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Shakespeare's Myth of Venus and Adonis

1978; Cambridge University Press; Volume: 93; Issue: 1 Linguagem: Inglês

10.2307/461823

1938-1530

S. Clark Hulse,

Renaissance and Early Modern Studies

Shakespeare’s Venus and Adonis —both in the specific way the myth is understood and, more important, in the poetic and conceptual forms in which it is cast—is rooted in the mythography of the sixteenth century. As in the attribute system of allegorical painting, the physical characteristics of Venus and Adonis reveal their histories and signify the alternately comic and serious qualities of love. The traditional plot has been scrapped, with sexual harmony replaced by strife and the poem turned into a continual debate over the nature of love. This debate is never resolved rationally. Instead, the multiple aspects of love are periodically condensed into unified images, which then generate further paradox: Venus versus Diana, freedom versus bondage, red versus white, fire versus water. This dialogue of images, a familiar iconographic technique, becomes a characteristically Shakespearean method of esthetic resolution, with conceptual relations to the primary forms of myth.