Narrative poem · 1599 · 430 lines

The Passionate Pilgrim.

A mixed collection of love poems: some Shakespeare's, some not. Quarrels over desire, betrayal, and what loyalty means.

The Passionate Pilgrim is a grab-bag: 20 poems in 65 stanzas, published in 1599 without Shakespeare's permission. Only about a third are definitely his. What ties them together is a obsession with desire—how it blinds us, how it makes us lie, how it can destroy friendship.

The best pieces (the opening sonnets, the Cytherea and Adonis fragment, the Nightingale elegy) are sharp and unsettling. They're not love poetry in the Petrarchan romance mode. Instead, they're about the mess: the speaker who knows his lover is lying but chooses to believe anyway; the triangle of desire where two people fight over a third; the casual way beauty and seduction corrupt virtue. There's real psychological depth here.

The weaker poems are conventional complaint-ballads—competent, forgettable. And the book's miscellaneous nature means you're never sure whose voice you're hearing. That chaos is actually part of the poem's strange power: it models a world where desire scatters loyalty and truth into pieces.

About this poem

What it is

The Passionate Pilgrim is a 1599 miscellany—a collection someone (probably the publisher William Jaggard, not Shakespeare) threw together and attributed to Shakespeare to sell copies. Of its 20 poems, only about 6–7 are actually his; others come from earlier sources or are simply anonymous period work. That’s a mess by modern standards, but it tells us something true: in Shakespeare’s time, authorship was fluid, poems circulated in manuscript, and printers took liberties. The book reads like a sampler box of love poetry, uneven and strange.

The core argument

Where the poems are Shakespeare’s—especially the opening sonnets and the Cytherea sequence—they’re about the ways desire warps judgment and speech. The famous first stanza sets the tone: the speaker loves a woman who lies about being truthful. He knows she’s lying. And he chooses to believe her anyway, because it lets him feel young and foolish instead of old and wise. Love, in other words, is a deal you strike with yourself to avoid the truth.

The second poem (on the two angels, good and bad) pushes darker. The speaker is caught between attraction to a beautiful man and a dark woman, and suspects they’re corrupting each other—or maybe corrupting him. There’s real erotic anxiety here: desire doesn’t clarify; it obscures. You live in doubt.

The Cytherea fragment (Poem IV) is tighter and more narrative. Venus tries to seduce Adonis, but he’s young, inexperienced, or indifferent, and he runs away. The poem is both comic and sad: seduction fails, but the failure is almost absurd. Beauty and rhetoric aren’t invincible after all.

Why read it

The Passionate Pilgrim matters for several reasons. First, the Shakespeare poems are genuinely good—especially at catching the moment when desire makes you stupid and complicit in your own fooling. They’re not celebrations of love. They’re diagnoses of how love works on the mind. Second, the book’s mongrel nature is historically interesting: it shows how Renaissance texts survived and spread (haphazardly, without permission). Third, the non-Shakespearean poems include a lovely elegy on a nightingale that’s stayed in print for centuries—a meditation on friendship, betrayal, and how false friends scatter when fortune turns. It’s a corrective to the love poems: a voice asking what loyalty should look like.

What to watch for

The Passionate Pilgrim is uneven by design. Some poems are fragments or seem half-finished. The narrative is slippery—you’re never quite sure if the speaker is wise or deluded, sincere or performing. That’s the point. These poems treat desire as something that makes you act and talk in ways you don’t fully control. Modern readers often expect love poetry to affirm feeling; Shakespeare’s best work here does something stranger: it watches you lie to yourself and asks why you do it. The nightingale poems at the end shift tone entirely—they’re about the cost of generosity and how the world punishes it. If you read this as a single book rather than isolated poems, you start to see a shape: desire and false friendship nearly destroying you, then a slow, hard recognition of what real loyalty costs.

Themes

  • desire and self-deception
  • love as betrayal
  • beauty corrupting virtue
  • false friendship
  • the cost of desire

Read the poem

Original on the left, plain English on the right — stanza by stanza. Synced read-along narration is coming in v2.

Original

Plain English

I

When my love swears that she is made of truth,

I do believe her, though I know she lies,

That she might think me some untutor’d youth,

Unskilful in the world’s false forgeries.

Thus vainly thinking that she thinks me young,

Although I know my years be past the best,

I smiling credit her false-speaking tongue,

Outfacing faults in love with love’s ill rest.

But wherefore says my love that she is young?

And wherefore say not I that I am old?

O, love’s best habit is a soothing tongue,

And age, in love, loves not to have years told.

Therefore, I’ll lie with love, and love with me,

Since that our faults in love thus smother’d be.

She swears she's honest, and I pretend to believe her lies—I play along as if I'm some naive kid who doesn't know the world's tricks, when really I'm just old enough to know better. We both fake it: she acts like I'm young, I smile at her obvious falsehoods, and we call it love. But why does she claim to be young if I won't admit I'm old? The real art of love is keeping your mouth shut about the truth. So I'll lie with her, she'll lie with me, and we'll bury our faults under a blanket of mutual pretense.

II

Two loves I have, of comfort and despair,

That like two spirits do suggest me still;

My better angel is a man right fair,

My worser spirit a woman colour’d ill.

To win me soon to hell, my female evil

Tempteth my better angel from my side,

And would corrupt my saint to be a devil,

Wooing his purity with her fair pride.

And whether that my angel be turn’d fiend,

Suspect I may, yet not directly tell;

For being both to me, both to each friend,

I guess one angel in another’s hell:

The truth I shall not know, but live in doubt,

Till my bad angel fire my good one out.

Two contrary forces tug at me constantly—one pure, one corrupt, like good and evil spirits whispering in my ears. My better angel is a beautiful man, but my worse demon is an ugly woman who's bent on dragging me to hell. She works to seduce my good angel away from me, trying to turn him from a saint into her accomplice in sin. I suspect she may have succeeded in corrupting him, but I can't prove it outright; since they know each other and move in the same circle, I'm left guessing whether he's fallen into her trap. I'll never know the truth—I'm trapped in doubt until her wickedness burns out his goodness entirely.

III

Did not the heavenly rhetoric of thine eye,

’Gainst whom the world could not hold argument,

Persuade my heart to this false perjury?

Vows for thee broke deserve not punishment.

A woman I forswore; but I will prove,

Thou being a goddess, I forswore not thee:

My vow was earthly, thou a heavenly love;

Thy grace being gain’d cures all disgrace in me.

My vow was breath, and breath a vapour is;

Then, thou fair sun, that on this earth doth shine,

Exhale this vapour vow; in thee it is;

If broken then, it is no fault of mine.

If by me broke, what fool is not so wise

To break an oath, to win a paradise?

The beauty in your eyes was so overwhelming that nothing in the world could stand against it—and that's how you talked me into breaking my oath. But I'll make my case: you're divine and she was merely human, so swearing off a woman wasn't the same as swearing off you, a goddess. My old vow was just breath, hot air, and you're the sun that can burn it away—so if it's broken, that's on you, not me. And honestly, what man wouldn't happily break an oath for the chance at paradise?

IV

Sweet Cytherea, sitting by a brook

With young Adonis, lovely, fresh and green,

Did court the lad with many a lovely look,

Such looks as none could look but beauty’s queen.

She told him stories to delight his ear;

She show’d him favours to allure his eye;

To win his heart, she touch’d him here and there;

Touches so soft still conquer chastity.

But whether unripe years did want conceit,

Or he refus’d to take her figur’d proffer,

The tender nibbler would not touch the bait,

But smile and jest at every gentle offer.

Then fell she on her back, fair queen, and toward:

He rose and ran away; ah, fool too froward!

Aphrodite sat by a stream with the beautiful young Adonis and tried to seduce him with her most irresistible looks, stories meant to charm his ear, touches designed to wear down his resistance. But either he was too young to understand what she was offering, or he simply didn't want her—he just smiled at her advances and dodged them all. Finally she threw herself on her back, but he jumped up and ran off instead; what a fool, rejecting such a gift.

V

If love make me forsworn, how shall I swear to love?

O never faith could hold, if not to beauty vowed.

Though to myself forsworn, to thee I’ll constant prove;

Those thoughts, to me like oaks, to thee like osiers bowed.

Study his bias leaves, and makes his book thine eyes,

Where all those pleasures live that art can comprehend.

If knowledge be the mark, to know thee shall suffice;

Well learned is that tongue that well can thee commend,

All ignorant that soul that sees thee without wonder;

Which is to me some praise, that I thy parts admire.

Thine eye Jove’s lightning seems, thy voice his dreadful thunder,

Which, not to anger bent, is music and sweet fire.

Celestial as thou art, O do not love that wrong,

To sing heaven’s praise with such an earthly tongue.

If loving her makes me break my vows, how can I swear to love at all? Yet faith holds only when beauty commands it—and though I've betrayed myself, I'll be true to you. My thoughts of you are like solid oaks; yours of me, like flexible willows. Study the slant of your own eyelashes, for your eyes are the book where all beauty worth knowing is written. If learning you is the goal, that alone would make me wise; a tongue that praises you is the only education needed. A soul that looks at you without wonder is utterly ignorant—and there's my small glory, that I can see your worth. Your eyes flash like Jove's lightning, your voice rumbles like his thunder, yet it moves me not to fear but to music and sweetness. But being celestial as you are, don't let me wrong you by singing heavenly praise with this earthly mouth.

VI

Scarce had the sun dried up the dewy morn,

And scarce the herd gone to the hedge for shade,

When Cytherea, all in love forlorn,

A longing tarriance for Adonis made

Under an osier growing by a brook,

A brook where Adon used to cool his spleen.

Hot was the day; she hotter that did look

For his approach, that often there had been.

Anon he comes, and throws his mantle by,

And stood stark naked on the brook’s green brim:

The sun look’d on the world with glorious eye,

Yet not so wistly as this queen on him.

He, spying her, bounc’d in, whereas he stood,

“O Jove,” quoth she, “why was not I a flood?”

The sun had barely dried the morning dew, the cattle had just moved to the shade for relief, when Venus, sick with longing for Adonis, waited for him by a willow tree near the brook where he came to cool off. The day was hot, but she burned hotter still, watching for him as she had so many times before. He arrived and threw off his cloak, standing naked on the brook's mossy bank; the sun shone brightly on the world, yet not as intently as Venus gazed on him. When he spotted her, he plunged into the water, and she cried out, 'O Jove, why wasn't I a flood instead, so I could wrap around him?'

VII

Fair is my love, but not so fair as fickle,

Mild as a dove, but neither true nor trusty,

Brighter than glass, and yet, as glass is, brittle,

Softer than wax, and yet, as iron, rusty:

A lily pale, with damask dye to grace her,

None fairer, nor none falser to deface her.

My love is beautiful, but not nearly as much as she is fickle; gentle as a dove, yet faithless and unreliable; bright as glass, yet as easily shattered; soft as wax, yet as corroded and stiff as old iron. Her face is pale as a lily with a rosy blush—no one lovelier, yet no one more apt to destroy love with betrayal.

Her lips to mine how often hath she joined,

Between each kiss her oaths of true love swearing!

How many tales to please me hath she coined,

Dreading my love, the loss thereof still fearing!

Yet in the midst of all her pure protestings,

Her faith, her oaths, her tears, and all were jestings.

She's kissed me countless times, swearing with each kiss that she truly loves me; she's spun lie after lie to win me, terrified I'd stop loving her and dreading to lose me. But every promise, every tear, every vow of pure devotion was nothing but a cruel game.

She burnt with love, as straw with fire flameth;

She burnt out love, as soon as straw out-burneth;

She fram’d the love, and yet she foil’d the framing;

She bade love last, and yet she fell a-turning.

Was this a lover, or a lecher whether?

Bad in the best, though excellent in neither.

She burned for love like straw flares in fire; she burned out that love as fast as straw turns to ash; she built up love in her own mind, then demolished it; she asked love to stay, then abandoned it. Was she a lover or just a seductress? Bad even at her best, and utterly false at everything she tried.

VIII

If music and sweet poetry agree,

As they must needs, the sister and the brother,

Then must the love be great ’twixt thee and me,

Because thou lov’st the one and I the other.

Dowland to thee is dear, whose heavenly touch

Upon the lute doth ravish human sense;

Spenser to me, whose deep conceit is such

As passing all conceit, needs no defence.

Thou lov’st to hear the sweet melodious sound

That Phœbus’ lute, the queen of music, makes;

And I in deep delight am chiefly drown’d

Whenas himself to singing he betakes.

One god is god of both, as poets feign;

One knight loves both, and both in thee remain.

Music and poetry are sister and brother—they go together naturally. So the bond between us must be strong, since you adore one (Dowland's lute-playing) and I the other (Spenser's poetry). Dowland's touch on the strings moves the soul itself, and Spenser's thought runs so deep it needs no explanation. You love hearing that sweet sound Apollo himself makes; I drown in joy when he sings. One god rules both arts, as the old stories say, and one man—you—love them both and contain them both.

IX

Fair was the morn when the fair queen of love,

Paler for sorrow than her milk-white dove,

For Adon’s sake, a youngster proud and wild;

Her stand she takes upon a steep-up hill;

Anon Adonis comes with horn and hounds;

She, silly queen, with more than love’s good will,

Forbade the boy he should not pass those grounds.

“Once,” quoth she, “did I see a fair sweet youth

Here in these brakes deep-wounded with a boar,

Deep in the thigh, a spectacle of ruth!

See in my thigh,” quoth she, “here was the sore.”

She showed hers: he saw more wounds than one,

And blushing fled, and left her all alone.

When Venus, the queen of love, arrived one morning, she was pale with grief over young Adonis—a beautiful, wild boy—and she stationed herself on a high hill. When Adonis rode up with his horn and hunting dogs, she, foolish with desire, stopped him from passing and told him about a young man she once saw here, gored deep in the thigh by a boar—a terrible wound. Then she lifted her skirts and showed him her own thigh, pointing to where the scar was. But Adonis saw more wounds than scars and, blushing hard, fled and left her standing there alone.

X

Sweet rose, fair flower, untimely pluck’d, soon vaded,

Pluck’d in the bud and vaded in the spring!

Bright orient pearl, alack, too timely shaded!

Fair creature, kill’d too soon by death’s sharp sting!

Like a green plum that hangs upon a tree,

And falls, through wind, before the fall should be.

You were a beautiful rose picked too early, already fading before your time—a brilliant pearl dimmed too soon by death's cruelty. Like an unripe plum knocked from its branch by wind, you fell before you were ready.

I weep for thee, and yet no cause I have;

For why thou left’st me nothing in thy will;

And yet thou left’st me more than I did crave;

For why I craved nothing of thee still.

O yes, dear friend, I pardon crave of thee,

Thy discontent thou didst bequeath to me.

I grieve for you, though you left me nothing in your will—and yet you left me more than I ever asked for, since I wanted nothing from you anyway. But forgive me: the one thing you did leave behind was your own unhappiness, and that burden has passed to me.

XI

Venus, with young Adonis sitting by her

Under a myrtle shade, began to woo him;

She told the youngling how god Mars did try her,

And as he fell to her, she fell to him.

“Even thus,” quoth she, “the warlike god embrac’d me,”

And then she clipp’d Adonis in her arms;

“Even thus,” quoth she, “the warlike god unlaced me;”

As if the boy should use like loving charms;

“Even thus,” quoth she, “he seized on my lips,”

And with her lips on his did act the seizure;

And as she fetched breath, away he skips,

And would not take her meaning nor her pleasure.

Ah, that I had my lady at this bay,

To kiss and clip me till I run away!

Venus sits beside young Adonis in the shade and starts seducing him, telling him how the god of war once made love to her. She demonstrates by embracing him the way Mars did, undressing him, kissing him—but the boy wants none of it and bolts away. The speaker wishes his own lady would pin him down this way, kissing and holding him until he had to flee.

XII

Crabbed age and youth cannot live together:

Youth is full of pleasance, age is full of care;

Youth like summer morn, age like winter weather;

Youth like summer brave, age like winter bare.

Youth is full of sport, age’s breath is short;

Youth is nimble, age is lame;

Youth is hot and bold, age is weak and cold;

Youth is wild, and age is tame.

Age, I do abhor thee; youth, I do adore thee;

O, my love, my love is young!

Age, I do defy thee. O, sweet shepherd, hie thee,

For methinks thou stay’st too long.

Youth and age are opposites that can't coexist: youth is pleasure and energy, age is worry and exhaustion. Youth springs like summer mornings, age creeps like winter. Youth moves fast and burns hot, age limps and shivers. I hate age and worship youth—my love is young, so shepherd, hurry up and get here, because you're taking too long.

XIII

Beauty is but a vain and doubtful good,

A shining gloss that vadeth suddenly;

A flower that dies when first it ’gins to bud;

A brittle glass that’s broken presently:

A doubtful good, a gloss, a glass, a flower,

Lost, vaded, broken, dead within an hour.

Beauty is just a false and unreliable good—it's a shiny surface that fades without warning, a flower that dies the moment it blooms, a fragile glass that shatters instantly. It's uncertain, fleeting, fragile, and gone—all within an hour.

And as goods lost are seld or never found,

As vaded gloss no rubbing will refresh,

As flowers dead lie wither’d on the ground,

As broken glass no cement can redress,

So beauty blemish’d once, for ever’s lost,

In spite of physic, painting, pain and cost.

Lost beauty is like lost goods that no one recovers, like faded shine that can't be polished back, like dead flowers rotting on the ground, like shattered glass that can't be glued whole again. Once beauty is damaged, it's gone forever, no matter what creams, makeup, effort, or money you throw at it.

XIV

Good night, good rest. Ah, neither be my share:

She bade good night that kept my rest away;

And daff’d me to a cabin hang’d with care,

To descant on the doubts of my decay.

“Farewell,” quoth she, “and come again tomorrow:”

Fare well I could not, for I supp’d with sorrow.

She said goodnight and took away my sleep; she locked me in a room to brood alone on my own decline, then told me to come back tomorrow—but how could I rest when sorrow was my only supper?

Yet at my parting sweetly did she smile,

In scorn or friendship, nill I conster whether:

’T may be, she joy’d to jest at my exile,

’T may be, again to make me wander thither:

“Wander,” a word for shadows like myself,

As take the pain, but cannot pluck the pelf.

She smiled at me as she left, but I couldn't tell if she was mocking me or being kind; maybe she enjoyed sending me away, maybe she wanted to draw me back. 'Wander'—that's a word for ghosts like me, who feel the pain but never get the prize.

Lord, how mine eyes throw gazes to the east!

My heart doth charge the watch; the morning rise

Doth cite each moving sense from idle rest.

Not daring trust the office of mine eyes,

While Philomela sits and sings, I sit and mark,

And wish her lays were tuned like the lark.

My eyes strain eastward, waiting for dawn; my heart stations itself like a guard, and every sense jolts awake. My eyes can't trust what they see, so while the nightingale sings in the dark, I sit listening and wishing her voice had the brightness of a lark's.

For she doth welcome daylight with her ditty,

And drives away dark dreaming night.

The night so pack’d, I post unto my pretty;

Heart hath his hope and eyes their wished sight;

Sorrow chang’d to solace, solace mix’d with sorrow;

For why, she sigh’d, and bade me come tomorrow.

The lark greets daylight with her song and chases away the darkness of night; the night felt so heavy that I rushed to see her, and my heart got what it wanted and my eyes saw what they longed for—sorrow turning to comfort, comfort mixed back with sorrow, because she sighed and told me to return tomorrow.

Were I with her, the night would post too soon;

But now are minutes added to the hours;

To spite me now, each minute seems a moon;

Yet not for me, shine sun to succour flowers!

Pack night, peep day; good day, of night now borrow:

Short, night, tonight, and length thyself tomorrow.

If I were with her, the night would fly past too quickly; but now every minute stretches like an hour, and each one feels like a month of waiting just to spite me. Sun, don't bother shining on flowers for me—night, hurry up and let day come; day, borrow some of night's length so tomorrow will last longer.

XV

It was a lording’s daughter, the fairest one of three,

That liked of her master as well as well might be,

Till looking on an Englishman, the fairest that eye could see,

Her fancy fell a-turning.

Long was the combat doubtful, that love with love did fight,

To leave the master loveless, or kill the gallant knight;

To put in practice either, alas, it was a spite

Unto the silly damsel!

But one must be refused; more mickle was the pain,

That nothing could be used to turn them both to gain,

For of the two the trusty knight was wounded with disdain:

Alas she could not help it!

Thus art with arms contending was victor of the day,

Which by a gift of learning did bear the maid away:

Then lullaby, the learned man hath got the lady gay;

For now my song is ended.

A nobleman's daughter, the loveliest of three, adored her master well enough until she saw an Englishman fairer than anyone alive, and her heart turned toward him instead. Love fought love inside her—keep the master faithful or let the knight live—and both choices brought agony; in the end, the gallant knight took the wound of rejection. But learning and wit won the day: the educated man carried off the girl with his knowledge, and my song is done.

XVI

On a day, alack the day!

Love, whose month was ever May,

Spied a blossom passing fair,

Playing in the wanton air.

Through the velvet leaves the wind

All unseen ’gan passage find,

That the lover, sick to death,

Wish’d himself the heaven’s breath:

“Air,” quoth he, “thy cheeks may blow;

Air, would I might triumph so!

But, alas, my hand hath sworn

Ne’er to pluck thee from thy thorn:

Vow, alack, for youth unmeet,

Youth, so apt to pluck a sweet!

Thou for whom Jove would swear

Juno but an Ethiope were,

And deny himself for Jove,

Turning mortal for thy love.”

One day—what an unlucky day!—Love spotted a blossom so lovely it seemed to dance in the wind; the breeze moved through the soft petals, and the lover, dying of desire, wished he were the air itself, able to touch those cheeks. But he's sworn a vow never to pluck the flower from its thorn—a foolish vow for youth, who live to pluck what's sweet. She's so beautiful that even Jupiter would swear Juno was dark-skinned beside her, and he'd give up divinity itself to become mortal for her love.

XVII

My flocks feed not, my ewes breed not,

My rams speed not, all is amis:

Love is dying, faith’s defying,

Heart’s denying, causer of this.

All my merry jigs are quite forgot,

All my lady’s love is lost, God wot:

Where her faith was firmely fix’d in love,

There a nay is plac’d without remove.

One silly cross wrought all my loss;

O frowning fortune, cursed fickle dame!

For now I see inconstancy

More in women than in men remain.

My flocks won't eat, my ewes won't breed, everything's gone wrong because love is dying and faith is failing and my own heart won't obey. I've forgotten every happy song I knew, and my lady's love is gone—where her promise used to be fixed there's nothing now but a flat refusal. One small crossed purpose destroyed everything; cursed fortune plays her tricks again, and I see now that women are more fickle than men ever were.

In black mourn I, all fears scorn I,

Love hath forlorn me, living in thrall.

Heart is bleeding, all help needing,

O cruel speeding, fraughted with gall.

My shepherd’s pipe can sound no deal.

My weather’s bell rings doleful knell;

My curtal dog that wont to have play’d,

Plays not at all, but seems afraid.

With sighs so deep procures to weep,

In howling wise, to see my doleful plight.

How sighs resound through heartless ground,

Like a thousand vanquish’d men in bloody fight!

I wear black and scorn my fears, love has enslaved me, my heart bleeds and begs for help. My shepherd's pipe makes no music, the bell on my sheep rings out sadness, and even my dog won't play—he cowers as if afraid. He whines and cries at my misery, and his sighs sound like the groans of a thousand dead soldiers after a brutal battle.

Clear wells spring not, sweet birds sing not,

Green plants bring not forth their dye;

Herds stands weeping, flocks all sleeping,

Nymphs black peeping fearfully.

All our pleasure known to us poor swains,

All our merry meetings on the plains,

All our evening sport from us is fled,

All our love is lost, for love is dead.

Farewel, sweet love, thy like ne’er was

For a sweet content, the cause of all my woe!

Poor Corydon must live alone;

Other help for him I see that there is none.

The springs run dry, the birds don't sing, the grass has lost its color; the herds weep, the flocks sleep, and the water-nymphs peek out in terror. We shepherds have lost all our pleasures, all our glad meetings in the fields, all our evening games—love is dead and took them with it. Goodbye, sweet love, there was nothing like you for bringing joy before you brought me this wreck; poor Corydon must live alone now, and I see no cure for him.

XVIII

Whenas thine eye hath chose the dame,

And stall’d the deer that thou shouldst strike,

Let reason rule things worthy blame,

As well as fancy, partial might;

Take counsel of some wiser head,

Neither too young nor yet unwed.

Once you've chosen the woman and decided to pursue her, let reason guide you as well as desire—reason that sees faults, not just beauty; ask advice from someone wise, someone older and already married.

And when thou com’st thy tale to tell,

Smooth not thy tongue with filed talk,

Least she some subtle practice smell,—

A cripple soon can find a halt,—

But plainly say thou lov’st her well,

And set her person forth to sale.

When you go to declare yourself, don't butter her up with smooth talk—she'll spot the artifice like a limping man spotting another's uneven gait. Just tell her plainly that you love her and make your honest case.

What though her frowning brows be bent,

Her cloudy looks will calm ere night,

And then too late she will repent,

That thus dissembled her delight;

And twice desire, ere it be day,

That which with scorn she put away.

Never mind if she scowls at first; her mood will soften by nightfall, and she'll regret having hidden her pleasure. Before dawn breaks, she'll want back what she scorned away.

What though she strive to try her strength,

And ban and brawl, and say thee nay,

Her feeble force will yield at length,

When craft hath taught her thus to say:

“Had women been so strong as men,

In faith, you had not had it then.”

Even if she fights you and says no, her resistance won't last long. Once she's been schooled in the game, she'll tell you herself: 'If women had the strength men do, you'd never have gotten what you got.'

And to her will frame all thy ways;

Spare not to spend, and chiefly there

Where thy desert may merit praise,

By ringing in thy lady’s ear:

The strongest castle, tower and town,

The golden bullet beats it down.

Give in to whatever she wants; don't stint on spending, especially where it'll earn you credit—whisper compliments in her ear. Money, like a cannon, can breach any fortress.

Serve always with assured trust,

And in thy suit be humble true;

Unless thy lady prove unjust,

Press never thou to choose a new:

When time shall serve, be thou not slack,

To proffer, though she put thee back.

Always serve with steady loyalty and humble sincerity. Stick with your lady unless she proves false; don't go chasing after someone new. When the moment's right, make your offer again—and again if she refuses.

The wiles and guiles that women work,

Dissembled with an outward show,

The tricks and toys that in them lurk,

The cock that treads them shall not know,

Have you not heard it said full oft,

A woman’s nay doth stand for nought.

Women hide schemes beneath a pretty face. They're cunning in ways even their lovers don't fully grasp. Haven't we all heard it said? When a woman says no, she means nothing of the sort.

Think women still to strive with men,

To sin and never for to saint:

There is no heaven, by holy then,

When time with age shall them attaint,

Were kisses all the joys in bed,

One woman would another wed.

Assume women are always testing men, never aiming at virtue. There's no heaven once age spoils them—or so the thinking goes. If kisses were all the pleasure in bed, one woman would marry another just for that.

But soft, enough,—too much,—I fear

Lest that my mistress hear my song:

She will not stick to round me on th’ ear,

To teach my tongue to be so long.

Yet will she blush, here be it said,

To hear her secrets so bewray’d.

But hold on—I'd better stop. My mistress might hear this song and box my ear for running my mouth so long. Though truth be told, she'll blush to hear her secrets spilled like this.

XIX

Live with me and be my love,

And we will all the pleasures prove

That hills and valleys, dales and fields,

And all the craggy mountains yield.

Come live with me and be my love, and we'll taste every pleasure the land offers—the hills, valleys, fields, and rocky mountains.

There will we sit upon the rocks,

And see the shepherds feed their flocks,

By shallow rivers, by whose falls

Melodious birds sing madrigals.

We'll sit on the rocks and watch shepherds tend their flocks by clear streams where birds sing sweet songs.

There will I make thee a bed of roses,

With a thousand fragrant posies,

A cap of flowers, and a kirtle

Embroidered all with leaves of myrtle.

I'll make you a bed of roses with a thousand sweet flowers, a flower crown, and a dress embroidered all over with myrtle leaves.

A belt of straw and ivy buds,

With coral clasps and amber studs;

And if these pleasures may thee move,

Then live with me and be my love.

A belt woven from straw and ivy, fastened with coral and amber clasps. If these pleasures tempt you, come live with me and be my love.

Love’s Answer.

Love's Answer.

If that the world and love were young,

And truth in every shepherd’s tongue,

These pretty pleasures might me move

To live with thee and be thy love.

If the world were young again and every shepherd spoke honest truth, then maybe these pretty scenes would persuade me to live with you and be your love.

XX

As it fell upon a day

In the merry month of May,

Sitting in a pleasant shade

Which a grove of myrtles made,

Beasts did leap and birds did sing,

Trees did grow and plants did spring;

Everything did banish moan,

Save the nightingale alone:

She, poor bird, as all forlorn,

Lean’d her breast up-till a thorn,

And there sung the dolefull’st ditty,

That to hear it was great pitty.

“Fie, fie, fie,” now would she cry,

“Tereu, Tereu,” by and by;

One May day, sitting in the shade of a myrtle grove, everything around me seemed alive with joy—animals leaping, birds singing, plants thriving—except for one nightingale, who pressed her breast against a thorn and sang the saddest song imaginable, crying out 'Fie, fie!' and 'Tereus, Tereus!' as if her heart would break.

That to hear her so complain,

Scarce I could from tears refrain,

For her griefs so lively shown

Made me think upon mine own.

Ah, thought I, thou mourn’st in vain!

None takes pitty on thy pain.

Senseless trees they cannot hear thee,

Ruthless bears they will not cheer thee;

King Pandion he is dead,

All thy friends are lapp’d in lead,

All thy fellow birds do sing,

Careless of thy sorrowing.

Her suffering was so real and vivid that I nearly wept, and hearing her grief made me think of my own pain; I realized she mourned uselessly, for no one pities her, the trees can't hear her complaints, wild beasts won't comfort her, and King Pandion (the father she'd lost to myth) is dead—all her friends are gone, and her fellow birds sing on without caring for her sorrow.

Whilst as fickle fortune smiled,

Thou and I were both beguiled.

Every one that flatters thee

Is no friend in misery.

Words are easy, like the wind;

Faithful friends are hard to find.

Every man will be thy friend

Whilst thou hast wherewith to spend;

But if store of crowns be scant,

No man will supply thy want.

If that one be prodigal,

Bountiful they will him call,

And with such-like flattering,

“Pity but he were a king.”

When fortune smiles on us both, we're equally deceived by flatterers who are worthless in hard times; flattery is cheap as wind, but true friends are rare, and every man will befriend you only while you have money to spend, but once your fortune dries up, they abandon you—even the spendthrift gets called generous when he's rich, surrounded by yes-men wishing he were a king.

If he be addict to vice,

Quickly him they will entice;

If to women he be bent,

They have at commandement.

But if Fortune once do frown,

Then farewell his great renown.

They that fawn’d on him before,

Use his company no more.

He that is thy friend indeed,

He will help thee in thy need:

If thou sorrow, he will weep;

If thou wake, he cannot sleep.

Thus of every grief in heart

He with thee doth bear a part.

These are certain signs to know

Faithful friend from flatt’ring foe.

But let that same man turn to vice or women and they'll enable him eagerly; the moment fortune turns against him, his reputation vanishes and those same fawners drop him cold—a real friend is someone who'll suffer with you, weep when you weep, lose sleep over your troubles, and share every grief of your heart, and these are the only true marks of loyalty versus flattery.

Lines that stick

  • Thus vainly thinking that she thinks me young, / Although I know my years be past the best
  • O, love's best habit is a soothing tongue
  • Faithful friends are hard to find
  • He that is thy friend indeed, / He will help thee in thy need
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