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- THE PASSIONATE PILGRIM 27
embody reminiscences of Shakespeare’s narrative poem, but none show any trace of his workmanship.
All treat of Venus’ infatuation for Adonis and of Adonis’ bashful rejection of her advances. The insistence on the boyish modesty of Adonis is largely Shakespeare’s original interpretation of the classical fable, and the emphasis newly laid upon the point in Jaggard’s sonnets seems to indicate the source of their inspiration. No. IX, ‘Faire was the morne, when the faire Queene of Love,’ develops Venus’ warning against the boar-hunt. No. XI, ‘Venus with Adonis sitting by her,’ works up ll. 97–114 in Shakespeare’s poem, where Venus describes how she had been wooed by ‘the stern and direful god of war’. In the two other sonnets (Nos. IV and VI) which open the series in Jaggard’s volume, hints have been sought outside Shakespeare’s poem, but the reference to Adonis in Shakespeare’s *Taming of the Shrew* appears to have given the sonneteer his leading cue. No. IV (‘Sweet Cytherea sitting by a Brooke’) and No. VI (‘Scarse had the Sunne dride vp the deawy morne’), in both of which the goddess is called Cytherea and is pictured by a brook, read like glosses on the passage in Shakespeare’s *Taming of the Shrew* (Ind. Sc. 2, ll. 52–3), which tells of
Adonis painted by a running brook
And Cytherea all in sedges hid.
The episode of Adonis bathing, with which the second of these two sonnets deals, is unnoticed in Shakespeare’s poem.
Of only two of these four poems is any trace found outside *The Passionate Pilgrim*. An early manuscript copy of No. IX was at one time in Halliwell[-Phillipps]’s possession. It gives a different and very tame version of ll. 2–4. The manuscript reading runs:—
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