That not a heart which in his level came
Could scape the hail 65 of his all-hurting aim,
Showing fair nature is both kind and tame;
And, veil'd in them, did win whom he would maim:
Against the thing he sought he would exclaim;
When he most burn'd in heart-wish'd luxury,
He preach'd pure maid, 66 and prais'd cold chastity.

Thus merely with the garment of a Grace
The naked and concealed fiend he cover'd;
That the unexperient gave the tempter place,
Which, like a cherubin, above them hover'd.

Who, young and simple, would not be so lover'd?er
Ah me! I fell; and yet do question make,
What I should do again for such a sake.

O, that infected moisture of his eye!

O, that false fire, which in his cheek so glow'd!
O, that forc'd thunder from his heart did fly!
O, that sad breath his spongy lungs bestow'd!
O, all that borrow'd motion, seeming ow'd,
Would yet again betray the fore-betray'd,
And new pervert a reconciled maid!

und aim zeigen, von den nach allen Seiten hin sprühenden Kugeln des Geschützes verstanden. 66) Wenn er in der Wollust, die sein Herz begehrte, am meisten entbrannte, so sprach er erbaulich von jungfräulicher Reinbet 67) Welches Mädchen, jung und arglos, wollte nicht solch einen Liebhaber haben? Zwei Zeilen vorher serie Gildon unexperienc'd für unexperient der Q. 68) So in Twelfth-Night (A. 1, Sc. 5) With groans that thunder love, with sighs of fire. 60) seeming owed ist dem borrowed entgegengesetzt: jene Regung, die nur entlehnt, nur angenommen war, und die doch aussah, als ob er selbst sie besässe oder fühlte.

THE PASSIONATE PILGRIM.

Einleitung.

Im Jahre 1599 gab der Verleger W. Jaggard eine kleine Gedichtsammlung von sechszig Seiten heraus inter folgendem Titel: The Passionate Pilgrime. By W. Shakespeare. At London Printed for V. Jaggard and are to be solde by W. Leake, at the Greyhound in Paules Churchyard 1599. - Das Buch führt den Namen Shakspere's als des Verfassers nur zum kleinsten Theile mit irgend welcher Berechigung; es enthält unter seinen 22 Gedichten solche, die unserm Dichter unzweifelhaft angehören, da sie sich auch onst in seinen Werken finden; ferner solche, die ihm allenfalls angehören können, neben andern, bei denen Shakpere's Autorschaft aus innern Gründen mehr als zweifelhaft erscheinen muss; solche endlich, die theils mit völliger icherheit, theils mit grosser Wahrscheinlichkeit bestimmten andern Dichtern der Zeit zugeschrieben werden. as Ganze war lediglich ein betrügerisches Buchhändlerunternehmen, mit welchem Jaggard auf Shakspere's erühmten Namen speculirte. Er setzte diese unrechtmässige Speculation fort in einer vermehrten Auflage, welche m Jahre 1612 mit folgendem Titel erschien: The Passionate Pilgrime, or certeine amorous Sonnets, etweene Venus and Adonis, newly corrected and augmented. By William Shakespere. The third Edition. Where-vnto is newly added two Love-Epistles, the first from Paris to ellen, and Hellen's answere back againe to Paris. Printed by W. Jaggard. 1612. — Die eiden Liebesepisteln, welche Jaggard der dritten Auflage des Passionate Pilgrim als ein Shakspere'sches Verk einverleibte, sind in der That zwei Heroiden Ovid's, von Thomas Heywood übersetzt und bereits im ahre 1609 veröffentlicht in dessen Buche Troia Britannica, or Great-Britaine's Troy. - Heywood äumte nicht sein Eigenthum zu reclamiren in einem Briefe an seinen Verleger Nicholas Okes, der seinem noch n demselben Jahre 1612 erscheinenden berühmten Pamphlet An Apology for Actors beigegeben ist. - Der Brief, der uns auch über Shakspere's Missfallen an dem Missbrauch seines Namens durch Jaggard's Veröffentchung nicht in Zweifel lässt, lautet:

To my approved good friend, M. NICHOLAS OKES.

The infinite faults escaped in my book of Britain's Troy, by the negligence of the printer, as the nisquotations, mistaking of syllables, misplacing half-lines, coining of strange and never-heard-of words: hese being without number, when I would have taken a particular account of the errata, the printer anwered me, he would not publish his own disworkmanship, but rather let his own fault lie upon the neck f the author: and being fearful that others of his quality had been of the same nature and condition, nd finding you, on the contrary, so careful and industrious, so serious and laborious, to do the author All the rights of the press, I could not choose but gratulate your honest endeavours with this short rememrance. Here, likewise, I must necessarily insert a manifest injury done me in that work, by taking the oo Epistles of Paris to Helen, and Helen to Paris, and printing them in a less volume, under the name f another, which may put the world in opinion I might steal them from him, and he, to do himself right, ath since published them in his own name: but as I must acknowledge my lines not worthy his patronage nder whom he hath published them, so the author I know much offended with M. Jaggard, that (alloether unknown to him) presumed to make so bold with his name. These, and the like dishonesties, I know ou to be clear of; and I could wish but to be the happy author of so worthy a work as I could willingly ommit to your care and workmanship.

Yours ever,

THOMAS HEYWOOD.

In Folge dessen, wie es scheint, druckte Jaggard ein neues Titelblatt zu der neuen Auflage des Pasionate Pilgrim ohne Shakspere's Namen, so dass sich von dem Buche Exemplare mit und ohne denselben finden. Zu Nr. XI. des Passionate Pilgrim. — Das Sonett lautet in Griffin's Sammlung Fidessa more

haste than Kinde (1596) folgendermassen:

enus, with young Adonis sitting by her,
Under a myrtle shade began to woo him;
She told the youngling how god Mars did try her,
And as he fell to her, so fell she to him.

Even thus, quoth she, the wanton god embrac'd me;
And thus she clasp'd Adonis in her arms:
Even thus, quoth she, the warlike god unlac'd me,

As if the boy should use like loving charms.
But he, a wayward boy, refus'd her offer,
And ran away, the beauteous queen neglecting;
Showing both folly to abuse her proffer,

And all his sex of cowardice detecting.
Oh, that I had my mistress at that bay,
To kiss and clip me till I ran away!

Zu Nr. XX. des Passionate Pilgrim. Marlowe's Gedicht The Passionate Shepherd to s Love und das dem Raleigh zugeschriebene Gegenstück lautet vollständig in England's Helicon (1600):

THE PASSIONATE Shepherd to his Love.
Come live with me, and be my love,
And we will all the pleasures prove
That valleys, groves, hills, and fields,
Woods, or steepy mountains yields.

And we will sit upon the rocks,
Seeing the shepherds feed their flocks,
By shallow rivers, to whose falls
Melodious birds sing madrigals.

And I will make thee beds of roses,
And a thousand fragrant posies,
A cap of flowers, and a kirtle
Embroider'd all with leaves of myrtle:

A gown made of the finest wool,
Which from our pretty lambs we pull;
Fair lined slippers for the cold,
With buckles of the purest gold:

A belt of straw, and ivy buds
With coral clasps and amber studs.
And if these pleasures may thee move,
Come live with me, and be my love.

THE NYMPH'S REPLY TO THE SHEPHERD,
If all the world and love were young,
And truth in every shepherd's tongue,
These pretty pleasures might me move
To live with thee, and be thy love.

Time drives the flocks from field to fold,
When rivers rage, and rocks grow cold;
And Philomel becometh dumb;
The rest complains of cares to come.

The flowers do fade, and wanton fields
To wayward winter reckoning yields;
A honey tongue, a heart of gall,
Is fancy's spring, but sorrow's fall.

Thy gowns, thy shoes, thy beds of roses,
Thy cap, thy kirtle, and thy posies,
Soon break, soon wither, soon forgotten,
In folly ripe, in reason rotten.

Thy belt of straw, and ivy buds,
Thy coral clasps, and amber studs,
All these in me no means can move
To come to thee, and be thy love.

But could youth last, and love still breed,
Had joys no date, nor age no need,
Then these delights my mind might move
To live with thee, and be thy love.

eyers

Zu The Phoenix and Turtle. Chester's Buch führt folgenden Titel: Love's Martyr, or salins Complaint. Allegorically shadowing the Truth of Love, in the constant Fate of the Phoenix and Turtle. A Poem enterlaced with much Varietie and Raretie; now first trans lated out of the venerable Italian Torquato Caeliano by Robert Chester. With the tru Legend of famous King Arthur, the last of the nine Worthies; being the first Essay of a ne British Poet: collected out of diverse authentical Records. To these are added some ner Compositions of several modern Writers, whose names are subscribed to their sever Workes; upon the first Subject, viz. the Phoenix and Turtle. Dieser poetische Anhang, in welcher sich neben Beiträgen von Ben Jonson, Marston, Chapman u. A. auch Shakspere's Gedicht, mit seinem Name unterzeichnet, findet, hat noch folgenden besondern Titel: Hereafter follow diverse Poetical Essaies the former Subject, viz. the Turtle and Phoenix. Done by the best and chiefest of our moder: Writers, with their Names subscribed to their particular Workes. Never before extant And now first consecrated by them all generally to the Love and Merit of the true-noble knight, Sir John Salisburie.

1.

WHEN my love swears that she is made of truth, 1
I do believe her, though I know she lies,
That she might think me some untutor❜d youth,
Unskilful in the world's false forgeries.
Thus vainly thinking that she thinks me young,
Although I know my years be past the best,
1 smiling credit her false-speaking tongue,
Outfacing faults in love with love's ill rest.
But wherefore says my love that she is young?
And wherefore say not I that I am old?
O! love's best habit is a soothing tongue,
And age, in love, loves not to have years told.
Therefore I'll lie with love, and love with me,
Since that our faults in love thus smother'd be.

II.

Two loves I have of comfort and despair, 2
Which like two spirits do suggest me still:
The better angel is a man, right fair,
The worser spirit a woman, colour'd ill.
To win me soon to hell, my female evil
Tempteth my better angel from my side,
And would corrupt a saint to be a devil,
Wooing his purity with her fair pride:
And whether that my angel be turn'd fiend,
Suspect I may, but not directly tell;
For being both to me, both to each friend,
I guess one angel in another's hell.

The truth I shall not know, but live in doubt,
Till my bad angel fire my good one out.

III.

Did not the heavenly rhetoric of thine eye, 3
'Gainst whom the world could not hold argument,
Persuade my heart to this false perjury?
Vows for thee broke deserve not punishment.
A woman I forswore; but I will prove,
Thou being a goddess, I forswore not thee:
My vow was earthly, thou a heavenly love;

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

My vow was breath, and breath a vapour is:
Then thou, fair sun, that on this earth dost shine,
Exhale this vapour vow; in thee it is:

If broken, then it is no fault of mine.

If by me broke, what fool is not so wise
To break an oath, to win a paradise?

IV.

Sweet Cytherea, sitting by a brook,4
With young Adonis, lovely, fresh, and green,
Did court the lad with many a lovely look,
Such looks as none could look but beauty's queen.
She told him stories to delight his ear;
She show'd him favours to allure his eye;
To win his heart, she touch'd him here and there:
Touches so soft still conquer chastity.
But whether unripe years did want conceit,
Or he refus'd to take her figur'd proffer,
The tender nibbler would not touch the bait,
But smile and jest at every gentle offer:

Then fell she on her back, fair queen, and toward:
He rose and ran away; ah, fool too froward!

1) Dieses Gedicht steht als das 138. in Sh.'s Sonnets. Vgl. daselbst Anm. 394. Die bedeutendsten Varianten sind in dem achten Verse und in den Schlussversen. 2) Sh.'s 144. Sonett. Vgl. Sonnets Anm. 406— 409. Die Varianten sind geringfügiger als die des vorhergehenden Gedichtes. 3) Dieses Gedicht war schon vor der Veröffentlichung des Passionate Pilgrim gedruckt in der ersten Quartausg. (1598) von Sh.'s Love's Labour's Lost (A. 4, Sc. 3). Die Varianten sind geringfügig. 4) Auf dieses Gedicht, sowie auf das 6., 9. und 11., bezieht sich der Titel der zweiten Ausg. (1612) der Sammlung: The Passionate Pilgrime, or certeine amorous Sonnets, betweene Venus and Adonis. Vielleicht entwarf Sh. diese Sonette, ehe er sein grösseres Gedicht über denselben Gegenstand schrieb. 5) Die alten Ausgg. haben ears. 6) figured bildlich angedeutet. Collier vermuthet sugar'd für figur'd. 7) Auch dieses Sonett, in der für Sonette ungewöhnlichen Versform der Alexandriner abgefasst, ist aus Love's Labour's Lost (A. 4, Sc. 2) entlehnt. Die Varianten sind unbedeutend. -- In der letzten Zeile setzte Malone the heavens' für heavens der alten Ausg.

VI.

8

Scarce had the sun dried up the dewy morn,'
And scarce the herd gone to the hedge for shade,
When Cytherea, all in love forlorn,
A longing tarriance for Adonis made,
Under an osier growing by a brook,

A brook, where Adon us'd to cool his spleen:
Hot was the day; she hotter that did look
For his approach, that often there had been.
Anon he comes, and throws his mantle by,
And stood stark naked on the brook's green brim;
The sun look'd on the world with glorious eye,
Yet not so wistly as this queen on him:

He, spying her, bounc'd in, whereas he stood:
O Jove, quoth she, why was not I a flood?
VII.

Fair is my love, but not so fair as fickle;
Mild as a dove, but neither true nor trusty;
Brighter than glass, and yet, as glass is, brittle;
Softer than wax, and yet as iron rusty: 10

A lily pale, with damask dye to grace her,
None fairer, nor none falser to deface her.

Her lips to mine how often hath she join'd,
Between each kiss her oaths of true love swearing!
How many tales to please me hath she coin'd,
Dreading my love, the loss whereof still fearing!

Yet in the midst of all her pure protestings,
Her faith, her oaths, her tears, and all were jestings.

She burn'd with love, as straw with fire flameth;
She burn'd out love, as soon as straw out-burneth;
She fram'd the love, and yet she foil'd the framing;
She bade love last, and yet she fell a-turning.
Was this a lover, or a lecher whether?
Bad in the best, though excellent in neither.

Paler for sorrow than her milk-white dove,
For Adon's sake, a youngster proud and wild;
Her stand she takes upon a steep-up hill: 15
Anon Adonis comes with horn and hounds;
She, silly queen, with more than love's good will,
Forbade the boy he should not pass those grounds.
Once, quoth she, did I see a fair sweet youth
Here in these brakes deep-wounded with a boar,
Deep in the thigh, a spectacle of ruth!
See, in my thigh, quoth she, here was the sore.
She showed hers; he saw more wounds than one,
And blushing fled, and left her all alone.

X.

Sweet rose, fair flower, untimely pluck'd, soon vaded,"
Pluck'd in the bud, and vaded in the spring!
Bright orient pearl, alack, too timely shaded!
Fair creature, kill'd too soon by death's sharp sting!
Like a green plum that hangs upon a tree,
And falls, through wind, before the fall should be.

I weep for thee, and yet no cause I have;
For why 17 thou leftst me nothing in thy will:
And yet thou leftst me more than I did crave;
For why I craved nothing of thee still:

O yes, dear friend, I pardon crave of thee;
Thy discontent thou didst bequeath to me.

XI.

Venus, with young Adonis sitting by her, 18
Under a myrtle shade, began to woo him:
She told the youngling how god Mars did try her,
And as he fell to her, so she fell to him.
Even thus, quoth she, the warlike god embrac'd me;
And then she clipp'd Adonis in her arms:
Even thus, quoth she, the warlike god unlac'd me,

=

8) Vgl. Anm. 4. 9) whereas für where. 10) rusty rostig, und ungefügig, mürrisch. 11) Dieses Gedicht erschien zuerst im Jahre 1598 in einer Sammlung von Richard Barnefield, welche betitelt ist: Encomian of Lady Pecunia; or the Praise of Money: the Complaint of Poetrie for the Death of Libers litie: i. e. The Combat betweene Conscience and Covetousness in the Minde of Man: with Poems in divers Humors. Das Sonett ist in dieser Sammlung überschrieben: addressed to his friend Master R. L. in praise of Music and Poetry. 12) John Dowland, Lautenspieler der Königin Elisabeth, der gefeiertste Musiker der Zeit in England. 13) whenas für when. Die Cambridge Edd. setzen mit den alten Ausgg. when as getrennt. 14) Vgl. Anm. 4. Der zweite Vers des Sonetts ist verloren gegangen. 15) steep-up steil hinangekend. So in den Sonnets (7) And having climb'd the steep-up heavenly hill. 16) Malone hält dieses Gedicht für einen Trauergesang der Venus auf den Adonis. Für das veraltete vaded, das sich jedoch auch sonst bei Sh. findet, setzen manche Hgg. stillschweigend hier und in der nächsten Zeile das synonyme faded. 17) for why weil. Manche Hgg. setzen missverständlich for why? Ebenso im vierten Verse. Die richtige Interpunction rührt von Dyce her. 18) Vgl. Anm. 4. - Dieses Sonett findet sich in einer Sammlung von 72 Sonetten, die im Jahre 1596 unter dem Titel Fidessa more Chaste than Kinde erschien. Als Verfasser wird B. Griffin genannt. Ueber die bemerkenswerthen Varianten bei Griffin vgl. Einleitang pag. 787. —- Das im Passionate Pilgrim vor Adonis in der ersten Zeile fehlende young ist daher entlehnt,