Narrative poem · 1593 · 1195 lines

Venus and Adonis.

Venus pursues the beautiful young hunter Adonis, who rejects her advances and rides off to his death.

Venus and Adonis is Shakespeare's first published work—a long, sensual narrative poem that tells a story of desire, rejection, and tragedy. The goddess of love spots the young hunter Adonis at dawn and becomes obsessed. She dismounts from her chariot, seizes him, and spends the day trying to seduce him with flattery, physical touch, and promises of pleasure. Adonis is unmoved. He's blushing, awkward, and more interested in hunting than romance.

The poem is a battle of wills. Venus uses her immortal beauty and eloquence as weapons. She argues that his youth and handsomeness are wasted if he doesn't use them to make love and children. Adonis stays stubborn—polite but cold. He keeps returning to his horse and his hunt. Eventually he breaks away and rides off. Venus, left behind, has a terrible premonition: she hears the cry of a wounded animal and fears the worst. The poem ends with her discovering Adonis gored by a boar, dead. She grieves and then withdraws from the world.

This is Shakespeare's biggest publication before the plays—written when he was in his late twenties, it's crafted in six-line stanzas with a flowing, musical quality. The language is ornate and sensual, full of color and texture. It's also surprisingly funny: Venus's desperation, Adonis's sullenness, and the gap between her eloquence and his indifference create real comedy alongside the eroticism and tragedy.

About this poem

What It Is

Venus and Adonis (1593) is a 1,195-line narrative poem in six-line stanzas—formally called sextains—written in iambic pentameter with a bouncing, almost conversational rhythm. It’s Shakespeare’s debut publication, printed before any of his plays and hugely popular in his lifetime. The form is playful and accessible: not the marble-heavy blank verse of the tragedies, but something more intimate and musical, designed to be read aloud and enjoyed for its sheer linguistic pleasure.

The Story

The poem opens at dawn. Venus, the goddess of love, encounters Adonis, a stunningly beautiful young hunter, and is struck by lust. She seizes him, dismounts him from his horse, and spends most of the poem trying to seduce him through a combination of flattery, touching, argument, and outright physical force. Adonis is not interested. He’s polite but distant—blushing, pouting, eager to get back to hunting. Venus argues that his beauty is a gift meant to be enjoyed and passed on. Adonis insists that hunting matters more. The central tension is simple: one person desperately wants connection; the other wants to be left alone.

After many failed pleas, Adonis breaks free and rides off into the forest. Venus is left behind, increasingly anxious. She hears the cry of a wounded animal and has a premonition of disaster. When she finds Adonis, he’s dead—killed by a wild boar. The poem ends with Venus overcome with grief, deciding to abandon the world and return to her palace at Paphos.

Why Read It Now

This poem is often treated as a relic—a pretty Elizabethan bagatelle about sex and hunting. In fact, it’s deeply modern. It’s about the gap between what one person wants and what another person can give. Venus is articulate, powerful, and genuinely in love, but her eloquence can’t change Adonis’s mind. He has autonomy. He can say no, and he does, repeatedly. The poem doesn’t punish him for that refusal—it punishes him for leaving. The boar is indifferent to his beauty and Venus’s grief. Nature doesn’t care about desire or rhetoric.

There’s also real psychological insight here. Adonis isn’t a romantic hero avoiding a false temptress; he’s a kid who wants to go hunting and gets trapped by an immortal woman’s neediness. Venus isn’t a predatory seductress; she’s someone experiencing desire so intensely that it overwhelms her judgment and terrifies her when it’s not returned. The poem lets both of them be human—or gods living like humans—in ways that feel honest.

What to Watch For

The language is ornate and sensual—Shakespeare is showing off, describing skin, color, movement, and sensation in extraordinary detail. Don’t skip over the imagery; it’s doing the emotional work. Notice how he uses color: Venus is “red and hot as coals of glowing fire,” Adonis “red for shame, but frosty in desire.” That contrast tells you everything.

Pay attention to who gets to speak. Venus dominates the middle of the poem with long, rhetorical arguments. Adonis says very little. When he does speak, it’s often to shut her down or to explain why hunting matters. That imbalance is intentional. Also watch the poem’s tone shift: it starts playful and erotic, becomes increasingly desperate, and ends in genuine tragedy. It’s one of Shakespeare’s most emotionally coherent works, and that coherence comes from the form—the regular stanzas and rhyme scheme make the sudden violence of the ending even more shocking.

Themes

  • desire and rejection
  • beauty and mortality
  • youth wasted
  • female agency
  • the cost of refusing love

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

Even as the sun with purple-colour’d face

Had ta’en his last leave of the weeping morn,

Rose-cheek’d Adonis hied him to the chase;

Hunting he lov’d, but love he laugh’d to scorn;

Sick-thoughted Venus makes amain unto him,

And like a bold-fac’d suitor ’gins to woo him.

As the sun sets with a reddish glow, leaving the tearful dawn behind, the beautiful young Adonis rides out to hunt—a pursuit he loves far more than romance, which he mocks. But Venus, lovesick and desperate, rushes after him and begins to seduce him with bold urgency.

“Thrice fairer than myself,” thus she began,

“The field’s 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.

She flatters him shamelessly: you're three times more beautiful than I am, nature's finest creation, lovelier than any man or woman. Nature herself is torn apart by having made you so perfect that the world will end when you do.

“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:

Here come and sit, where never serpent hisses,

And being set, I’ll smother thee with kisses.

She begs him to dismount and tie up his horse. If he grants her this favor, she promises him a thousand exquisite pleasures—here in this safe, perfect place he can sit with her, and she'll shower him with kisses.

“And yet not cloy thy lips with loath’d 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:

A summer’s day will seem an hour but short,

Being wasted in such time-beguiling sport.”

And she won't bore him with endless kissing either; instead she'll keep him hungry for more, varying her kisses to keep them fresh and exciting—sometimes ten quick ones, sometimes one long embrace. A whole summer day will fly by in what feels like an hour when spent in such delightful play.

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:

Being so enrag’d, desire doth lend her force

Courageously to pluck him from his horse.

She grabs his sweating palm—the sign of his strength and life—and trembling with passion, calls it a healing balm, a god's cure. Her desire makes her strong enough to forcefully yank him down from his horse.

Over one arm the lusty courser’s rein,

Under her other was the tender boy,

Who blush’d 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.

She holds the horse's rein in one arm and the reluctant boy in the other. He blushes and pouts in sulky refusal, showing no appetite for her games. She burns hot as glowing coals with lust, while he only burns red with shame and feels nothing but cold resistance.

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:

Backward she push’d him, as she would be thrust,

And govern’d him in strength, though not in lust.

She ties the horse's bridle to a rough branch—love makes her quick and efficient. Now she turns her attention to tying down the rider, pushing him backward as if she herself wants to be pushed, controlling him through sheer strength rather than his willing passion.

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,

And kissing speaks, with lustful language broken,

“If thou wilt chide, thy lips shall never open.”

She settles down beside him, both propped up on their elbows. She strokes his cheek while he frowns and starts to scold her, but she cuts him off by kissing him, speaking through broken, lustful words: if you're going to complain, your lips won't open again.

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.

He saith she is immodest, blames her miss;

What follows more, she murders with a kiss.

He burns with embarrassed shame, and she uses her tears to cool his blushing cheeks. Then she sighs and uses her golden hair to fan and dry them. He calls her immodest and blames her for her boldness, but whatever protests come next, she silences with another 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 stuff’d or prey be gone:

Even so she kiss’d his brow, his cheek, his chin,

And where she ends she doth anew begin.

Like a starving eagle that tears at feathers, flesh, and bone with its beak, shaking its wings and devouring everything hungrily until it's full or the prey is gone—so Venus kisses his forehead, cheek, and chin over and over, starting again wherever she stops.

Forc’d 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,

Wishing her cheeks were gardens full of flowers

So they were dew’d with such distilling showers.

He yields to her but never truly cooperates, lying there panting in her face. She feeds on his breath as if it were a feast, calling it heavenly moisture and divine grace. She wishes her cheeks were gardens so they could be watered by the tears he's shedding.

Look how a bird lies tangled in a net,

So fasten’d in her arms Adonis lies;

Pure shame and aw’d 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.

He's caught in her arms like a bird tangled in a net. His shame and frightened resistance make him struggle, which only makes his eyes look more beautiful in anger. More water added to an overflowing river will force it to burst its banks.

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;

Being red she loves him best, and being white,

Her best is better’d with a more delight.

She keeps begging him prettily, sweetly framing her pleas to appeal to him. He stays sullen, pouting and frustrated, his face swinging between crimson shame and ashen anger. She loves him whether he's blushing or pale, and she loves him even more when he's angry.

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,

Which long have rain’d, making her cheeks all wet;

And one sweet kiss shall pay this countless debt.

She swears by her immortal hand that she won't leave his soft chest until he makes peace with her by giving in to her tears—tears that have been falling and soaking her cheeks. Just one sweet kiss will repay her endless debt.

Upon this promise did he raise his chin,

Like a dive-dapper peering through a wave,

Who, being look’d 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.

He lifts his chin like a diving bird peeking through the water's surface, ready to duck back under. He moves his lips forward as if to give her what she's demanding, but at the last moment he closes his eyes and turns his face away.

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:

“O! pity,” ’gan she cry, “flint-hearted boy,

’Tis but a kiss I beg; why art thou coy?

She's parched for him like a traveler dying of thirst in summer heat, but though she can see he might help her, he won't—she's drowning in her own desire while he keeps refusing. She begs him: just one kiss, you stubborn boy, why are you being so difficult?

“I have been woo’d 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;

Yet hath he been my captive and my slave,

And begg’d for that which thou unask’d shalt have.

I've been courted by Mars himself, the god of war, whose neck never bent in battle, who crushes everything in his path—yet even he became my prisoner and slave, begging for what you could have without even asking.

“Over my altars hath he hung his lance,

His batter’d shield, his uncontrolled crest,

And for my sake hath learn’d 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.

For me he hung up his weapons and armor on my altar, learned to dance and joke and play the lover instead of bellowing war drums. He made my body his battlefield and my bed his tent.

“Thus he that overrul’d I oversway’d,

Leading him prisoner in a red rose chain:

Strong-temper’d steel his stronger strength obey’d,

Yet was he servile to my coy disdain.

Oh be not proud, nor brag not of thy might,

For mast’ring her that foil’d the god of fight.

I led that mighty god around like a captive on a silk leash; steel bent to my will, strength obeyed my stubbornness. Don't be proud of mastering me—I already mastered the god of war himself.

“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 see’st 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?

Kiss me with those beautiful lips of yours. Mine aren't as lovely, but they're red and warm; the kiss will be pleasure for both of us. Why are you staring at the ground? Lift your head and look in my eyes—you'll see yourself there. So if our eyes can meet, why not our lips?

“Art thou asham’d 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,

These blue-vein’d violets whereon we lean

Never can blab, nor know not what we mean.

If you're shy about kissing, close your eyes and I'll close mine—we'll make day into night. Love doesn't need an audience; be brave, no one's watching. These flowers we're lying on won't tell anyone what we do.

“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,

Fair flowers that are not gather’d in their prime

Rot, and consume themselves in little time.

There's a softness at your lip that says you're not yet ripe, but that doesn't mean you can't be tasted. Don't waste time; use what you have now. Beauty that isn't picked in season rots away.

“Were I hard-favour’d, foul, or wrinkled old,

Ill-nurtur’d, crooked, churlish, harsh in voice,

O’erworn, 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?

If I were ugly, wrinkled, badly mannered, harsh-voiced, worn out, despised, cold-blooded, or barren, then yes, you'd have reason to hesitate. But I have no flaws—so why do you push me away?

“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,

My smooth moist hand, were it with thy hand felt,

Would in thy palm dissolve, or seem to melt.

Look—my face has no wrinkles, my eyes are bright and sharp, my beauty grows like spring itself, my skin is soft and warm, my hand is smooth and moist. If you felt it in yours, it would 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 dishevell’d hair,

Dance on the sands, and yet no footing seen.

Love is a spirit all compact of fire,

Not gross to sink, but light, and will aspire.

I can talk your ear off with enchantment, or dance barefoot like a fairy on the grass, or move like a nymph with wild hair—no footprint left behind. Love is pure spirit and fire, weightless, always rising.

“Witness this primrose bank whereon I lie:

These forceless flowers like sturdy trees support me;

Two strengthless doves will draw me through the sky,

From morn till night, even where I list to sport me.

Is love so light, sweet boy, and may it be

That thou shouldst think it heavy unto thee?

Look at me lying here on these weak flowers, yet they hold me up strong. Two frail doves could pull me across the sky wherever I want. Can love really be so light, sweet boy, that you find it heavy?

“Is thine own heart to thine own face affected?

Can thy right hand seize love upon thy left?

Then woo thyself, be of thyself rejected,

Steal thine own freedom, and complain on theft.

Narcissus so himself himself forsook,

And died to kiss his shadow in the brook.

Don't you love your own face? Can't your right hand touch your left? Then woo yourself—reject yourself, steal your own freedom, complain about your own theft. Narcissus did that and died kissing his reflection.

“Torches are made to light, jewels to wear,

Dainties to taste, fresh beauty for the use,

Herbs for their smell, and sappy plants to bear;

Things growing to themselves are growth’s abuse,

Seeds spring from seeds, and beauty breedeth beauty;

Thou wast begot; to get it is thy duty.

Torches are made to burn, jewels to be worn, food to be eaten, beauty to be used, plants to grow and spread. Things that exist only for themselves waste what they are. Seeds make more seeds; beauty makes beauty. You were born—now it's your job to father children.

“Upon the earth’s increase why shouldst thou feed,

Unless the earth with thy increase be fed?

By law of nature thou art bound to breed,

That thine may live when thou thyself art dead;

And so in spite of death thou dost survive,

In that thy likeness still is left alive.”

Why do you feast on the earth's bounty unless you'll feed the earth back with your children? Nature's law says you must breed so your children live after you die. That way death can't really touch you—your likeness survives.

By this the love-sick queen began to sweat,

For where they lay the shadow had forsook them,

And Titan, tired in the midday heat,

With burning eye did hotly overlook them,

Wishing Adonis had his team to guide,

So he were like him and by Venus’ side.

By now the lovesick goddess was sweating in the heat, their shadow long gone as the sun climbed high overhead, scorching them both. She wished Helios would let Adonis take the reins of the sun chariot, so long as Adonis stayed right here beside her.

And now Adonis with a lazy spright,

And with a heavy, dark, disliking eye,

His louring brows o’erwhelming his fair sight,

Like misty vapours when they blot the sky,

Souring his cheeks, cries, “Fie, no more of love:

The sun doth burn my face; I must remove.”

Adonis turns away with lazy reluctance, his face dark and scowling as if clouds had blocked out the sky, and complains that he's had enough of love—the sun is burning him and he needs to leave.

“Ay me,” quoth Venus, “young, and so unkind!

What bare excuses mak’st thou to be gone!

I’ll sigh celestial breath, whose gentle wind

Shall cool the heat of this descending sun:

I’ll make a shadow for thee of my hairs;

If they burn too, I’ll quench them with my tears.

Venus protests that he's young and cruel to make such flimsy excuses. She'll cool him with her breath, shade him with her hair, and if that catches fire too, she'll douse it with her tears.

“The sun that shines from heaven shines but warm,

And lo I lie between that sun and thee:

The heat I have from thence doth little harm,

Thine eye darts forth the fire that burneth me;

And were I not immortal, life were done,

Between this heavenly and earthly sun.

The sun's warmth is nothing compared to what she feels: she lies between him and the sky, but his gaze burns hotter than any heavenly fire, and if she weren't a goddess, love would have already killed her.

“Art thou obdurate, flinty, hard as steel?

Nay more than flint, for stone at rain relenteth:

Art thou a woman’s son and canst not feel

What ’tis to love, how want of love tormenteth?

O had thy mother borne so hard a mind,

She had not brought forth thee, but died unkind.

She accuses him of being harder than stone itself—stone at least softens in rain. How can a woman's son feel nothing about love and its torment? His mother should have died rather than give birth to someone so cold.

“What am I that thou shouldst contemn me this?

Or what great danger dwells upon my suit?

What were thy lips the worse for one poor kiss?

Speak, fair; but speak fair words, or else be mute:

Give me one kiss, I’ll give it thee again,

And one for int’rest, if thou wilt have twain.

What threat is she to him, what danger in letting him love her? Would his lips be worse for one small kiss? Let him speak kindly or say nothing, and she'll repay any kiss with interest.

“Fie, lifeless picture, cold and senseless stone,

Well-painted idol, image dull and dead,

Statue contenting but the eye alone,

Thing like a man, but of no woman bred:

Thou art no man, though of a man’s complexion,

For men will kiss even by their own direction.”

She calls him a painted corpse, a beautiful statue with no life in it—he looks like a man but wasn't born of woman, because real men would kiss without hesitation.

This said, impatience chokes her pleading tongue,

And swelling passion doth provoke a pause;

Red cheeks and fiery eyes blaze forth her wrong;

Being judge in love, she cannot right her cause.

And now she weeps, and now she fain would speak,

And now her sobs do her intendments break.

Her frustration chokes off her pleas; passion overwhelms her into silence. Her red cheeks and blazing eyes show her desperation, but as both judge and plaintiff in love's court, she has no way to win. She lurches between weeping and wanting to speak, her sobs breaking up her words.

Sometimes she shakes her head, and then his hand,

Now gazeth she on him, now on the ground;

Sometimes her arms infold him like a band:

She would, he will not in her arms be bound;

And when from thence he struggles to be gone,

She locks her lily fingers one in one.

She grabs his hand, stares at him then at the ground, tries to wrap her arms around him like chains, but he refuses to stay held; when he tries to pull away she locks her pale fingers together to keep him.

“Fondling,” she saith, “since I have hemm’d thee here

Within the circuit of this ivory pale,

I’ll be a park, and thou shalt be my deer;

Feed where thou wilt, on mountain or in dale:

Graze on my lips, and if those hills be dry,

Stray lower, where the pleasant fountains lie.

She calls him her darling and says now that she's caught him, she'll be a park and he her deer—he can graze wherever he wants, on mountain or valley, even on her lips, and if those run dry he can wander lower to sweeter waters.

“Within this limit is relief enough,

Sweet bottom grass and high delightful plain,

Round rising hillocks, brakes obscure and rough,

To shelter thee from tempest and from rain:

Then be my deer, since I am such a park,

No dog shall rouse thee, though a thousand bark.”

This enclosed space is all the shelter and pasture he needs: soft grass, open plains, rolling hills and rough hidden thickets to protect him from storm and rain. So be her deer in her park, and no hunter's pack will chase him away.

At this Adonis smiles as in disdain,

That in each cheek appears a pretty dimple;

Love made those hollows, if himself were slain,

He might be buried in a tomb so simple;

Foreknowing well, if there he came to lie,

Why there love liv’d, and there he could not die.

Adonis smiles with contempt, and those dimples that appear in his cheeks are so perfect that if love itself died, it could find a tomb beautiful enough in one of them—and paradoxically, love could live there forever and never truly die.

These lovely caves, these round enchanting pits,

Open’d their mouths to swallow Venus’ liking.

Being mad before, how doth she now for wits?

Struck dead at first, what needs a second striking?

Poor queen of love, in thine own law forlorn,

To love a cheek that smiles at thee in scorn!

Those dimples are like lovely caves opening up to swallow Venus whole, and she—already desperate before—loses what's left of her mind. Struck senseless at first sight of that smile, what good would a second blow do? Poor goddess of love, undone by your own laws, enslaved to a face that mocks you.

Now which way shall she turn? what shall she say?

Her words are done, her woes the more increasing;

The time is spent, her object will away,

And from her twining arms doth urge releasing:

“Pity,” she cries; “some favour, some remorse!”

Away he springs, and hasteth to his horse.

She's run out of words and her desperation only grows as time slips away and he moves toward his horse, pulling free from her arms. She begs for pity and mercy, but he springs away and rushes to mount his horse.

But lo from forth a copse that neighbours by,

A breeding jennet, lusty, young, and proud,

Adonis’ tramping courser doth espy,

And forth she rushes, snorts and neighs aloud:

The strong-neck’d steed, being tied unto a tree,

Breaketh his rein, and to her straight goes he.

But from a nearby thicket a young, proud mare sees his stallion tied to a tree and charges out, snorting and neighing loudly. The strong-necked horse, bound as he is, snaps his reins and rushes straight toward her.

Imperiously he leaps, he neighs, he bounds,

And now his woven girths he breaks asunder;

The bearing earth with his hard hoof he wounds,

Whose hollow womb resounds like heaven’s thunder;

The iron bit he crusheth ’tween his teeth,

Controlling what he was controlled with.

He leaps impetuously, neighs and bounds about, snaps the woven girths that held him, stamps the earth with such force that the ground echoes like thunder, crushes the iron bit between his teeth—master now of the very thing that used to master him.

His ears up-prick’d; his braided hanging mane

Upon his compass’d crest now stand on end;

His nostrils drink the air, and forth again,

As from a furnace, vapours doth he send:

His eye, which scornfully glisters like fire,

Shows his hot courage and his high desire.

The stallion's ears stand alert and rigid, his braided mane bristles straight up along his curved neck, his nostrils flare and breathe out heat like a furnace, and his fiery, scornful eyes blaze with pure lust and animal courage.

Sometime he trots, as if he told the steps,

With gentle majesty and modest pride;

Anon he rears upright, curvets and leaps,

As who should say, “Lo thus my strength is tried;

And this I do to captivate the eye

Of the fair breeder that is standing by.”

Now he paces forward with measured, arrogant grace, then suddenly rears up, twists, and leaps—as if to say, 'Look what strength I have'—all to impress the female horse standing nearby with his display of power.

What recketh he his rider’s angry stir,

His flattering “Holla”, or his “Stand, I say”?

What cares he now for curb or pricking spur?

For rich caparisons or trappings gay?

He sees his love, and nothing else he sees,

For nothing else with his proud sight agrees.

He ignores his rider's fury, her shouts of 'Whoa!' and commands to stop, doesn't care about the bit or spurs or fancy saddle blankets—he sees only the mare he wants, and nothing else matters to him.

Look when a painter would surpass the life,

In limning out a well-proportion’d steed,

His art with nature’s workmanship at strife,

As if the dead the living should exceed:

So did this horse excel a common one,

In shape, in courage, colour, pace and bone.

Think of a painter trying to create a horse more beautiful than nature itself, competing against real life on canvas as if a painted corpse could outshine a living creature: this horse was that remarkable, surpassing any common mount in shape, courage, color, speed, and bone.

Round-hoof’d, short-jointed, fetlocks shag and long,

Broad breast, full eye, small head, and nostril wide,

High crest, short ears, straight legs and passing strong,

Thin mane, thick tail, broad buttock, tender hide:

Look, what a horse should have he did not lack,

Save a proud rider on so proud a back.

He had everything a perfect horse should have—round hooves, compact joints, shaggy fetlocks, broad chest, wide nostrils, high neck, short ears, strong straight legs, flowing tail, powerful hindquarters, and soft skin—everything except a worthy rider to match his magnificence.

Sometimes he scuds far off, and there he stares;

Anon he starts at stirring of a feather:

To bid the wind a base he now prepares,

And where he run or fly they know not whether;

For through his mane and tail the high wind sings,

Fanning the hairs, who wave like feather’d wings.

He bolts away and stops dead to stare, then jumps at the flutter of a feather, and seems ready to race the wind itself with such speed you can't tell if he's running or flying; the wind rushes through his mane and tail like feathers rippling in a gale.

He looks upon his love, and neighs unto her;

She answers him as if she knew his mind,

Being proud, as females are, to see him woo her,

She puts on outward strangeness, seems unkind,

Spurns at his love and scorns the heat he feels,

Beating his kind embracements with her heels.

He calls to the mare with a neigh, and she responds as though she understands his longing, yet being female and vain, she plays coy and distant, kicking away his affection and spurning the heat of his desire with her heels.

Then like a melancholy malcontent,

He vails his tail that like a falling plume,

Cool shadow to his melting buttock lent:

He stamps, and bites the poor flies in his fume.

His love, perceiving how he was enrag’d,

Grew kinder, and his fury was assuag’d.

Then, sulky and rejected, he drops his tail like a drooping plume, stamps the ground, and bites at flies in his fury—until the mare, seeing his rage, softens toward him and his anger melts away.

His testy master goeth about to take him,

When lo the unback’d breeder, full of fear,

Jealous of catching, swiftly doth forsake him,

With her the horse, and left Adonis there:

As they were mad, unto the wood they hie them,

Outstripping crows that strive to overfly them.

Just then Adonis's horse, frightened by the rider's attempt to catch him, suddenly bolts after the mare, and both horses gallop into the woods faster than any crow can fly, abandoning Adonis in the clearing.

All swoln with chafing, down Adonis sits,

Banning his boisterous and unruly beast;

And now the happy season once more fits

That love-sick love by pleading may be blest;

For lovers say, the heart hath treble wrong,

When it is barr’d the aidance of the tongue.

Adonis sits down heaving and furious at his wild horse's betrayal, yet now comes the perfect chance for him to win Venus through words and pleading, since lovers know the heart suffers greatly when the tongue cannot speak what it feels.

An oven that is stopp’d, or river stay’d,

Burneth more hotly, swelleth with more rage:

So of concealed sorrow may be said,

Free vent of words love’s fire doth assuage;

But when the heart’s attorney once is mute,

The client breaks, as desperate in his suit.

A sealed furnace burns hotter, a dammed river rages more fiercely, and so too does hidden sorrow consume itself; when love cannot speak freely, the words would heal the fire, but silence breaks the lover's heart like a desperate client with no voice in court.

He sees her coming, and begins to glow,

Even as a dying coal revives with wind,

And with his bonnet hides his angry brow,

Looks on the dull earth with disturbed mind,

Taking no notice that she is so nigh,

For all askance he holds her in his eye.

He sees her approaching and begins to glow like a dying coal reignited, yet he pulls his hat down to hide his flushed face and stares at the ground with a troubled mind, looking at her only from the corner of his eye as if unmoved by her presence.

O what a sight it was, wistly to view

How she came stealing to the wayward boy,

To note the fighting conflict of her hue,

How white and red each other did destroy:

But now her cheek was pale, and by and by

It flash’d forth fire, as lightning from the sky.

What a striking thing to watch as she crept toward the stubborn boy and how her face warred with itself, her white and red complexions fighting each other—now pale, then suddenly blazing red like lightning across the sky.

Now was she just before him as he sat,

And like a lowly lover down she kneels;

With one fair hand she heaveth up his hat,

Her other tender hand his fair cheek feels:

His tend’rer cheek receives her soft hand’s print,

As apt as new-fall’n snow takes any dint.

She knelt before him like a humble lover, and with one hand raised his hat while with the other she touched his cheek; his soft skin received the print of her tender hand the way fresh snow holds any mark pressed into it.

Oh what a war of looks was then between them,

Her eyes petitioners to his eyes suing,

His eyes saw her eyes, as they had not seen them,

Her eyes woo’d still, his eyes disdain’d the wooing:

And all this dumb play had his acts made plain

With tears, which, chorus-like, her eyes did rain.

What a silent duel of gazes passed between them—her eyes pleading with his, his eyes looking at hers as if they'd never seen them before, her eyes still wooing while his eyes rejected her; and tears from her eyes, like a chorus, spoke what their mute faces could not say.

Full gently now she takes him by the hand,

A lily prison’d in a gaol of snow,

Or ivory in an alabaster band,

So white a friend engirts so white a foe:

This beauteous combat, wilful and unwilling,

Show’d like two silver doves that sit a-billing.

She takes his hand gently—his white hand trapped in her white grip, like ivory held in alabaster—two willing and unwilling combatants looking like silver doves billing and cooing.

Once more the engine of her thoughts began:

“O fairest mover on this mortal round,

Would thou wert as I am, and I a man,

My heart all whole as thine, thy heart my wound,

For one sweet look thy help I would assure thee,

Though nothing but my body’s bane would cure thee.”

Her mind churns again: if only she were a man and he a woman, she'd trade her whole heart for his and take his wound into herself, doing anything for one kind look from him, even if it killed her.

“Give me my hand,” saith he, “why dost thou feel it?”

“Give me my heart,” saith she, “and thou shalt have it.

O give it me lest thy hard heart do steel it,

And being steel’d, soft sighs can never grave it.

Then love’s deep groans I never shall regard,

Because Adonis’ heart hath made mine hard.”

He asks for his hand back; she says she'll give it if he gives her his heart first, warning that his hardness will only harden it further, making it deaf to love's deep groans and her own despair.

“For shame,” he cries, “let go, and let me go,

My day’s delight is past, my horse is gone,

And ’tis your fault I am bereft him so,

I pray you hence, and leave me here alone,

For all my mind, my thought, my busy care,

Is how to get my palfrey from the mare.”

Frustrated, he insists she release him—his day of pleasure is done and his horse is gone, and it's her fault; he just wants to be alone and figure out how to get his mount away from the mare.

Thus she replies: “Thy palfrey as he should,

Welcomes the warm approach of sweet desire,

Affection is a coal that must be cool’d;

Else, suffer’d, it will set the heart on fire,

The sea hath bounds, but deep desire hath none;

Therefore no marvel though thy horse be gone.

She shoots back: your horse went willingly to seek warmth and desire, as passion demands; desire is a fire that must be cooled or it consumes, and like the sea it has no limits—so why should you be surprised your horse is gone?

“How like a jade he stood tied to the tree,

Servilely master’d with a leathern rein!

But when he saw his love, his youth’s fair fee,

He held such petty bondage in disdain;

Throwing the base thong from his bending crest,

Enfranchising his mouth, his back, his breast.

She mocks how his horse stood tied like a slave in leather chains, but when he spotted his mare, he scorned such base restraint; he threw off the bridle and freed himself, his neck, his back, his whole body.

“Who sees his true-love in her naked bed,

Teaching the sheets a whiter hue than white,

But when his glutton eye so full hath fed,

His other agents aim at like delight?

Who is so faint that dare not be so bold

To touch the fire, the weather being cold?

Doesn't every man, seeing his love naked and whiter than white sheets, want to satisfy the hunger his eyes have awakened in every other part of him? Who's so cowardly he won't reach for the fire when the world is cold?

“Let me excuse thy courser, gentle boy,

And learn of him, I heartily beseech thee,

To take advantage on presented joy,

Though I were dumb, yet his proceedings teach thee.

O learn to love, the lesson is but plain,

And once made perfect, never lost again.”

Forgive your horse's hunger, boy, and learn from him—I'm begging you, take the joy that's offered; even without my words, his actions teach you the lesson: love is simple, and once learned, never forgotten.

“I know not love,” quoth he, “nor will not know it,

Unless it be a boar, and then I chase it;

’Tis much to borrow, and I will not owe it;

My love to love is love but to disgrace it;

For I have heard, it is a life in death,

That laughs and weeps, and all but with a breath.

He refuses: I don't know love and won't learn it unless it's a boar to hunt; I won't borrow what I must repay; my love for love is to despise it, because I've heard it's a death-in-life that laughs and weeps with every breath.

“Who wears a garment shapeless and unfinish’d?

Who plucks the bud before one leaf put forth?

If springing things be any jot diminish’d,

They wither in their prime, prove nothing worth;

The colt that’s back’d and burden’d being young,

Loseth his pride, and never waxeth strong.

Why wear an unfinished garment? Why pick the bud before a single leaf unfolds? Anything young that's damaged in growth withers before it blooms and comes to nothing; a colt ridden too early loses his spirit and never grows strong.

“You hurt my hand with wringing. Let us part,

And leave this idle theme, this bootless chat:

Remove your siege from my unyielding heart,

To love’s alarms it will not ope the gate:

Dismiss your vows, your feigned tears, your flatt’ry;

For where a heart is hard they make no batt’ry.”

You're hurting my hand—let me go and drop this pointless talk; stop besieging my heart, which won't open to love's assault; forget your vows, your false tears, your flattery, because a hard heart is immune to all artillery.

“What! canst thou talk?” quoth she, “hast thou a tongue?

O would thou hadst not, or I had no hearing;

Thy mermaid’s voice hath done me double wrong;

I had my load before, now press’d with bearing:

Melodious discord, heavenly tune, harsh-sounding,

Ear’s deep sweet music, and heart’s deep sore wounding.

"You can talk?" she cries out—God, I wish you couldn't, or that I were deaf; your voice hits me twice over, like a mermaid's song adding weight to what I already bear: beautiful discord, heavenly noise that wounds me deep.

“Had I no eyes but ears, my ears would love

That inward beauty and invisible;

Or were I deaf, thy outward parts would move

Each part in me that were but sensible:

Though neither eyes nor ears, to hear nor see,

Yet should I be in love by touching thee.

If I had only ears and no eyes, I'd love you for your inner beauty; if I were deaf, your outward form alone would stir every sense in me; without eyes or ears at all, touching you would be enough to make me love you.

“Say that the sense of feeling were bereft me,

And that I could not see, nor hear, nor touch,

And nothing but the very smell were left me,

Yet would my love to thee be still as much;

For from the stillitory of thy face excelling

Comes breath perfum’d, that breedeth love by smelling.

Even if I couldn't touch, see, or hear you, and only smell remained, my love wouldn't diminish; your face sheds perfume like a still, and that sweet breath alone would breed love in me through scent alone.

“But oh what banquet wert thou to the taste,

Being nurse and feeder of the other four;

Would they not wish the feast might ever last,

And bid suspicion double-lock the door,

Lest jealousy, that sour unwelcome guest,

Should by his stealing in disturb the feast?”

But what a feast you'd be to taste, feeding all the other four senses—wouldn't they all want the meal to never end, and lock the door against jealousy, that bitter unwelcome guest who'd ruin everything?

Once more the ruby-colour’d portal open’d,

Which to his speech did honey passage yield,

Like a red morn that ever yet betoken’d

Wrack to the seaman, tempest to the field,

Sorrow to shepherds, woe unto the birds,

Gusts and foul flaws to herdmen and to herds.

Her lips part open like a red sunrise—but red skies bring disaster: shipwreck for sailors, storms for farmers, grief for shepherds, death for birds. Nothing good comes from that color.

This ill presage advisedly she marketh:

Even as the wind is hush’d before it raineth,

Or as the wolf doth grin before he barketh,

Or as the berry breaks before it staineth,

Or like the deadly bullet of a gun,

His meaning struck her ere his words begun.

She reads his intention the way nature warns before catastrophe: wind goes silent before rain, a wolf grins before it snarls, berries split before they stain. His meaning hits her like a bullet before he even speaks.

And at his look she flatly falleth down

For looks kill love, and love by looks reviveth;

A smile recures the wounding of a frown;

But blessed bankrout, that by love so thriveth!

The silly boy, believing she is dead,

Claps her pale cheek, till clapping makes it red.

His hard stare makes her collapse—eyes have that power over love, killing it or reviving it with a look. She falls as if dead, and the foolish boy panics, tapping her cheek until he brings color back to it.

And all amaz’d brake off his late intent,

For sharply he did think to reprehend her,

Which cunning love did wittily prevent:

Fair fall the wit that can so well defend her!

For on the grass she lies as she were slain,

Till his breath breatheth life in her again.

He was about to scold her, but her swoon stops him cold; love outwits him and saves her from his reproof. She lies motionless on the grass until his breath brings her back to life.

He wrings her nose, he strikes her on the cheeks,

He bends her fingers, holds her pulses hard,

He chafes her lips; a thousand ways he seeks

To mend the hurt that his unkindness marr’d:

He kisses her; and she, by her good will,

Will never rise, so he will kiss her still.

He rubs her nose, slaps her cheeks, flexes her fingers, presses her pulse. He warms her lips a thousand ways, trying to undo the damage his coldness caused. Then he kisses her—and she, perfectly willing, stays limp so he'll keep kissing her.

The night of sorrow now is turn’d to day:

Her two blue windows faintly she up-heaveth,

Like the fair sun when in his fresh array

He cheers the morn, and all the world relieveth:

And as the bright sun glorifies the sky,

So is her face illumin’d with her eye.

Her sorrow turns to joy: her blue eyes open weakly like the sun breaking through morning clouds and lighting the world. Her face glows as brightly as sunlight itself.

Whose beams upon his hairless face are fix’d,

As if from thence they borrow’d all their shine.

Were never four such lamps together mix’d,

Had not his clouded with his brow’s repine;

But hers, which through the crystal tears gave light

Shone like the moon in water seen by night.

Her eyes shine fixed on his smooth young face, as if borrowing their light from him. Four such bright eyes together would be unstoppable—except his are clouded by his frown. But hers, shining through tears like crystal, gleam like the moon reflected in still water.

“O where am I?” quoth she, “in earth or heaven?

Or in the ocean drench’d, or in the fire?

What hour is this? or morn or weary even?

Do I delight to die, or life desire?

But now I liv’d, and life was death’s annoy;

But now I died, and death was lively joy.

She wakes asking where she is—earth, heaven, ocean, fire? What time is it? Morning or night? Does she want to die or live? A moment ago life was torture; now that she's half-dead, death itself feels like joy.

“O thou didst kill me; kill me once again:

Thy eyes’ shrewd tutor, that hard heart of thine,

Hath taught them scornful tricks, and such disdain,

That they have murder’d this poor heart of mine;

And these mine eyes, true leaders to their queen,

But for thy piteous lips no more had seen.

You killed me and you're killing me again—your eyes learned cruelty from your hard heart, and they've murdered mine. My eyes, loyal servants to my heart, would have gone blind forever but for your merciful lips.

“Long may they kiss each other for this cure!

Oh never let their crimson liveries wear,

And as they last, their verdure still endure,

To drive infection from the dangerous year:

That the star-gazers, having writ on death,

May say, the plague is banish’d by thy breath.

Let those lips kiss mine forever and never fade; let them stay fresh and young to heal all infection, so that even the astrologers who predict plague must admit your breath has banished it.

“Pure lips, sweet seals in my soft lips imprinted,

What bargains may I make, still to be sealing?

To sell myself I can be well contented,

So thou wilt buy, and pay, and use good dealing;

Which purchase if thou make, for fear of slips,

Set thy seal manual on my wax-red lips.

Your lips are pure seals marking my soft ones—what deals can I make to go on sealing with you? I'll sell myself gladly if you'll buy and pay fairly. To make sure the deal sticks, press your signet hard on my red lips.

“A thousand kisses buys my heart from me;

And pay them at thy leisure, one by one,

What is ten hundred touches unto thee?

Are they not quickly told and quickly gone?

Say, for non-payment that the debt should double,

Is twenty hundred kisses such a trouble?”

A thousand kisses buy my heart—pay them at your own pace, one by one. What's a few hundred touches to you? They're counted and spent in no time. If I forgive the debt and it doubles, is twenty hundred kisses such a hardship?

“Fair queen,” quoth he, “if any love you owe me,

Measure my strangeness with my unripe years:

Before I know myself, seek not to know me;

No fisher but the ungrown fry forbears:

The mellow plum doth fall, the green sticks fast,

Or being early pluck’d, is sour to taste.

He answers: if you love me, forgive my coldness—I'm not grown yet; you can't know me before I know myself. No fisherman takes the young fry; the ripe plum falls, but green ones stick fast. Picked too early, they taste sour.

“Look the world’s comforter, with weary gait

His day’s hot task hath ended in the west;

The owl, night’s herald, shrieks, ’tis very late;

The sheep are gone to fold, birds to their nest,

And coal-black clouds that shadow heaven’s light

Do summon us to part, and bid good night.

Look—the sun, the world's comfort, has dragged itself west and finished its day's work. The owl, night's messenger, shrieks that it's late. The sheep are penned, birds roosted, and black clouds shadow the sky, calling us to say goodbye.

“Now let me say good night, and so say you;

If you will say so, you shall have a kiss.”

“Good night,” quoth she; and ere he says adieu,

The honey fee of parting tender’d is:

Her arms do lend his neck a sweet embrace;

Incorporate then they seem, face grows to face.

He says they should part—she can have one last kiss if she agrees. She says goodnight, and before he can leave, she gives him his parting fee: her arms around his neck, and their faces merge as one.

Till breathless he disjoin’d, and backward drew

The heavenly moisture, that sweet coral mouth,

Whose precious taste her thirsty lips well knew,

Whereon they surfeit, yet complain on drouth,

He with her plenty press’d, she faint with dearth,

Their lips together glued, fall to the earth.

He pulls away breathless, breaking the kiss—that sweet mouth she knows so well. She's left wanting more even as she has plenty; he's depleted even as she's starving. Their lips part and they tumble to the ground together.

Now quick desire hath caught the yielding prey,

And glutton-like she feeds, yet never filleth;

Her lips are conquerors, his lips obey,

Paying what ransom the insulter willeth;

Whose vulture thought doth pitch the price so high,

That she will draw his lips’ rich treasure dry.

Her hunger kicks in like a predator's; she devours him endlessly, never satisfied. His lips surrender to hers like a conquered territory paying tribute. Her thoughts turn predatory—she'll drain the richness from his lips completely dry.

And having felt the sweetness of the spoil,

With blindfold fury she begins to forage;

Her face doth reek and smoke, her blood doth boil,

And careless lust stirs up a desperate courage,

Planting oblivion, beating reason back,

Forgetting shame’s pure blush and honour’s wrack.

After tasting him, she loses all restraint and falls on him blindly, greedily. Her face flushes hot, her blood races, and raw lust erases her better judgment. She's planting forgetting and beating back reason, losing shame and honor alike.

Hot, faint, and weary, with her hard embracing,

Like a wild bird being tam’d with too much handling,

Or as the fleet-foot roe that’s tir’d with chasing,

Or like the froward infant still’d with dandling:

He now obeys, and now no more resisteth,

While she takes all she can, not all she listeth.

Tired and weak from her rough handling, he's like a wild bird worn out by too much catching, or a hunted deer exhausted by the chase, or a fussy baby finally going limp from rocking. He stops fighting back, but she keeps taking everything she can get.

What wax so frozen but dissolves with temp’ring,

And yields at last to every light impression?

Things out of hope are compass’d oft with vent’ring,

Chiefly in love, whose leave exceeds commission:

Affection faints not like a pale-fac’d coward,

But then woos best when most his choice is froward.

What frozen thing doesn't melt when warmed? Even the impossible gives way to enough pressure. In love especially, people get what they didn't think they could have—desire won't play shy. In fact, love courts hardest when it meets resistance.

When he did frown, O had she then gave over,

Such nectar from his lips she had not suck’d.

Foul words and frowns must not repel a lover;

What though the rose have prickles, yet ’tis pluck’d.

Were beauty under twenty locks kept fast,

Yet love breaks through, and picks them all at last.

When he frowned, she should have stopped—but instead she kept drinking in that kiss. Don't let harsh words or a cold look scare you off; roses have thorns, but we pick them anyway. Lock beauty behind twenty doors and love still finds the key.

For pity now she can no more detain him;

The poor fool prays her that he may depart:

She is resolv’d no longer to restrain him,

Bids him farewell, and look well to her heart,

The which by Cupid’s bow she doth protest,

He carries thence encaged in his breast.

Now he's had enough and begs her to let him go. She agrees to release him, but swears by Cupid's arrow that his heart will stay locked inside his own chest, carried away by him.

“Sweet boy,” she says, “this night I’ll waste in sorrow,

For my sick heart commands mine eyes to watch.

Tell me, love’s master, shall we meet tomorrow

Say, shall we? shall we? wilt thou make the match?”

He tells her no, tomorrow he intends

To hunt the boar with certain of his friends.

She clings to him, saying she'll suffer tonight knowing he's gone and her heart demands she stay awake. She asks him pleadingly: will they meet tomorrow? Will he promise to see her? He tells her no—tomorrow he's hunting a boar with friends.

“The boar!” quoth she; whereat a sudden pale,

Like lawn being spread upon the blushing rose,

Usurps her cheek, she trembles at his tale,

And on his neck her yoking arms she throws.

She sinketh down, still hanging by his neck,

He on her belly falls, she on her back.

At the word 'boar,' she goes pale—like white cloth spreading over a blushing rose. She trembles at what he's said and throws her arms around his neck, sinking down and hanging from him. He collapses onto her, she falls back.

Now is she in the very lists of love,

Her champion mounted for the hot encounter:

All is imaginary she doth prove,

He will not manage her, although he mount her;

That worse than Tantalus’ is her annoy,

To clip Elysium and to lack her joy.

Now she's lying in the arena of love itself, ready for the encounter—but it's all in her head. He won't perform even as he's positioned over her. It's worse than Tantalus' curse: she's embracing paradise itself but can't touch the joy.

Even as poor birds, deceiv’d with painted grapes,

Do surfeit by the eye and pine the maw:

Even so she languisheth in her mishaps,

As those poor birds that helpless berries saw.

The warm effects which she in him finds missing,

She seeks to kindle with continual kissing.

She's like a bird tricked by painted grapes—starving itself by looking at a feast. That's her agony: the warmth she feels in him is missing, and no amount of kissing will start it burning in him for her.

But all in vain, good queen, it will not be,

She hath assay’d as much as may be prov’d;

Her pleading hath deserv’d a greater fee;

She’s love, she loves, and yet she is not lov’d.

“Fie, fie,” he says, “you crush me; let me go;

You have no reason to withhold me so.”

All her effort fails. She's tried everything she can think of. Her pleas deserve a better reward than this: she's love itself, she loves him desperately, and yet he doesn't love her back. He pushes her away, saying she's crushing him—let him go.

“Thou hadst been gone,” quoth she, “sweet boy, ere this,

But that thou told’st me thou wouldst hunt the boar.

Oh be advis’d; thou know’st not what it is,

With javelin’s point a churlish swine to gore,

Whose tushes never sheath’d he whetteth still,

Like to a mortal butcher, bent to kill.

She argues he'd already be gone if he hadn't mentioned the boar hunt. She begs him to reconsider what he doesn't understand: fighting a savage boar with a spear point means facing tusks that are never sheathed, teeth constantly sharpening themselves for killing.

“On his bow-back he hath a battle set

Of bristly pikes, that ever threat his foes;

His eyes like glow-worms shine when he doth fret;

His snout digs sepulchres where’er he goes;

Being mov’d, he strikes whate’er is in his way,

And whom he strikes his crooked tushes slay.

That boar has a bristling arsenal of spikes set on his arched back as a constant threat to enemies. His eyes glow like worms' light when he's angry. Wherever he digs his snout, he leaves graves. Once roused, he gores anything in his path, and his curved tusks kill whatever he strikes.

“His brawny sides, with hairy bristles armed,

Are better proof than thy spear’s point can enter;

His short thick neck cannot be easily harmed;

Being ireful, on the lion he will venture:

The thorny brambles and embracing bushes,

As fearful of him, part, through whom he rushes.

His muscled flanks bristle with thick hair harder to pierce than any spear point can manage. His short, thick neck resists injury. When angered, he'll even charge a lion. Thorny bushes part in fear before him as he crashes through.

“Alas! he naught esteems that face of thine,

To which love’s eyes pay tributary gazes;

Nor thy soft hands, sweet lips, and crystal eyne,

Whose full perfection all the world amazes;

But having thee at vantage, wondrous dread!

Would root these beauties as he roots the mead.

Look, he doesn't care about that beautiful face of yours that everyone falls for, or your soft hands and sweet lips and bright eyes that knock the world sideways—he'd tear up those beauties the same way he tears up the meadow, given the chance, and that's what terrifies me.

“Oh let him keep his loathsome cabin still,

Beauty hath naught to do with such foul fiends:

Come not within his danger by thy will;

They that thrive well, take counsel of their friends.

When thou didst name the boar, not to dissemble,

I fear’d thy fortune, and my joints did tremble.

Please, just leave him alone. Beauty has nothing to do with that disgusting creature. Don't put yourself in his path on purpose—people who stay safe listen to their friends' warnings. When you said 'boar' just now, I felt my heart drop and my whole body started shaking.

“Didst thou not mark my face, was it not white?

Saw’st thou not signs of fear lurk in mine eye?

Grew I not faint, and fell I not downright?

Within my bosom, whereon thou dost lie,

My boding heart pants, beats, and takes no rest,

But like an earthquake, shakes thee on my breast.

Did you see how pale my face went? Didn't you notice the fear in my eyes? I nearly collapsed right here, and inside my chest where you're lying now, my heart is racing and won't settle—it's throwing me around like an earthquake.

“For where love reigns, disturbing jealousy

Doth call himself affection’s sentinel;

Gives false alarms, suggesteth mutiny,

And in a peaceful hour doth cry “Kill, kill!”

Distemp’ring gentle love in his desire,

As air and water do abate the fire.

That's what jealousy does when you're in love: it poses as your protector but it's really your enemy, setting off false alarms and spreading panic, screaming 'kill!' during moments of peace and choking the life out of tender love, the way air and water drown a fire.

“This sour informer, this bate-breeding spy,

This canker that eats up love’s tender spring,

This carry-tale, dissentious jealousy,

That sometime true news, sometime false doth bring,

Knocks at my heart, and whispers in mine ear,

That if I love thee, I thy death should fear.

Jealousy—this poisonous spy, this worm eating love before it can bloom, this gossip that mixes truth with lies—it keeps hammering at my heart, whispering that if I really love you, I should be terrified you're going to die.

“And more than so, presenteth to mine eye

The picture of an angry chafing boar,

Under whose sharp fangs on his back doth lie

An image like thyself, all stain’d with gore;

Whose blood upon the fresh flowers being shed,

Doth make them droop with grief and hang the head.

And now it's showing me a picture of that furious boar with his tusks, and lying under them is someone who looks exactly like you, covered in blood; his gore drips onto the fresh flowers and they wilt and bow their heads in sorrow.

“What should I do, seeing thee so indeed,

That tremble at th’imagination?

The thought of it doth make my faint heart bleed,

And fear doth teach it divination:

I prophesy thy death, my living sorrow,

If thou encounter with the boar tomorrow.

How can I stay calm watching you go out like this, when the thought alone makes me shake? Just imagining it breaks my heart, and fear is telling me what's going to happen—I know you're going to die tomorrow if you hunt that boar.

“But if thou needs wilt hunt, be rul’d by me;

Uncouple at the timorous flying hare,

Or at the fox which lives by subtilty,

Or at the roe which no encounter dare:

Pursue these fearful creatures o’er the downs,

And on thy well-breath’d horse keep with thy hounds.

If you absolutely have to hunt, listen to me: chase the timid rabbit, or the clever fox, or the small deer that won't stand and fight—run down these harmless creatures across the fields on your strong horse with your hunting dogs.

“And when thou hast on foot the purblind hare,

Mark the poor wretch, to overshoot his troubles

How he outruns the wind, and with what care

He cranks and crosses with a thousand doubles:

The many musits through the which he goes

Are like a labyrinth to amaze his foes.

Watch the half-blind hare when you chase it on foot: see how desperately it dodges—sprinting faster than the wind, weaving and doubling back a thousand times, carving such a tangled path that even its hunters get lost in the maze.

“Sometime he runs among a flock of sheep,

To make the cunning hounds mistake their smell,

And sometime where earth-delving conies keep,

To stop the loud pursuers in their yell,

And sometime sorteth with a herd of deer;

Danger deviseth shifts, wit waits on fear.

Sometimes it bolts through a flock of sheep to confuse the scent-hounds, sometimes it ducks into rabbit warrens to silence them, sometimes it mixes with a herd of deer; when you're hunted, terror sharpens your wits and invention becomes survival.

“For there his smell with others being mingled,

The hot scent-snuffing hounds are driven to doubt,

Ceasing their clamorous cry, till they have singled

With much ado the cold fault cleanly out;

Then do they spend their mouths: echo replies,

As if another chase were in the skies.

When the hare's scent mingles with the others, the keen-nosed dogs lose the thread and stop their howling, working painfully to pick out the fading trail they've lost; once they find it again, they bay so loud it echoes back as if a dozen hunts were happening at once.

“By this, poor Wat, far off upon a hill,

Stands on his hinder legs with list’ning ear,

To hearken if his foes pursue him still.

Anon their loud alarums he doth hear;

And now his grief may be compared well

To one sore sick that hears the passing bell.

By now poor Wat—that's the hare—stands on his hind legs atop a distant hill, ears pricked, listening hard to know if the pack is still coming; when he hears their fierce cries again, his terror matches a dying man hearing the church bell toll for him.

“Then shalt thou see the dew-bedabbled wretch

Turn, and return, indenting with the way,

Each envious briar his weary legs do scratch,

Each shadow makes him stop, each murmur stay:

For misery is trodden on by many,

And being low never reliev’d by any.

Then you'll watch the mud-caked wretch dart this way and that, zigzagging desperately, every thorn tearing at his exhausted legs, every shadow making him freeze, every sound stopping him cold: misery gets trampled by the crowd, and when you're down, no one stops to help.

“Lie quietly, and hear a little more;

Nay, do not struggle, for thou shalt not rise:

To make thee hate the hunting of the boar,

Unlike myself thou hear’st me moralize,

Applying this to that, and so to so,

For love can comment upon every woe.

Hold still and listen—don't thrash or you'll only tire yourself out; I'm telling you all this to make you loathe hunting the boar, and yes, I know I sound preachy, unlike my usual self, drawing out lessons from one thing and the next, but love makes philosophers of us all.

“Where did I leave?” “No matter where,” quoth he

“Leave me, and then the story aptly ends:

The night is spent.” “Why, what of that?” quoth she.

“I am,” quoth he, “expected of my friends;

And now ’tis dark, and going I shall fall.”

“In night,” quoth she, “desire sees best of all.

"Where was I?" he asks. "Nowhere that matters," she says. "Just leave off, and the story ends neat: the night's nearly done." "So what?" she answers. "My friends are waiting for me," he says, "and it's dark now—I'll stumble if I try to go." "Dark?" she laughs. "That's when desire sees clearest of all."

But if thou fall, oh then imagine this,

The earth, in love with thee, thy footing trips,

And all is but to rob thee of a kiss.

Rich preys make true men thieves; so do thy lips

Make modest Dian cloudy and forlorn,

Lest she should steal a kiss and die forsworn."

If you stumble, imagine the ground itself, love-struck, trips you up just to steal a kiss from you—your lips are so desirable they'd make even chaste Diana jealous and willing to break her vows.

“Now of this dark night I perceive the reason:

Cynthia for shame obscures her silver shine

Till forging nature be condemn’d of treason,

For stealing moulds from heaven, that were divine;

Wherein she fram’d thee, in high heaven’s despite,

To shame the sun by day and her by night.

Now I understand why the night hides itself: the moon is ashamed because nature copied you from heaven's blueprints as if stealing divine designs, making you outshine the sun by day and the moon by night.

“And therefore hath she brib’d the destinies,

To cross the curious workmanship of nature,

To mingle beauty with infirmities,

And pure perfection with impure defeature,

Making it subject to the tyranny

Of mad mischances and much misery.

So the moon has bribed fate itself to sabotage nature's handiwork—mixing beauty with sickness, perfect form with decay, leaving you prey to accident and suffering.

“As burning fevers, agues pale and faint,

Life-poisoning pestilence and frenzies wood,

The marrow-eating sickness, whose attaint

Disorder breeds by heating of the blood;

Surfeits, imposthumes, grief, and damn’d despair,

Swear nature’s death, for framing thee so fair.

You'll rot from fevers, plague, madness, wasting disease that curdles the blood, infections, grief, and despair—all nature's curse for making something as beautiful as you.

“And not the least of all these maladies

But in one minute’s fight brings beauty under:

Both favour, savour, hue and qualities,

Whereat th’impartial gazer late did wonder,

Are on the sudden wasted, thaw’d and done,

As mountain snow melts with the midday sun.

Even one moment of sickness destroys that beauty: your glow, your sweetness, your color and charm all vanish suddenly, like snow melting in the noon sun.

“Therefore despite of fruitless chastity,

Love-lacking vestals and self-loving nuns,

That on the earth would breed a scarcity

And barren dearth of daughters and of sons,

Be prodigal: the lamp that burns by night

Dries up his oil to lend the world his light.

So ignore pointless chastity—those barren nuns and self-absorbed virgins who waste the earth's potential for children; be generous instead: a lamp burns through its oil to light the world.

“What is thy body but a swallowing grave,

Seeming to bury that posterity,

Which by the rights of time thou needs must have,

If thou destroy them not in dark obscurity?

If so, the world will hold thee in disdain,

Sith in thy pride so fair a hope is slain.

Your body is a tomb for the children you're meant to have; if you refuse to have them, the world will despise you for throwing away such a beautiful legacy.

“So in thyself thyself art made away;

A mischief worse than civil home-bred strife,

Or theirs whose desperate hands themselves do slay,

Or butcher sire that reeves his son of life.

Foul cank’ring rust the hidden treasure frets,

But gold that’s put to use more gold begets.”

That's like destroying yourself—worse than civil war or suicide or a father murdering his son; it's like letting rust eat treasure, when gold properly used multiplies itself.

“Nay then,” quoth Adon, “you will fall again

Into your idle over-handled theme;

The kiss I gave you is bestow’d in vain,

And all in vain you strive against the stream;

For by this black-fac’d night, desire’s foul nurse,

Your treatise makes me like you worse and worse.

Then Adonis speaks: 'You're back to the same old song, and that kiss you took from me didn't change a thing; you're fighting the current and making me like you less with every word.'

“If love have lent you twenty thousand tongues,

And every tongue more moving than your own,

Bewitching like the wanton mermaid’s songs,

Yet from mine ear the tempting tune is blown;

For know, my heart stands armed in mine ear,

And will not let a false sound enter there.

'If love gave you twenty thousand voices, each more persuasive than your own, sweet as a mermaid's song, I'd still ignore you—my heart guards my ear and won't let false words in.'

“Lest the deceiving harmony should run

Into the quiet closure of my breast,

And then my little heart were quite undone,

In his bedchamber to be barr’d of rest.

No, lady, no; my heart longs not to groan,

But soundly sleeps, while now it sleeps alone.

'I won't let that seductive tune slip into my chest where it could undo me and rob my heart of peace; no, lady, my heart's content to sleep alone without yearning.'

“What have you urg’d that I cannot reprove?

The path is smooth that leadeth on to danger;

I hate not love, but your device in love

That lends embracements unto every stranger.

You do it for increase: O strange excuse!

When reason is the bawd to lust’s abuse.

'What argument haven't I already answered? The path to ruin looks smooth; I don't hate love itself, but your version of it that gives embraces to anyone; you call it breeding, but that's just lust with a false excuse.'

“Call it not love, for love to heaven is fled,

Since sweating lust on earth usurp’d his name;

Under whose simple semblance he hath fed

Upon fresh beauty, blotting it with blame;

Which the hot tyrant stains and soon bereaves,

As caterpillars do the tender leaves.

'That's not love—real love fled to heaven when sweaty lust stole its name and used it to wreck beauty like a caterpillar eating leaves.'

“Love comforteth like sunshine after rain,

But lust’s effect is tempest after sun;

Love’s gentle spring doth always fresh remain,

Lust’s winter comes ere summer half be done.

Love surfeits not, lust like a glutton dies;

Love is all truth, lust full of forged lies.

'Love is sunshine after rain, but lust is a storm after sunshine; love stays fresh and gentle, lust dies like a starving glutton; love is honest, lust is all lies.'

“More I could tell, but more I dare not say;

The text is old, the orator too green.

Therefore, in sadness, now I will away;

My face is full of shame, my heart of teen,

Mine ears, that to your wanton talk attended

Do burn themselves for having so offended.”

'I could say more, but I'm too young to press further; I'm ashamed and miserable, and my ears burn for having listened to your seductions.'

With this he breaketh from the sweet embrace

Of those fair arms which bound him to her breast,

And homeward through the dark laund runs apace;

Leaves love upon her back deeply distress’d.

Look how a bright star shooteth from the sky,

So glides he in the night from Venus’ eye.

He tears himself away from her arms and runs home through the dark field, leaving her devastated behind him—he vanishes into the night like a shooting star disappearing from the sky.

Which after him she darts, as one on shore

Gazing upon a late embarked friend,

Till the wild waves will have him seen no more,

Whose ridges with the meeting clouds contend:

So did the merciless and pitchy night

Fold in the object that did feed her sight.

She watches him go like someone on a shore watching a ship sail away, straining to see until the dark waves swallow it whole; the thick night closes around him and hides him from her view.

Whereat amaz’d, as one that unaware

Hath dropp’d a precious jewel in the flood,

Or ’stonish’d as night-wanderers often are,

Their light blown out in some mistrustful wood;

Even so confounded in the dark she lay,

Having lost the fair discovery of her way.

She's stunned, like someone who's dropped a precious jewel into deep water, or like a traveller whose torch blows out in a dangerous forest at night; she's lost in the darkness, unable to find her way forward.

And now she beats her heart, whereat it groans,

That all the neighbour caves, as seeming troubled,

Make verbal repetition of her moans;

Passion on passion deeply is redoubled:

“Ay me!” she cries, and twenty times, “Woe, woe!”

And twenty echoes twenty times cry so.

She pounds her own heart until it groans, and the caves around her echo her sounds back to her; her grief feeds on itself, doubling and redoubling, until she cries out 'Ay me!' and 'Woe!' twenty times over, and twenty echoes repeat it back.

She marking them, begins a wailing note,

And sings extemporally a woeful ditty;

How love makes young men thrall, and old men dote,

How love is wise in folly foolish witty:

Her heavy anthem still concludes in woe,

And still the choir of echoes answer so.

She starts to sing a sorrowful improvised song about how love enslaves young men and makes old men foolish, how it's wise and stupid all at once; her heavy lament always ends in misery, and the echoes always answer the same way.

Her song was tedious, and outwore the night,

For lovers’ hours are long, though seeming short,

If pleas’d themselves, others they think, delight

In such like circumstance, with such like sport:

Their copious stories oftentimes begun,

End without audience, and are never done.

Her song drags on all night because lovers lose all sense of time—what feels short to them seems endless, and they assume others enjoy their lengthy stories just as much; but her stories have no audience but the echoes, and they never really end.

For who hath she to spend the night withal,

But idle sounds resembling parasites;

Like shrill-tongu’d tapsters answering every call,

Soothing the humour of fantastic wits?

She says, “’Tis so:” they answer all, “’Tis so;”

And would say after her, if she said “No.”

All she has to keep her company through the night are these empty sounds, like echoes of flatterers who agree with everything she says, who would say 'no' if she told them to; they just parrot back whatever she offers.

Lo here the gentle lark, weary of rest,

From his moist cabinet mounts up on high,

And wakes the morning, from whose silver breast

The sun ariseth in his majesty;

Who doth the world so gloriously behold,

That cedar tops and hills seem burnish’d gold.

The lark wakes tired and eager, climbing high into the sky, and the sun rises from the eastern light with majesty, shining so brightly that even the tallest cedar trees and distant hills gleam like burnished gold.

Venus salutes him with this fair good morrow:

“Oh thou clear god, and patron of all light,

From whom each lamp and shining star doth borrow

The beauteous influence that makes him bright,

There lives a son that suck’d an earthly mother,

May lend thee light, as thou dost lend to other.”

Venus greets the sunrise with a plea: the sun is the source of all light, and from it every star borrows its brightness; but there's a beautiful boy on earth, the product of a mortal mother, who might be bright enough to lend light to the sun in return.

This said, she hasteth to a myrtle grove,

Musing the morning is so much o’erworn,

And yet she hears no tidings of her love;

She hearkens for his hounds and for his horn.

Anon she hears them chant it lustily,

And all in haste she coasteth to the cry.

She hurries toward a myrtle grove, troubled that the morning is already so advanced and she's heard nothing from her lover; she listens for the sound of his hunting dogs and his horn.

And as she runs, the bushes in the way

Some catch her by the neck, some kiss her face,

Some twine about her thigh to make her stay:

She wildly breaketh from their strict embrace,

Like a milch doe, whose swelling dugs do ache,

Hasting to feed her fawn hid in some brake.

Soon she hears them calling out loudly, and she rushes toward the noise, running fast through the undergrowth that catches at her neck and face; she tears free like a doe with swollen teats desperate to reach her hidden fawn.

By this she hears the hounds are at a bay,

Whereat she starts like one that spies an adder

Wreath’d up in fatal folds just in his way,

The fear whereof doth make him shake and shudder;

Even so the timorous yelping of the hounds

Appals her senses, and her spirit confounds.

As she runs, she hears the dogs come to a standstill, and she jumps in terror like someone who spots a venomous snake coiled in the path; the fearful yelping of the hounds shakes her to her core and scatters her wits.

For now she knows it is no gentle chase,

But the blunt boar, rough bear, or lion proud,

Because the cry remaineth in one place,

Where fearfully the dogs exclaim aloud,

Finding their enemy to be so curst,

They all strain court’sy who shall cope him first. 888

Now she realizes this isn't a gentle hunt—it's a wild boar, or bear, or lion, because the dogs have stopped in one place and are barking in panic; they've found something fierce enough that they're all eager and afraid to fight it.

This dismal cry rings sadly in her ear,

Through which it enters to surprise her heart;

Who overcome by doubt and bloodless fear,

With cold-pale weakness numbs each feeling part;

Like soldiers when their captain once doth yield,

They basely fly and dare not stay the field.

The terrible sound pierces her ear and shoots straight to her heart; fear drains the blood from her face and leaves her weak and paralysed, like soldiers who lose all courage when their captain surrenders and abandon the battle.

Thus stands she in a trembling ecstasy,

Till cheering up her senses sore dismay’d,

She tells them ’tis a causeless fantasy,

And childish error, that they are afraid;

Bids them leave quaking, bids them fear no more:

And with that word, she spied the hunted boar.

She stands there shaking, caught between terror and hope, until she tries to calm herself down and tells herself she's imagining things, that it's just childish panic; but the moment she speaks those brave words, she sees the hunted boar charging toward her.

Whose frothy mouth bepainted all with red,

Like milk and blood being mingled both together,

A second fear through all her sinews spread,

Which madly hurries her she knows not whither:

This way she runs, and now she will no further,

But back retires, to rate the boar for murther.

The boar's mouth is streaked with foam and blood mixed together, and the sight sends Venus into panic that sends her running in all directions at once—until she stops and turns back to curse the boar for what it's done.

A thousand spleens bear her a thousand ways,

She treads the path that she untreads again;

Her more than haste is mated with delays,

Like the proceedings of a drunken brain,

Full of respects, yet naught at all respecting,

In hand with all things, naught at all effecting.

A thousand conflicting impulses pull her every which way; she traces her own path backward and forward like a drunk, full of worry but accomplishing nothing, her hands in everything and her mind nowhere.

Here kennel’d in a brake she finds a hound,

And asks the weary caitiff for his master,

And there another licking of his wound,

’Gainst venom’d sores the only sovereign plaster.

And here she meets another sadly scowling,

To whom she speaks, and he replies with howling.

She finds a hunting dog resting in the brush and asks it where its master is, then spots another licking its own wounds, then another one standing apart with a scowl; when she speaks to it, it only howls back.

When he hath ceas’d his ill-resounding noise,

Another flap-mouth’d mourner, black and grim,

Against the welkin volleys out his voice;

Another and another answer him,

Clapping their proud tails to the ground below,

Shaking their scratch’d ears, bleeding as they go.

When that dog stops its awful noise, another one—thick-lipped and dark—lets out a cry that splits the sky, then another answers, and another, all of them lowering their tails and shaking their bloody, torn ears.

Look how the world’s poor people are amazed

At apparitions, signs, and prodigies,

Whereon with fearful eyes they long have gazed,

Infusing them with dreadful prophecies;

So she at these sad signs draws up her breath,

And sighing it again, exclaims on death.

She's like someone watching for omens and portents, staring at them with dread and reading catastrophe into every sign—and when she sees these hurt dogs, she catches her breath and cries out that death has come.

“Hard-favour’d tyrant, ugly, meagre, lean,

Hateful divorce of love,” thus chides she death,

“Grim-grinning ghost, earth’s worm, what dost thou mean?

To stifle beauty and to steal his breath,

Who when he liv’d, his breath and beauty set

Gloss on the rose, smell to the violet.

She curses death as a hideously ugly tyrant, calling it a grim skeleton that steals away beauty and breath, even though when Adonis was alive his very breath and beauty made roses and violets shine brighter.

“If he be dead, O no, it cannot be,

Seeing his beauty, thou shouldst strike at it,

O yes, it may, thou hast no eyes to see,

But hatefully at random dost thou hit.

Thy mark is feeble age, but thy false dart

Mistakes that aim, and cleaves an infant’s heart.

She argues that if he's truly dead, death should have seen how beautiful he was and aimed for him—but it's blind and strikes at random, targeting weak old age when it mistakes its aim and kills a child instead.

“Hadst thou but bid beware, then he had spoke,

And hearing him, thy power had lost his power.

The destinies will curse thee for this stroke;

They bid thee crop a weed, thou pluck’st a flower.

Love’s golden arrow at him should have fled,

And not death’s ebon dart to strike him dead.

If only death had given warning, Adonis could have spoken and defeated it with words; the Fates will curse death for this blow, for it was asked to uproot a weed but instead plucked a flower, when Cupid's golden arrow should have protected him, not death's black dart.

“Dost thou drink tears, that thou provok’st such weeping?

What may a heavy groan advantage thee?

Why hast thou cast into eternal sleeping

Those eyes that taught all other eyes to see?

Now nature cares not for thy mortal vigour,

Since her best work is ruin’d with thy rigour.”

Does death drink tears that it makes her weep like this, and what good do her groans do it?—it's closed forever those eyes that taught everyone else how to see, and now nature has no use for death's cruel strength since it's ruined her masterpiece.

Here overcome, as one full of despair,

She vail’d her eyelids, who like sluices stopp’d

The crystal tide that from her two cheeks fair

In the sweet channel of her bosom dropp’d

But through the flood-gates breaks the silver rain,

And with his strong course opens them again.

She collapses into despair and closes her eyes as if to dam up her tears, but the flood breaks through her defenses and her weeping pours down onto her chest.

O how her eyes and tears did lend and borrow;

Her eyes seen in the tears, tears in her eye;

Both crystals, where they view’d each other’s sorrow,

Sorrow that friendly sighs sought still to dry;

But like a stormy day, now wind, now rain,

Sighs dry her cheeks, tears make them wet again.

Her eyes and tears keep feeding each other—she sees herself reflected in the tears and the tears reflected in her eyes, both crystal mirrors of mutual sorrow, though her sighs try to dry her cheeks even as new tears wet them again.

Variable passions throng her constant woe,

As striving who should best become her grief;

All entertain’d, each passion labours so,

That every present sorrow seemeth chief,

But none is best, then join they all together,

Like many clouds consulting for foul weather.

Wave after wave of different feelings compete to express her grief, each one crowding in and fighting to be the strongest, until all of them together make up one vast sorrow, like separate clouds gathering for a storm.

By this, far off she hears some huntsman holla;

A nurse’s song ne’er pleas’d her babe so well:

The dire imagination she did follow

This sound of hope doth labour to expel;

For now reviving joy bids her rejoice,

And flatters her it is Adonis’ voice.

Just then she hears a huntsman's call from far off, which comforts her the way a lullaby soothes a baby, and her fearful imagination scrambles to make hope override her terror—her joy begins to revive and she tricks herself into believing it's Adonis calling.

Whereat her tears began to turn their tide,

Being prison’d in her eye, like pearls in glass;

Yet sometimes falls an orient drop beside,

Which her cheek melts, as scorning it should pass

To wash the foul face of the sluttish ground,

Who is but drunken when she seemeth drown’d.

Her tears switch direction as they hang in her eyes like pearls in glass, though a few drops still fall and her cheek goes pale refusing to let them wash onto the muddy ground, which would get drunk on her sorrow.

O hard-believing love, how strange it seems

Not to believe, and yet too credulous;

Thy weal and woe are both of them extremes;

Despair and hope make thee ridiculous,

The one doth flatter thee in thoughts unlikely,

In likely thoughts the other kills thee quickly.

Love is a strange thing—so quick to despair yet too eager to believe, so extreme in both joy and misery that despair flatters you with false hopes while hope kills you with crushing disappointment.

Now she unweaves the web that she hath wrought,

Adonis lives, and death is not to blame;

It was not she that call’d him all to naught;

Now she adds honours to his hateful name.

She clepes him king of graves, and grave for kings,

Imperious supreme of all mortal things.

Venus backtracks her bitter curse: Adonis isn't dead after all, and she now crowns his name with honor—calling him sovereign of death itself, master of all mortal things.

“No, no,” quoth she, “sweet death, I did but jest;

Yet pardon me, I felt a kind of fear

Whenas I met the boar, that bloody beast,

Which knows no pity, but is still severe;

Then, gentle shadow,—truth I must confess—

I rail’d on thee, fearing my love’s decease.

She corrects herself, telling death she was only joking in her anger; she cursed it only because she feared the boar's cruelty and the loss of her lover, not out of malice.

“’Tis not my fault, the boar provok’d my tongue;

Be wreak’d on him, invisible commander;

’Tis he, foul creature, that hath done thee wrong;

I did but act, he’s author of my slander.

Grief hath two tongues, and never woman yet,

Could rule them both, without ten women’s wit.”

She blames the boar for provoking her tongue, asking death to punish the creature instead; grief makes liars and slanderers of women, she claims, beyond their power to control.

Thus hoping that Adonis is alive,

Her rash suspect she doth extenuate;

And that his beauty may the better thrive,

With death she humbly doth insinuate;

Tells him of trophies, statues, tombs and stories

His victories, his triumphs and his glories.

Clinging to the hope that Adonis lives, she flatters death with talk of monuments, statues, and eternal fame—his glories and victories will outlast mortality itself.

“O love!” quoth she, “how much a fool was I,

To be of such a weak and silly mind,

To wail his death who lives, and must not die

Till mutual overthrow of mortal kind;

For he being dead, with him is beauty slain,

And beauty dead, black Chaos comes again.

She rails at herself for doubting him when he's immortal through beauty; if he dies, beauty dies with him, and chaos swallows the world.

“Fie, fie, fond love, thou art as full of fear

As one with treasure laden, hemm’d with thieves,

Trifles unwitnessed with eye or ear,

Thy coward heart with false bethinking grieves.”

Even at this word she hears a merry horn,

Whereat she leaps that was but late forlorn.

She scolds her fearful heart for grieving over shadows and trifles, like a coward—but then a hunting horn sounds, and she leaps up, suddenly alive with hope.

As falcon to the lure, away she flies;

The grass stoops not, she treads on it so light,

And in her haste unfortunately spies

The foul boar’s conquest on her fair delight;

Which seen, her eyes, as murder’d with the view,

Like stars asham’d of day, themselves withdrew.

She darts toward the sound like a falcon to its lure, moving so lightly the grass barely bends, until she spots the boar's handiwork on Adonis's body; her eyes recoil as if stabbed by the sight.

Or as the snail, whose tender horns being hit,

Shrinks backwards in his shelly cave with pain,

And there all smother’d up, in shade doth sit,

Long after fearing to creep forth again:

So at his bloody view her eyes are fled

Into the deep dark cabins of her head.

Her eyes snap shut and retreat inward like a snail's horns, shrinking into their cave; long afterward they stay shuttered, afraid to look out again.

Where they resign their office and their light

To the disposing of her troubled brain,

Who bids them still consort with ugly night,

And never wound the heart with looks again;

Who like a king perplexed in his throne,

By their suggestion gives a deadly groan.

Her eyes surrender to her disordered mind, which orders them to cling to darkness and never let in painful sight again; her mind rules like a confused king, forcing a groan of agony from her body.

Whereat each tributary subject quakes,

As when the wind imprison’d in the ground,

Struggling for passage, earth’s foundation shakes,

Which with cold terror doth men’s minds confound.

This mutiny each part doth so surprise

That from their dark beds once more leap her eyes.

The shock reverberates through her like imprisoned wind cracking the earth's foundation, shaking her whole frame—until the pressure builds so great her eyes burst open of their own accord.

And being open’d, threw unwilling light

Upon the wide wound that the boar had trench’d

In his soft flank, whose wonted lily white

With purple tears that his wound wept, was drench’d.

No flower was nigh, no grass, herb, leaf or weed,

But stole his blood and seem’d with him to bleed.

They open and throw unwilling light on Adonis's gaping flank, where his white skin is soaked with blood from the wound; nothing nearby escapes—every flower and leaf seems to bleed with him.

This solemn sympathy poor Venus noteth,

Over one shoulder doth she hang her head,

Dumbly she passions, franticly she doteth;

She thinks he could not die, he is not dead:

Her voice is stopp’d, her joints forget to bow,

Her eyes are mad, that they have wept till now.

Venus sees this terrible sympathy and hangs her head, locked in passionate silence, thinking he cannot truly be dead; she cannot speak or move, and her eyes have wept themselves past tears.

Upon his hurt she looks so steadfastly,

That her sight dazzling makes the wound seem three;

And then she reprehends her mangling eye,

That makes more gashes, where no breach should be:

His face seems twain, each several limb is doubled,

For oft the eye mistakes, the brain being troubled.

She stares so hard at his wound that her vision doubles it, trebles it, and she blames her own eyes for multiplying his injuries where none should exist; her mind's confusion makes each limb appear twice over.

“My tongue cannot express my grief for one,

And yet,” quoth she, “behold two Adons dead!

My sighs are blown away, my salt tears gone,

Mine eyes are turn’d to fire, my heart to lead:

Heavy heart’s lead, melt at mine eyes’ red fire!

So shall I die by drops of hot desire.

She cries that her grief for one man is inexpressible, yet she sees two dead Adons; her breath and tears are spent, her eyes turned to fire and her heart to lead—she'll die by burning herself away.

“Alas poor world, what treasure hast thou lost!

What face remains alive that’s worth the viewing?

Whose tongue is music now? what canst thou boast

Of things long since, or anything ensuing?

The flowers are sweet, their colours fresh and trim,

But true sweet beauty liv’d and died with him.

She mourns the world's loss: what face is left worth seeing, what tongue now sings sweetly, what beauty survives? Flowers fade, but true beauty lived and died in him alone.

“Bonnet nor veil henceforth no creature wear!

Nor sun nor wind will ever strive to kiss you:

Having no fair to lose, you need not fear;

The sun doth scorn you, and the wind doth hiss you.

But when Adonis liv’d, sun and sharp air

Lurk’d like two thieves, to rob him of his fair.

Now that Adonis is dead, there's no point in women protecting their beauty anymore—the sun and wind won't bother to court what's already lost. But when he lived, they pursued him like thieves, desperate to steal his radiance.

“And therefore would he put his bonnet on,

Under whose brim the gaudy sun would peep;

The wind would blow it off, and being gone,

Play with his locks; then would Adonis weep;

And straight, in pity of his tender years,

They both would strive who first should dry his tears.

He'd wear his hat to shield himself, and the sun would peek underneath it; the wind would knock it off and play with his hair until he cried, and then both forces would race to comfort him by drying his tears.

“To see his face the lion walk’d along

Behind some hedge, because he would not fear him;

To recreate himself when he hath sung,

The tiger would be tame and gently hear him.

If he had spoke, the wolf would leave his prey,

And never fright the silly lamb that day.

Wild animals abandoned their nature for him: the lion crept behind hedges so Adonis wouldn't be afraid, the tiger grew gentle to hear him sing, and if he'd spoken a single word, the wolf would drop its prey rather than harm a lamb.

“When he beheld his shadow in the brook,

The fishes spread on it their golden gills;

When he was by, the birds such pleasure took,

That some would sing, some other in their bills

Would bring him mulberries and ripe-red cherries,

He fed them with his sight, they him with berries.

Fish flashed their scales at his reflection in the stream; birds gathered around him with such delight that some sang while others brought him berries and cherries in their beaks—he fed them with his beauty, they fed him with fruit.

“But this foul, grim, and urchin-snouted boar,

Whose downward eye still looketh for a grave,

Ne’er saw the beauteous livery that he wore;

Witness the entertainment that he gave.

If he did see his face, why then I know

He thought to kiss him, and hath kill’d him so.

But that hideous boar with its tusks and downturned snout never glimpsed the beauty Adonis wore; his 'hospitality' proves it. If the boar had seen that face, I know it only wanted to kiss him—and that kiss became a murder.

“’Tis true, ’tis true; thus was Adonis slain:

He ran upon the boar with his sharp spear,

Who did not whet his teeth at him again,

But by a kiss thought to persuade him there;

And nuzzling in his flank, the loving swine

Sheath’d unaware the tusk in his soft groin.

Yes, that's exactly how he died: he charged the boar with his spear, but instead of attacking back, the beast tried to win him over with an embrace; as it nuzzled his side, the tusk went unknowingly deep into his groin.

“Had I been tooth’d like him, I must confess,

With kissing him I should have kill’d him first;

But he is dead, and never did he bless

My youth with his; the more am I accurst.”

With this she falleth in the place she stood,

And stains her face with his congealed blood.

If I'd had tusks like that beast, I'd have killed him with kisses too—but he's gone, and he never blessed me with his affection, so I'm damned for it. She collapses where she stands and smears her face with his dried blood.

She looks upon his lips, and they are pale;

She takes him by the hand, and that is cold,

She whispers in his ears a heavy tale,

As if they heard the woeful words she told;

She lifts the coffer-lids that close his eyes,

Where lo, two lamps burnt out in darkness lies.

She stares at his lips—now colorless. She takes his hand—it's cold. She whispers sad words into his ears as though he can still hear them. She opens his eyes, but finds only two burned-out lamps where light once lived.

Two glasses where herself herself beheld

A thousand times, and now no more reflect;

Their virtue lost, wherein they late excell’d,

And every beauty robb’d of his effect.

“Wonder of time,” quoth she, “this is my spite,

That thou being dead, the day should yet be light.

Those eyes were mirrors where she saw herself a thousand times; now they reflect nothing, their power gone, and every beauty they held is stolen away. 'Wonder of the world,' she says, 'and here's my curse: you're dead, yet the day still shines.'

“Since thou art dead, lo here I prophesy,

Sorrow on love hereafter shall attend:

It shall be waited on with jealousy,

Find sweet beginning, but unsavoury end;

Ne’er settled equally, but high or low,

That all love’s pleasure shall not match his woe.

Since you're dead, I'm telling you what comes next: sorrow will follow love forever after. Love will start sweet but end bitter, constantly unequal, swinging between extremes, so that no pleasure love brings will balance out the pain.

“It shall be fickle, false and full of fraud,

Bud, and be blasted in a breathing while;

The bottom poison, and the top o’erstraw’d

With sweets that shall the truest sight beguile.

The strongest body shall it make most weak,

Strike the wise dumb, and teach the fool to speak.

Love will be fake, dishonest, full of tricks—it will bloom and wither in a heartbeat. It'll be poison at the core wrapped in pretty lies that fool even the clearest eye. It'll weaken the strongest body and silence the wisest while teaching fools to speak.

“It shall be sparing, and too full of riot,

Teaching decrepit age to tread the measures;

The staring ruffian shall it keep in quiet,

Pluck down the rich, enrich the poor with treasures;

It shall be raging mad, and silly mild,

Make the young old, the old become a child.

Love will be stingy and wasteful at once, making old age dance and violent thugs docile; it'll rob the rich and make beggars rich, rage like madness one moment and turn foolish and gentle the next, aging the young and making the old childish.

“It shall suspect where is no cause of fear,

It shall not fear where it should most mistrust;

It shall be merciful, and too severe,

And most deceiving when it seems most just;

Perverse it shall be, where it shows most toward,

Put fear to valour, courage to the coward.

Love will panic over nothing and ignore real danger; it'll be cruel when it should forgive and forgive when it should be harsh, most deceptive when it seems most honest. It'll twist virtue and cowardice around—turning brave men fearful and cowards into heroes.

“It shall be cause of war and dire events,

And set dissension ’twixt the son and sire;

Subject and servile to all discontents,

As dry combustious matter is to fire,

Sith in his prime death doth my love destroy,

They that love best their love shall not enjoy.”

Love will start wars and tear apart families, turning everyone into kindling ready to catch fire at the slightest spark. Since death took you in your prime, those who love best will never get to keep what they love.

By this the boy that by her side lay kill’d

Was melted like a vapour from her sight,

And in his blood that on the ground lay spill’d,

A purple flower sprung up, chequer’d with white,

Resembling well his pale cheeks, and the blood

Which in round drops upon their whiteness stood.

As she spoke, the body beside her faded like mist from her eyes, and where his blood had spilled on the ground, a purple flower shot up with white markings—its pale petals and red drops a perfect echo of his pale cheeks and the blood that had pooled there.

She bows her head, the new-sprung flower to smell,

Comparing it to her Adonis’ breath;

And says within her bosom it shall dwell,

Since he himself is reft from her by death;

She crops the stalk, and in the breach appears

Green-dropping sap, which she compares to tears.

Venus kneels to smell a flower that has sprung up where Adonis died, pretending it carries his breath, and decides to keep it pressed against her heart since she's lost him to death; when she plucks the stem, green sap oozes out, and she compares it to tears.

“Poor flower,” quoth she, “this was thy father’s guise,

Sweet issue of a more sweet-smelling sire,

For every little grief to wet his eyes,

To grow unto himself was his desire,

And so ’tis thine; but know, it is as good

To wither in my breast as in his blood.

She addresses the flower as a motherless child, noting it inherited from its father—Adonis—the habit of weeping at small griefs and the desire to grow into itself; but she tells it there's no shame in withering in her breast instead of in his veins.

“Here was thy father’s bed, here in my breast;

Thou art the next of blood, and ’tis thy right:

Lo in this hollow cradle take thy rest,

My throbbing heart shall rock thee day and night:

There shall not be one minute in an hour

Wherein I will not kiss my sweet love’s flower.”

She offers her own body as the flower's cradle, replacing the bed where Adonis once lay, and swears her heart will rock it night and day, kissing it constantly as a substitute for her lost love.

Thus weary of the world, away she hies,

And yokes her silver doves; by whose swift aid

Their mistress mounted through the empty skies,

In her light chariot quickly is convey’d;

Holding their course to Paphos, where their queen

Means to immure herself and not be seen.

Exhausted by grief and the world itself, Venus harnesses her chariot drawn by white doves and flies through the empty sky toward Paphos, her sacred island, where she means to shut herself away from everyone and be seen no more.

FINIS

Lines that stick

  • Rose-cheek'd Adonis hied him to the chase; Hunting he lov'd, but love he laugh'd to scorn
  • Being so enrag'd, desire doth lend her force Courageously to pluck him from his horse
  • She red and hot as coals of glowing fire, He red for shame, but frosty in desire
  • Thus weary of the world, away she hies, And yokes her silver doves
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