William Shakespeare: The Complete Works 2nd Edition (116 page)
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Authors: William Shakespeare
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VENUS AND ADONIS
WITH
Venus and Adonis
, Shakespeare made his debut in print: his signature appears at the end of the formal dedication to the Earl of Southampton in which the poem is described as ‘the first heir of my invention’—though Shakespeare had already begun to make his mark as a playwright. A terrible outbreak of plague, which was to last for almost two years, began in the summer of I592, and London’s theatres were closed as a precaution against infection. Probably Shakespeare wrote his poem at this time, perhaps seeing a need for an alternative career. It is an early example of the Ovidian erotic narrative poems that were fashionable for about thirty years from 1589; the best known outside Shakespeare is Christopher Marlowe’s
Hero and Leander,
written at about the same time.
Venus and Adonis
, Shakespeare made his debut in print: his signature appears at the end of the formal dedication to the Earl of Southampton in which the poem is described as ‘the first heir of my invention’—though Shakespeare had already begun to make his mark as a playwright. A terrible outbreak of plague, which was to last for almost two years, began in the summer of I592, and London’s theatres were closed as a precaution against infection. Probably Shakespeare wrote his poem at this time, perhaps seeing a need for an alternative career. It is an early example of the Ovidian erotic narrative poems that were fashionable for about thirty years from 1589; the best known outside Shakespeare is Christopher Marlowe’s
Hero and Leander,
written at about the same time.
Ovid, in Book I0 of the
Metamorphoses
, tells the story of Venus and Adonis in about seventy-five lines of verse; Shakespeare’s poem—drawing, probably, on both the original Latin and Arthur Golding’s English version (I565-7)—is I,I94 lines long. He modified Ovid’s tale as well as expanding it. In Ovid, the handsome young mortal Adonis returns the love urged on him by Venus, the goddess of love. Shakespeare turns Adonis into a bashful teenager, unripe for love, who shies away from her advances. In Ovid, the lovers go hunting together (though Venus chases only relatively harmless beasts, and advises Adonis to do the same); in Shakespeare, Adonis takes to the hunt rather as a respite from Venus’ remorseless attentions. Whereas Ovid’s Venus flies off to Cyprus in her dove-drawn chariot and returns only after Adonis has been mortally wounded, Shakespeare’s anxiously awaits the outcome of the chase. She hears the yelping of Adonis’ hounds, sees a bloodstained boar, comes upon Adonis’ defeated dogs, and at last finds his body. In Ovid, she metamorphoses him into an anemone; in Shakespeare, Adonis’ body melts away, and Venus plucks the purple and white flower that springs up in its place.
Metamorphoses
, tells the story of Venus and Adonis in about seventy-five lines of verse; Shakespeare’s poem—drawing, probably, on both the original Latin and Arthur Golding’s English version (I565-7)—is I,I94 lines long. He modified Ovid’s tale as well as expanding it. In Ovid, the handsome young mortal Adonis returns the love urged on him by Venus, the goddess of love. Shakespeare turns Adonis into a bashful teenager, unripe for love, who shies away from her advances. In Ovid, the lovers go hunting together (though Venus chases only relatively harmless beasts, and advises Adonis to do the same); in Shakespeare, Adonis takes to the hunt rather as a respite from Venus’ remorseless attentions. Whereas Ovid’s Venus flies off to Cyprus in her dove-drawn chariot and returns only after Adonis has been mortally wounded, Shakespeare’s anxiously awaits the outcome of the chase. She hears the yelping of Adonis’ hounds, sees a bloodstained boar, comes upon Adonis’ defeated dogs, and at last finds his body. In Ovid, she metamorphoses him into an anemone; in Shakespeare, Adonis’ body melts away, and Venus plucks the purple and white flower that springs up in its place.
Shakespeare’s only addition to Ovid’s narrative is the episode (259-324) in which Adonis’ stallion lusts after a mare, so frustrating Adonis’ attempt to escape Venus’ embraces. But there are many rhetorical elaborations, such as Venus’ speech of attempted seduction (95-1174), her disquisition on the dangers of boar-hunting (6I3-7I4), her metaphysical explanation of why the night is dark (72I-68), Adonis’ reply (769-8I0), culminating in his eloquent contrast between lust and love, and Venus’ lament over his body (I069-II64).
Venus and Adonis
is a mythological poem whose landscape is inhabited by none but the lovers and those members of the animal kingdom—the lustful stallion, the timorous hare (679-708), the sensitive snail (I033-6), and the savage boar—which reflect their passions. The boar’s disruption of the harmony that existed between Adonis and the animals will, says Venus, result in eternal discord: ‘Sorrow on love hereafter shall attend’ (II36).
is a mythological poem whose landscape is inhabited by none but the lovers and those members of the animal kingdom—the lustful stallion, the timorous hare (679-708), the sensitive snail (I033-6), and the savage boar—which reflect their passions. The boar’s disruption of the harmony that existed between Adonis and the animals will, says Venus, result in eternal discord: ‘Sorrow on love hereafter shall attend’ (II36).
In Shakespeare’s own time,
Venus and Adonis
was his most frequently reprinted work, with at least ten editions during his life, and another half-dozen by I636. Like his other non-dramatic works, it was not included in the Folio of I623. It fell out of fashion until Coleridge wrote enthusiastically about it in
Biographia Literaria
(I8I7). Though its conscious artifice may limit its appeal, it is a brilliantly sophisticated erotic comedy, a counterpart in verbal ingenuity to
Love’s Labour’s Lost
; the comedy of the poem, like that of the play, is darkened and deepened in its later stages by the shadow of sudden death.
Venus and Adonis
was his most frequently reprinted work, with at least ten editions during his life, and another half-dozen by I636. Like his other non-dramatic works, it was not included in the Folio of I623. It fell out of fashion until Coleridge wrote enthusiastically about it in
Biographia Literaria
(I8I7). Though its conscious artifice may limit its appeal, it is a brilliantly sophisticated erotic comedy, a counterpart in verbal ingenuity to
Love’s Labour’s Lost
; the comedy of the poem, like that of the play, is darkened and deepened in its later stages by the shadow of sudden death.
Vilia miretur vulgus; mihi flavus Apollo Pocula Castalia plena ministret aqua.TO THE RIGHT HONOURABLE HENRY WRIOTHESLEY, EARL OF SOUTHAMPTON, AND BARON OF TITCHFIELDRight Honourable, I know not how I shall offend in dedicating my unpolished lines to your lordship, nor how the world will censure me for choosing so strong a prop to support so weak a burden. Only, if your honour seem but pleased, I account myself highly praised, and vow to take advantage of all idle hours till I have honoured you with some graver labour. But if the first heir of my invention prove deformed, I shall be sorry it had so noble a godfather, and never after ear so barren a land for fear it yield me still so bad a harvest. I leave it to your honourable survey, and your honour to your heart’s content, which I wish may always answer your own wish and the world’s hopeful expectation.Your honour’s in all duty,William Shakespeare
Even as the sun with purple-coloured face
Had ta’en his last leave of the weeping morn,
Rose-cheeked Adonis hied him to the chase.
Hunting he loved, but love he laughed to scorn.
Had ta’en his last leave of the weeping morn,
Rose-cheeked Adonis hied him to the chase.
Hunting he loved, but love he laughed to scorn.
Sick-thoughted Venus makes amain unto him,
And like a bold-faced suitor ’gins to woo him.
‘Thrice fairer than myself,’ thus she began,
‘The fields’ chief flower, sweet above compare,
Stain to all nymphs, more lovely than a man,
More white and red than doves or roses are—
‘The fields’ chief flower, sweet above compare,
Stain to all nymphs, more lovely than a man,
More white and red than doves or roses are—
Nature that made thee with herself at strife
Saith that the world hath ending with thy life.
‘Vouchsafe, thou wonder, to alight thy steed
And rein his proud head to the saddle-bow;
If thou wilt deign this favour, for thy meed
A thousand honey secrets shalt thou know.
And rein his proud head to the saddle-bow;
If thou wilt deign this favour, for thy meed
A thousand honey secrets shalt thou know.
Here come and sit where never serpent hisses;
And, being sat, I’ll smother thee with kisses,
‘And yet not cloy thy lips with loathed satiety,
But rather famish them amid their plenty,
Making them red, and pale, with fresh variety;
Ten kisses short as one, one long as twenty.
But rather famish them amid their plenty,
Making them red, and pale, with fresh variety;
Ten kisses short as one, one long as twenty.
A summer’s day will seem an hour but short,
Being wasted in such time-beguiling sport.’
With this, she seizeth on his sweating palm,
The precedent of pith and livelihood,
And, trembling in her passion, calls it balm—
Earth’s sovereign salve to do a goddess good.
The precedent of pith and livelihood,
And, trembling in her passion, calls it balm—
Earth’s sovereign salve to do a goddess good.
Being so enraged, desire doth lend her force
Courageously to pluck him from his horse.
Over one arm, the lusty courser’s rein;
Under her other was the tender boy,
Who blushed and pouted in a dull disdain
With leaden appetite, unapt to toy.
Under her other was the tender boy,
Who blushed and pouted in a dull disdain
With leaden appetite, unapt to toy.
She red and hot as coals of glowing fire;
He red for shame, but frosty in desire.
The studded bridle on a ragged bough
Nimbly she fastens—O, how quick is love!
The steed is stalled up, and even now
To tie the rider she begins to prove.
Nimbly she fastens—O, how quick is love!
The steed is stalled up, and even now
To tie the rider she begins to prove.
Backward she pushed him, as she would be thrust,
And governed him in strength, though not in lust.
So soon was she along as he was down,
Each leaning on their elbows and their hips.
Now doth she stroke his cheek, now doth he frown
And ’gins to chide, but soon she stops his lips,
Each leaning on their elbows and their hips.
Now doth she stroke his cheek, now doth he frown
And ’gins to chide, but soon she stops his lips,
And, kissing, speaks, with lustful language broken:
‘If thou wilt chide, thy lips shall never open.’
He burns with bashful shame; she with her tears
Doth quench the maiden burning of his cheeks.
Then, with her windy sighs and golden hairs,
To fan and blow them dry again she seeks.
Doth quench the maiden burning of his cheeks.
Then, with her windy sighs and golden hairs,
To fan and blow them dry again she seeks.
He saith she is immodest, blames her miss;
What follows more she murders with a kiss.
Even as an empty eagle, sharp by fast,
Tires with her beak on feathers, flesh, and bone,
Shaking her wings, devouring all in haste
Till either gorge be stuffed or prey be gone,
Tires with her beak on feathers, flesh, and bone,
Shaking her wings, devouring all in haste
Till either gorge be stuffed or prey be gone,
Even so she kissed his brow, his cheek, his chin,
And where she ends she doth anew begin.
Forced to content, but never to obey,
Panting he lies and breatheth in her face.
She feedeth on the steam as on a prey
And calls it heavenly moisture, air of grace,
Panting he lies and breatheth in her face.
She feedeth on the steam as on a prey
And calls it heavenly moisture, air of grace,
Wishing her cheeks were gardens full of flowers,
So they were dewed with such distilling showers.
Look how a bird lies tangled in a net,
So fastened in her arms Adonis lies.
Pure shame and awed resistance made him fret,
Which bred more beauty in his angry eyes.
So fastened in her arms Adonis lies.
Pure shame and awed resistance made him fret,
Which bred more beauty in his angry eyes.
Rain added to a river that is rank
Perforce will force it overflow the bank.
Still she entreats, and prettily entreats,
For to a pretty ear she tunes her tale.
Still is he sullen, still he lours and frets
’Twixt crimson shame and anger ashy-pale.
For to a pretty ear she tunes her tale.
Still is he sullen, still he lours and frets
’Twixt crimson shame and anger ashy-pale.
Being red, she loves him best; and being white,
Her best is bettered with a more delight.
Look how he can, she cannot choose but love;
And by her fair immortal hand she swears
From his soft bosom never to remove
Till he take truce with her contending tears,
And by her fair immortal hand she swears
From his soft bosom never to remove
Till he take truce with her contending tears,
Which long have rained, making her cheeks all wet;
And one sweet kiss shall pay this countless debt.
Upon this promise did he raise his chin,
Like a divedapper peering through a wave
Who, being looked on, ducks as quickly in—
So offers he to give what she did crave.
Like a divedapper peering through a wave
Who, being looked on, ducks as quickly in—
So offers he to give what she did crave.
But when her lips were ready for his pay,
He winks, and turns his lips another way.
Never did passenger in summer’s heat
More thirst for drink than she for this good turn.
Her help she sees, but help she cannot get.
She bathes in water, yet her fire must burn.
More thirst for drink than she for this good turn.
Her help she sees, but help she cannot get.
She bathes in water, yet her fire must burn.
‘O pity,’ gan she cry, ‘flint-hearted boy!
’Tis but a kiss I beg—why art thou coy?
‘I have been wooed as I entreat thee now
Even by the stern and direful god of war,
Whose sinewy neck in battle ne’er did bow,
Who conquers where he comes in every jar.
Even by the stern and direful god of war,
Whose sinewy neck in battle ne’er did bow,
Who conquers where he comes in every jar.
Yet hath he been my captive and my slave,
And begged for that which thou unasked shalt have.
‘Over my altars hath he hung his lance,
His battered shield, his uncontrolled crest,
And for my sake hath learned to sport and dance,
To toy, to wanton, dally, smile, and jest,
His battered shield, his uncontrolled crest,
And for my sake hath learned to sport and dance,
To toy, to wanton, dally, smile, and jest,
Scorning his churlish drum and ensign red,
Making my arms his field, his tent my bed.
‘Thus he that over-ruled I overswayed,
Leading him prisoner in a red-rose chain.
Strong-tempered steel his stronger strength obeyed,
Yet was he servile to my coy disdain.
Leading him prisoner in a red-rose chain.
Strong-tempered steel his stronger strength obeyed,
Yet was he servile to my coy disdain.
O, be not proud, nor brag not of thy might,
For mast’ring her that foiled the god of fight.
‘Touch but my lips with those fair lips of thine—
Though mine be not so fair, yet are they red—
The kiss shall be thine own as well as mine.
What seest thou in the ground? Hold up thy head.
Though mine be not so fair, yet are they red—
The kiss shall be thine own as well as mine.
What seest thou in the ground? Hold up thy head.
Look in mine eyeballs: there thy beauty lies.
Then why not lips on lips, since eyes in eyes?
‘Art thou ashamed to kiss? Then wink again,
And I will wink. So shall the day seem night.
Love keeps his revels where there are but twain.
Be bold to play—our sport is not in sight.
And I will wink. So shall the day seem night.
Love keeps his revels where there are but twain.
Be bold to play—our sport is not in sight.
These blue-veined violets whereon we lean
Never can blab, nor know not what we mean.
‘The tender spring upon thy tempting lip
Shows thee unripe; yet mayst thou well be tasted.
Make use of time; let not advantage slip.
Beauty within itself should not be wasted.
Shows thee unripe; yet mayst thou well be tasted.
Make use of time; let not advantage slip.
Beauty within itself should not be wasted.
Fair flowers that are not gathered in their prime
Rot, and consume themselves in little time.
‘Were I hard-favoured, foul, or wrinkled-old,
Ill-nurtured, crooked, churlish, harsh in voice,
O’er-worn, despised, rheumatic, and cold,
Thick-sighted, barren, lean, and lacking juice,
Ill-nurtured, crooked, churlish, harsh in voice,
O’er-worn, despised, rheumatic, and cold,
Thick-sighted, barren, lean, and lacking juice,
Then mightst thou pause, for then I were not for
thee.
But having no defects, why dost abhor me?
‘Thou canst not see one wrinkle in my brow.
Mine eyes are grey, and bright, and quick in turning.
My beauty as the spring doth yearly grow.
My flesh is soft and plump, my marrow burning.
Mine eyes are grey, and bright, and quick in turning.
My beauty as the spring doth yearly grow.
My flesh is soft and plump, my marrow burning.
My smooth moist hand, were it with thy hand felt,
Would in thy palm dissolve, or seem to melt.
‘Bid me discourse, I will enchant thine ear;
Or like a fairy, trip upon the green;
Or like a nymph, with long, dishevelled hair,
Dance on the sands, and yet no footing seen.
Or like a fairy, trip upon the green;
Or like a nymph, with long, dishevelled hair,
Dance on the sands, and yet no footing seen.
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