ances of th e wri ter himse f. In the Venus and Adonis this l , roof of oet ic ower exists even to exces is p p p s. It th rou hout a s if a su erior s i rit more intuit ive more g p p , , intim ate conscious even th an t he ch aracters themselves ly , ,

1 5 7. SELECTED CRITICISM

not on of ever outward ook and act but of the flux ly y l , a nd reflux of the mind in a ll its subtlest thoughts and fee in s were acin th e who e efore our view himse f l g , pl g l b ; l , m ea nwhi e un artici atin in the a ssions and actuated l , p p g p , o n b th at easura e excitement which h ad resu ted ly y pl bl , l from th e ener etic fervor of his own s irit in so vivid g p , ly exhibiting what it had so a ccura tely and p rofoundly con t em la ted I think I shou d have con ec ured from th ese p . l j t oems t ha t even then the rea t instinct which im e ed p , g , p ll the oet to the d ra ma wa s secret workin in him rom t p , ly g , p p in him b a series a nd never- roken ch ain of ima er g y b g y, a wa s vivid a nd ecause un roken often minute b l y b b , ; y t he hi hest effort of the ictures ue in words of which g p q , words a re ca a e hi her erh a s t h an was ever rea ized p bl , g , p p , l b a n other oet even D ante not exce ted to rovide y y p , p ; p a su stitute for th at visua a n ua e t hat consta nt inter b l l g g , entio and unnin comment b tone look and esture v n r g , y , g , which in his dramatic works he was entitled to expect from “ ” e a His enus a nd Adonis seem at once the t h pl yers . V ch a racters themse ves a nd t he who e re resentation of l , l p t h ose cha racters by the most consummate actors. You eem to be old oth n but to see a nd hea ve in s t n i g, r e ry th g. Hence it is th at from th e er etua a ctivit of attention , p p l y re uired on t he a rt of the rea der from the ra id flow q p ; p , t h e uick chan e a nd the a fu na ture of the thou hts q g , pl y l g a nd ima es and a ove a ll from the a ienation a nd if g ; , b , l , , m a a x ression the u ter aloo ness I y h za rd such an e , t f of ’ p t h e oet s own fee in s from th ose of which he is at once p l g , t h e painter a nd the ana lyst ; th at though the very subject ca nnot but det ract from t he ea sure of a de icate mind pl l , et never wa oem es da n erous on a m a y s p l s g or l account . Th e reader is forced into too much action to sympathize ith t he mere assive of our na tu t w ly p re. As li tle ca n a m ind thus roused a nd awa kened be brooded on by mean a nd indistinct emotion as th e low laz mist can cree , , y p u on th e surface of a ake whi e a stron ale is drivin p l , l g g g i t o nwa rd in waves and billows. I S3 VENUS AND ADONIS

‘ Ima es however eautifu thou h faithfu co ied from g , b l , g lly p nature a nd as accura te re resented in word s do not of , ly p , themse ves cha ra ct erize the o Th o l p et . ey bec me p roofs of ori ina enius on as far as the are m odi ed b a g l g ly, y fi y p redomina nt p assion ; or by associated t h ough ts o r im a ges ' awa kened b th at assion or when th e h ave th e efiect of y p ; , y reducin mu t itude to unit or succession to an i nsta nt g l y, ; or a st when a human a nd inte ectua ife is r , y, t a nsferred l l ’ ll l l to th em from t he oet s own i t p sp ri . ‘ The ast ch a racter I sh a l ment ion which wou d rove l l , l p indeed but it tle exce t a s t a ken con oint with t he fo rmer l , p j ly ; et without which the former cou d sca rce ex ist in a hi h y , l g de ree a nd even if t his were ossi e wou d ive romises g , ( p bl ) l g p on of transitor f ashes a nd a meteoric ower i s D EPTH ly y l p , , T O o ma n was ever e and EN ERGY of H UGHT . N y t a great oet without ein a t the sa me time a rofound hiloso p , b g p p Fo oet r is t he osso m and t he fra pher . r p y bl gra ncy of a ll human know ed e hum an thou h t s hum a n a ssions l g , g , p , emotions an ua e. , l g g ‘ Wh at then sha we sa ? even this th a t Sh a kS ea re no ll y ; p , mere child of na ture ; no automa ton of genius ; no p a ssive vehic e ofins irat ion ossessed b the s irit not o ssessin l p p y p , p g it fi rst studied a t ient medit a ted dee understood ; p ly, ply, minute t i know ed e ecome h a itua a nd intuit ive ly, ll l g , b b l , wedded it se f to h is h a itua fee in s a nd a t en t h ave l b l l g , l g g irth to th a t stu endous ower b which he st a nd s a one b p p , y l , wit h no e ua or second in ° his own c ass to th a t o wer q l l ; p , wh ich seated him on one of the two glory- smitten summits f he oetic mount a in with Mi ton as his com ee t o t p , r, no O l p riva . Whi e the former da rt s himse f fort h a nd a sses l l l , p into all th e forms of hum a n ch a racter and a ssion the p , one Proteus of the fire a nd th e flood ; t he other a tt racts all forms and thin s to himse f into t he unit of his own g l , y All t hin s a nd modes of a ction sh a e t h emse ID EAL . g p lves a new in th e being of MI LTO N ; while SHA KSPEA RE becomes ’ ‘ a ll t hin s et fo r ever remaining himse f. ( rom Bio g , y ’ l F r . T . Co erid e. graphia Litera ia S. l g 1 54

VENUS AND ADONIS

su ressed . The ove oddess ex uisite as when she pp l ly g , q rose from the foam- ossoms of the ue lE ean t i bl bl g , yp ﬁes ust and a as ! ust does not shock us sim be~ l , , l l , ply f cause it comes in the form of such per ect beauty . C ritics h ave compared Venus a nd Adonis with the ma st erpiece ’ “ ” of Sh akes ea re s dead she herd with the Hero a nd p p , Leander which Keats a one amon En ish oets cou d , l g gl p l h av continued An the criticism is uit e u e ﬁtly . d q j st . Nothing in either poem is more remarka ble than th e in Ma owe dwe s on th e m sistence on physica l beauty . rl ll ere forms of his two overs on s mmetr and sh a liness of l , y y p im on fascination ofco our with all th e ovin sensuous l b, l , l g, , c nd so it is wi h a deliberate content of a s ulptor. A th S ke e e He rin s but two characters on th e scene o sp a r . b g f assion and he avishes on them ever ossi e touch t hat p , l y p bl can please the eye a nd intoxicate the on- looker with th e And in this wonder and glory of physica l grace. intoxi cation we cease to be mora lists : our mora l sense is d rugged

b the o ied drau ht of sensuous seductive o ison. y p pp g , p ’ “ ” T oddess is ike rownin s Prett om a he hungry g l B g y W n. She is fair divine fair a dau hter of th e ods a nd we , ly , g g , say of the sweet face

Be its beauty Its so e dut l y.

There can be no place for th e preacher here : we ca nnot t a ke ver serious the mora it th at ows rom the rett y ly l y ﬂ f p y,

rotes in i s o the ushin bo . Mr Swin urne de p t g l p f bl g y . b scri es Venus a nd Adonis and Lucrece as semi- narrative b , semi- ﬂe i ve he de ion I k is re ct ve rse. T scri t th in mo re p , , a o riate to the on er a nd ater oem enus ppr p l g l p . V a nd Adonis is sim na rrative a nd a na rrative th at ca rries ply , us a long on a wave of passion which moves far too quickly

to admit of much re ection. It is as fa r as I can under ﬂ , st and it a stud in sensuous effects a series of stan as in , y ; z which morality a nd the ethical element th at we usually 1 56 SELECTED CRITICI SM

loo k for in iterature es ecia En ish literature are l , p lly gl , wholly a bsent ; a poem which we cannot call immoral ecause the who e idea is so fa ntastic a nd unrea so re b l l, m oved from the world of the p ractica l and possible ; a oem of which we ca n on sa th at it is who and in p ly y, lly ’ ‘ ’ - t entionall nu mora . rom Crit ica Remarks b y l (F l , y

A i son erit . . Wl V y

‘ ’ IN all Sh a kes ea re s work of this eriod the same fu ’ p p sio of id s sto ies i e is o vio s T r uin and n Ov r and mag s b u . a q M rrh a a re oth de a ed but not daunted b u u ri y b l y , , y l g b ous fore odin s in the da rk a nd Titus Andronicus a ed b g ; , pl y for the ﬁrst time in the year which saw the publication of

Venus a nd Adonis is fu of de ts and a usions to Ovid . , ll b ll Ovid with h is ower of te in a stor a nd of e o uent , p ll g y l q discourse his shinin ima es h is cadences co oured with , g g , l a ssonance and wei hted wit h a iteration Ch aucer with g ll ; , his sweet i uidit ofdiction his dia o ues a nd so i o uies l q y , l g l l q “ ” ft e ic Sh a kes ea re t h ese a re the only t rue begetters o h lyr p . In these ma tters we must allow poets to h ave their own wa : mere notin th at Ovid in whom crit ics see chie y ly g , ﬂy a ri iant man of the wor d h as een a mine of de i ht b ll l , b l g fo r all oets who re oice in t he ma ic of sound from the p j g , d a wn of the Middle Ages down to our own incompa rable o Hi effects of a itera tion : Milt n. s ll

Corpora Cecropidum pennis pendere putares ; Pe b t i nde a n penn s. e i vo st a nt in vertice crist ae V rt tur in lucrem, cui , h is eamin meta hors as of Herma h roditus after his gl g p , p plunge In liq uidis t ranslucet a q uis ; ut eburnea si quis ” Si na te et c a ro vel ca ndida i ia vit ro g g l , l l , ’ a re the very counterpart of Sh a kespeare s manner in the Poems and th e Play which he founded in p a rt on his early love of the Meta mor phosi s . ‘ But in Titus Andronicus and in Venus and Adonis I S7 VENUS AND ADONIS

there are effects of the O en air which hai not from Ovid p l, , but from Arden. ‘ Indeed in the Poem round and over th e sh a r o , p p rt rayal of ever word a nd esture of t he two who s ea k a nd m ove y g p , ou h ave ra kes a nd trees horses and hounds a nd the y b , , silent tra nsformations of da y a nd night from t h e ﬁrst dawn till eve and th rough da rkness to the second d a wn so immedia te Im ressed th at a usin a t a n o f th e cx cix ly p , , p g y sta as ou cou a most m h nz , y d na e t e hour. The same l l ’ express observation of th e day s ch anges may be ob served iet It is a note whic h a in Romeo a nd j ul . h s often been echoed b men who never oo k out of their wi nd ows y l , a nd critics as narrow imm ured h ave denounced it for , ly , e v a n affect ation. Yet a month und r ca n as, or, bet ter st i without a tent wi co nvince a n one th a t to s eak ll , , ll y p of the sta rs a nd t he moo n is as natura l as to loo k a t your ck watch or an a lmana . ‘ Benea th these atmospheric effects everyt hing is clea rly in a The i ustra tion f seen and sh a rply del e ted . ll s rom nature a re so vivid as to snatch your a ttention fro m It is sa id t h at such mu t i icit of d eta i the story. l pl y l a nd ornament is out of ace in a c assic myt h . But ’ pl l Sh a kes ea re s Poem is not a c assic myt h . Mr . Swi n p l ’ burne cont ra sts it unfavora bly with Ch apman s Her o a nd “ Lea nder in which he nds a sma sh rine of Pa rian scu , ﬁ ll lp ” t ure a mid the ra nk splendour of a t ropica l jungle. Cer t a inly t h at is th e la st ima ge which a ny one could a pp ly to

enus a nd Adonis . But a on side of t his rea ism a nd V l g l , a a in as in Medie va Art th ere a re wi fu and h a f- h u g l , l l l e io of atu e When Sha kes ea re in ra is mo rons perv rs ns n r . p p e ’ ofAdonis bea uty says th at

“ ‘ To see his face the ion wa ked a on , l l l g Behi nd some hed e ecause he wou d not fear him g , b l , or th a t

“ ‘ When he ehe d his sh adow in the rook b l b , ” The shes s read on it their o den i s ﬁ p g l g ll , 1 5 8

VENUS AND ADONIS

dents is more nea rly a llied to th e ecst asies of adolescence th an to the ri e a ssion of manh The e p p ood . r a re m any irre evant and di ressive det a i s which thou h a s a ru e l g l , g l they bea r witness to ma rvellous j ustness of observa tion and to exceptiona l comma nd of the rich h armonies of

an ua e def a ll aws to a rti st ic rest ra int . The m et re l g g , y l , des ite its me odious uenc is not a wa s so thoro u h p l fl y, l y g ly i under command as to avo d monotony and atness . Th e ’fl luxuriance of t he ima gery is one of t he poem s most no t a ble ch aracteristics a nd for t he most a rt it serves wit h e , p pr t i ust rativ ur o e But th ere a re occ cision i s ll e p p s . a sio na l si ns of t he uveni e tendenc of th e va rant im u se g j l y , g p l to accumu a te urat ive ornament for its own sa ke l fig . Nea r all t he ures a re moreover drawn from a so me ly fig , , wh at na rrow round of home ex erience from t he sound s ly p , “ d i hts of rura o r domestic ife The frowa rd a n s g l l . in ’ ” fa nt still d with d a nd in t he ch an in as ect s o f t h e l g, g g p sk t he timid snai cree in into its she the ca ter i a r y, l p g ll , p ll devourin fo ia e are a mon t he o ects which a re em g l g , g bj he oet to oint o All et r a ployed by t p p his m ra l . b y a n a lert fa milia rity with everyday incidents of rustic exist en The fresh tone a nd the ictoria c ea ness o f t h e ce. p l l r man rura simi es in the Venus a nd Adoni s seem in fa ct y l l , , ’ to embody the poet s ea rly imp ressions of the count ry side im ressions which ost somet hin of their concrete , p l g distinctness a nd filled a na rrower sp ace in his t hough t in a du t ears a mid the mu t ifa rious dist ract ions of th e l y , l town. ‘ The su ect too savours of the conditions of outh bj , , y , L! ! “ of wh at Sh a kespea re ca lled in his Sonnets ( . 9) t he ” m sh of o a s h a kes ea re chose to occu a bu y ung d y . S p py his budding fa ncy with a somewh at voluptuous story a n unsubst a nt ial drea m of pa ssion — which was first re vea ed to him in one of his c a ssica schoo - ooks and h ad l l l l b , already exercised th e energies of famous versifiers of h is n e o En a nd a nd on the continent of Euro ow p ch in gl pe. As in the case of most outhfu essa s in oetr the choice y l y p y, 1 60 SELECTED CRITICISM

of so well-worn a topic as Venus and Adonis shows Sh ake spea re to h ave emba rked at the outset of his poetic career ' in a conscious imita tive eﬂort even if the otenc of ly , p y his individuality stamped the ﬁnished product with its

own h a m a rk . In it recent im ressions of the countr ll , p y ife of Wa rwickshire seem to be fused not mere with l , ly schoo lboy devotion to Ovid a nd youthful enth usiasm for the new irt h of En ish oetr but with enuine a re b gl p y, g pp cia tion of the ta ste and feeling which the Renaissance h ad enera ted in all cu tiva ted minds of Wes ern Eu g l t rope. On founda tions offered by the novels of Ita ly and France some of the most ch a ra cteristic fruit of Renaissa nce litera ture — Sh a kespea re a t the height of his powers reared m a n of hi - y s best known plays. The sa me elements of itera r sustenance th e sa me force of iterar s m ath l y , l y y p y, ’ which fed the st rea m of Sha kespea re s genius in its ma turit seem in t he e e of the ca refu student to course y, , y l , ‘‘ ” in em r o th rou h Venus a nd Adonis the rst heir of b y g , ﬁ ’ ‘ ’ his invention m Venus a nd Adonis. idn . (Fro S ey Lee.

‘ To say th at the sixains of Venus and Adonis and the “ rh me- ro a of Lucrece a re erfect wou d be mere ind y y l p , l bl

aflection as Ben onson sa s. The a re not and th e , J y y ; y e in would be much less interesting if th y were. For th at case the experienced a nd unsatisfactory critic would ex ect with a ruefu cert aint wh at h as h a ened in so p l y , pp ma n other cases of mocki n - irds who can earn a n y g b , l y th ing but do nothing. The individual verses of the Venus have the ma rk which we h ave seen so often efore and b , which is an infa i e s m tom of the desire a t a n cost ll bl y p y , however unconscious to et rid of the mark of ly, g excessive se f-com etion of wh at we h ave ca ed th e bul l pl , ll let - mould This cflect is independent of mere pune tua tion at the verse end ; you will find it in such a line as

” The studded bridle on a ragged bough 1 61 VENUS AND ADONIS

e at a l not so c s where there is no st p l , mu h a a co mm a . And in th e same way th e ﬁna l couplet is apt to be too m uch iso ated from the uat rain a thin which as h a s een l q g , b a so ointed out was a va ua e schoo for the cont inuous l p , l bl l sto ed cou et it se f but wh ich is not a wa s a bea ut pp pl l , l y y in t he st an a . But here a so t he de monic e ement in z , l , l Sh a kes ea re shows itse f a nd here fortuna te we ca n sa p l , , ly, y h h f Whi e he is musin ove t a t it s ows itsel a t once. l g r th e su osed re uirement s oft he met re th e ﬁre kind es a nd the pp q l , met re itse fis trans osed t ra nsformed t ransfused und er his l p , , n S enser h ad e un t he Kalendar with t his ve h a d . p b g ry stave thirteen ea rs efore and h ad done no with it . y b , bly But though perh aps [it] h a s a certain ma rmorea l dig nity which the more passionate and huma n stra ins o f th e nus do not invite t he adva nce in this di ction of Ve , re pas sionate humanity represented by prosodic movement is a It is no onde h at i i very gre t . w r t mus c ans should h a ve “ seen th e ext raordina rily lyrical movement of Bid me dis ” course or th at a inters a nd natura ists shou d h ave , p l l acknowledged the astonishing fea t s of the episode o f t he But t he evidences of rosodi ade u h orse. p c q acy a re om ni i t In the sin e e r form a nd omn presen . gl a nd a ly line

Ten kisses short as one one on as twent , l g y, th ere i s when we consider t he st a e oth of the o et r , g b p y and of the oet an a most uncann master in th e oca p , l y y l tion of the ause t he dist ri ution of the words of t he p , b h emist ich and the ado tion of the redunda nt s a e , p yll bl So with t he t risylla bic cent re of

” a in hi r oner in a e s h ain Le d g m p is r d ro e c , and th e ﬁngeri ng of the vowels and of th e suggested t ro chees in

H wo e win o s fa i t h v er t blu / d w / n ly/s e uph ea eth .

‘ ’ rom Histor of En ish Prosod Geor e Saintsbur (F y gl y, g y.

. 1 62

VENUS AND ADONIS

assa e to co our and form of descri tion na rra tive ad p g l p , , dress and the like : the pictures of the h a re a nd of the horse and of the oar the na de ate of th e ai r efore b , ﬁ l b p b Adonis wrenches himse f awa th e mornin uest these l y, g q are a ll wh a t may be called ma sterpieces of the novitiate romisin master ieces of the mastershi ver , p g p p y soon. If some a re s i ht orrowed th a t is nothin . l g ly b , g It is usual in their kind ; and th e bo rrowing is a lmost lost in th e use made of wh at is orrowed . Natura this use b lly, does not as et inc ude much nove t of condition either , y , l l y ; in oint of cha racter or of wh at th e Greeks ca ed di a p , ll f t i a nai a genera l cast o sentiment a nd thought . I s stock theme d ressed u with a de i h tfu a nd a r e , p l g l l g ly nove variet of verse and h rase of descri tion and dia l y p , p B t it i mo e h one t a n a n et logue. u s r c a rmingly d h y po of t he time exce t S enser himse f cou d h ave done it , p p l , l ; and t here is a certa in vividness a presence of ﬂesh a nd blood a nd an absence of sh adow and drea m which ha rdly th e stron est a rtisans of S enser if the are wise as we g p p , y ll as st ron wou d choose o r wou d in fact wish t o redi g, l , l , p ’ ‘ ’ rom h a kes ea re : Poems . Geor e ca te of him . (F S p g Saintsbury in the Cambridge History of English Litera ture.

‘ / 5 ¢ KA

1 64