Properties
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THE PASSIONATE PILGRIM 25
### Love's Labour's Lost (1598)
1. 2. cannot
1. 9. Vows are but breath
1. 10. which on my earth dost
1. 11. Exhalest
1. 12. If broken then,
1. 14. To lose an oath
### Passionate Pilgrim (1599)
could not
My vow was breath
that on this earth doth
Exhale
If broken, then
To breake an oath
The second excerpt from *Love's Labour's Lost* stands next No. V. but one to the first. It is Dumain’s sonnet to ‘most divine Kate’ (in lines of six feet), from Act iv, Sc. 2, ll. 100–13. The different readings are:—
### Love's Labour's Lost (1598)
1. 2. Ah
1. 3. faithful
1. 4. were oaks
1. 6. Art would comprehend
1. 11. Thy eye Ioues lightning bears
1. 13. O pardon love this wrong
1. 14. That sings
### Passionate Pilgrim (1599)
O
constant
like Okes
Art can comprehend
Thine eye Ioues lightning seems
O, do not loue that wrong
To sing
The third excerpt from *Love's Labour's Lost* is Biron’s No. XVI. verse-address to Rosaline, in seven-syllable riming couplets (beginning, ‘On a day, alack the day’), from Act iv, Sc. 3, ll. 97–116. This poem is the sixteenth in Jaggard’s volume, being the second of the appended ‘Sonnets To sundry notes of Musicke’, and the sole piece by Shakespeare in that portion of Jaggard’s volume. The only difference worthy of record between Jaggard’s version and the text of the play is the omission from the former of the eighth couplet of the latter, viz.:—
D
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26
THE PASSIONATE PILGRIM
Do not call it sin in me
That I am forsworn for thee.¹
Nos. IV, VI, IX, and XI.
The Venus and Adonis sonnets.
Jaggard did more than include five genuine poems by Shakespeare in order to vindicate his right to place the great poet’s name on the title-page. He introduced four sonnets on the theme of Venus and Adonis, which fill respectively the fourth, sixth, ninth, and eleventh places in his miscellany. Thus Jaggard thought to support the faith of the unwary in Shakespeare’s responsibility for the whole of the collection. His partner in the venture, Leake, who owned the copyright of Shakespeare’s popular poem, and brought out a new edition of it at the same time as he joined Jaggard in producing his anthology, naturally abetted Jaggard in encouraging the notion that Shakespeare was still at work on a topic which had proved capable of making a very powerful appeal to the Elizabethan public. How great was the importance which Jaggard attached to those portions of the volume which brought the subject of Venus and Adonis to the minds of readers, may be gauged from the circumstance that, in a new edition of The Passionate Pilgrim in 1612, he introduced into the title-page the alternative title: Certaine Amorous Sonnets betweene Venus and Adonis. But the poetic temper and phraseology of Jaggard’s four poems about Venus and Adonis sufficiently refute the pretensions to Shakespearean authorship which Jaggard, with Leake’s connivance, made in their behalf. All of them
¹ This piece was reprinted—for the third time in three years—in England’s Helicon, in 1600. Jaggard’s version was there followed, and it may have been transferred direct from The Passionate Pilgrim. It is succeeded in England’s Helicon, as in Jaggard’s miscellany, by ‘My flocks feed not’. But the editor of England’s Helicon bestowed on Biron’s verses the new heading ‘The Passionate Shepherds Song’, and subscribed them with the name ‘W. Shakespeare’.
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THE PASSIONATE PILGRIM 27
embody reminiscences of Shakespeare’s narrative poem, but none show any trace of his workmanship.
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