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The ReluctantAdonis:
Titianand Shakespeare
JOHN DOEBLER
Dost thoulove pictures?We will fetchtheestraight
Adonis paintedby a runningbrook,
And Cythereaall in sedges hid.
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481
ha
k_~~~~~~~~~~~~~~~~~~_
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LenlfntcroissantviclitC., ;a1dolCscCtuC,
LUquclVcnus la dc'cssc(cOl(dluit:
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V~~~~~~
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485
pleads forthepityof a beloved who dares noteven look at her; in the other,
"WantonAdonis" sits "toyingon herknee," he blusheswhenshe kisseshim,
and she arguesthathis youthjustifiestakingpleasurein love.
It is morelikelythatShakespearedeferredto Spenserratherthanto Greene,
of Wit(1592). The firstthreebooks
who attackedShakespearein Groatsworth
in
just threeyearsbeforeShake1590,
were
published
Queene
Faerie
of The
speare's poem. Spenser's descriptionof The Gardenof Adonis (FQ, III.vi.29
who stressedthe resff.) owes much to the traditionof the mythographers,
of Adonisin thespringby Venus as an EarthMother,afterhis death
urrection
caused by theboar as a symbolof winter.7Earlierin Book Threeis Spenser's
accountof the tapestriesin."Castle Ioyeous" (FQ, III.i.34-38).-The costly
"clothes ofArrasandof Toure," hangingin thelongchamber,depicta number
of scenes: Venus overcomewithdesire, Venus wooing Adonis, "the boy"
asleep in a bowerand bathingin a fountain,herplea to forgothehunt,Venus
into "a daintieflowre." Spenser
mourninghis death,and his metamorphosis
says thatVenus "EntysttheBoy" with"sleightsand sweetallurements,"but
the poet concludes that she "did . . . steale his heedelesse hart away."
also
Anotherreferenceto Venus and Adonisbased on visual representation,
on the sleeve
renderedin cloth,is the fleetingdescriptionof the embroidery
of Hero in Marlowe's epyllion:
witha grove,
Herwidesleevesgreenandbordered
WhereVenusin hernakedglorystrove
eyes
To pleasethecarelessanddisdainful
Of proudAdonisthatbeforeherlies.
(I. 11-14)
Hero and Leander was writtenin 1593, theyear Venusand Adoniswas published,and a numberof scholarshave conjecturedthatShakespearemighthave
the Marlowepoem, so like his own in genre.
seen in manuscript
scholarsthata considerableamount
ofliterary
Norhas itescapedtheattention
of Renaissance art is devotedto Shakespeare'ssubject. Paintersand graphic
of thegoddessof beautyto one of the
artistswho have renderedtheattraction
(1518-94), Cambiaso(1527includeTintoretto
menin mythology
mostbeautiful
85), and Veronese(1528-88),8 to say nothingof thecountlessrepresentations
of Venus alone or withher othercompanions.
and Representedin FigEnglished,Mythologized,
7See GeorgeSandys,Ovid's Metamorphoses
ures, ed. of 1632, ed. Karl K. Hulley and StanleyT. Vandersall(Lincoln: Univ. of Nebraska
Press, 1970), pp. 490-94.
(1567), but Sandys is an important
Shakespeare,of course, used ArthurGolding's translation
withboth Golding and Shakespeare.Most
recordof iconographiccommonplacescontemporary
scholarsseem to agree thatShakespeareknewbothOvid's Latin and Golding'stranslation.I rely
betweenthetwo butalso because Ovid
differences
on Ovid, notonlybecause I findno significant
is the source sharedby all the RenaissanceartistsI discuss.
Meant:
see Don CameronAllen, Mysteriously
For an accountof Ovid and the mythographers,
in theRenaissance(Baltimore:
and AllegoricalInterpretation
TheRediscoveryofPagan Symbolism
JohnsHopkinsUniv. Press, 1970), Chap. 7. Allen (p. 186) calls AbrahamFraunce(note 3 above)
the "conspicuous Englishprecursorof Sandys." Fraunce'saccountof the meaningof the Venus
myth.
the same as Sandys': a fertility
and Adonis story(fols. 43v-45r) is substantially
myth
in termsotherthanthefertility
tradition
An articlerelatingthepoem to themythographic
of Venus and Adonisis S. ClarkHulse, "Shakespeare's Mythof Venus and Adonis," PMLA, 93
(1978), 95-105.
zur Ikonographiedes 17.
8 See AndorPigler,Barockthemen:
Eine Auswahlvon Verzeichnissen
2 vols. (Budapest:Verlag der UngarischenAkademieder Wissenschaften,
und 18. Jahrhunderts,
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The artistmostfrequently
mentioned
by studentsof Venusand Adonis,however, is Titian. He treatedthe subjectbothin thePardo Venusat theLouvre
and in thePrado Venusand Adonis.In theLouvrecanvasAdonishuntsa gentle
stag while Venus appears to be sleeping. The Prado paintingshows Adonis
tryingto break away froma clingingVenus (Figure 3), and it is thusmore
closelyrelatedto thecircumstances
of Shakespeare'spoem. The firstto suggest
a parallel betweenthe Prado versionand Shakespeare'sreluctantAdonis-was
the editorA. H. Bullen, in 1905; butthepaintinghas been mentionedby studentsof literature
a numberof timessince, and it is extensivelydiscussedas
a source by Erwin Panofskyin his posthumousProblemsin Titian (1969).9
Panofskycitesa letterwritten
by theartistto Philipof Spain in 1554, reporting
the shipmentof Venusand Adonis. The paintingwas sentby way of Madrid
to London, wherePhilipwas livingbrieflyas theconsortto MaryTudor,and
thecanvas stayedin EnglandformanyyearsafterPhilipleftfortheContinent
in 1555. The originalfinallyended up at the Prado, but manycontemporary
copies were made on canvas. One of the earliest,whichmay have been the
copy Titiankeptforhimself,is now in London, at theNationalGallerysince
1824. The originalapparently
stayedin theRoyal Collectionof Englanduntil
afterthe writingof Venus and Adonis. It was perhapsthereeven as late as
1636, whenit is firstreportedin Spain. Even if Shakespeare,whoseplayswere
increasingly
honoredby commandperformances
at court,had no access to the
originalcanvas, he may have knownone of the severalcopies, or at least the
widelydistributed
prints.Printswere executedby bothGuilio Sanuto (dated
1559) and MartinoRota (ca. 1520-83).1o
In theletterfromTitian,theartistsuggestedthathis royalpatronhangVenus
and Adonisas a companionpiece toDanaie in a ShowerofGold, also by Titian
and alreadyin Philip's collection.The artistobservedthatthe femalenude is
seen fromthefrontin his Danae and fromtheback in his Venusand Adonis.
Otheraspectsof thefemalebodyare promisedin twoprojectedpaintings,one
of Perseus and Andromedaand the otherof Jasonand Medea. Accordingto
Panofsky,Titian's turningaboutof his nude in Venusand Adonisforthesake
of delightingin a woman's back meanta rewriting
of themyth,forwhichhe
was criticizedby RaffaelloBorghiniin 1584. In Ovid's account,it is onlyafter
thedeparture
ofVenusforCyprusthatAdonisignoresherwarningsandresumes
thehuntingof dangerousanimals.He does it afterherback is turnedin another
sense.
1956), II, 239-40. Piglerlists at least fiveversionsof the subjectby Cambiaso, six by Veronese
or atelier,etc.
9 Bullen (1905) is quoted in Rollins' Variorumed.: "Titian's famouspicture.. . affordssufficientproofthatShakespearewas not the firstto depictAdonis' coldness" (p. 397). The two
Titian paintingsare discussed, amongothers,by T. W. Baldwin (note 1 above), p. 92; and by
Eugene B. Cantelupe,"An IconographicalInterpretation
of Venusand Adonis,Shakespeare'sOvidian Comedy," ShakespeareQuarterly,14 (1963), 141. The fullestapplicationof Titianthusfar,
however,is Erwin Panofsky,Problemsin Titian,MostlyIconographic(New York: New York
Univ. Press, 1969), pp. 150-55. PanofskycitestheVariorum,buthe leaves theverystrongimpression thathe is thefirstto mentionTitianas an explanationof thereluctant
Adonisin Shakespeare
(p. 153). The Panofskytheoryis cited as if seminalby JudithDundas, but rejected:"Style and
the Mind's Eye," The Journalof Aestheticsand ArtCriticism,37 (1979), 327.
10An extantcopy of the printby Sanuto is in the PrintCollectionof the BritishMuseum,in
the Titian (Myth)portfolio(Sloane Collection,XI-93), along withcontemporary
graphicsof the
same Titianby at least two otherRenaissanceprint-makers
(Sloane Collection,XI-95; and 19502-11-156). The Rota is listedin Adam Bartsch,Le Peintre-graveur,
21 vols. in 17 (Vienne: J.
V. Degan, 1803-13), XVI, 282.108.
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Figure5.
Philip complainedto the artistof the way its paintwas damagedin transit.
Titian's own interestin this detail of anatomyprobablyreflectsin part his
concernwiththeRenaissanceparagonedebatebetweeipaintingand
continuing
sculpture.In severalof his otherpicturesTitiangoes to considerablelengths
to answerthe claim of the sculptorsthattheyalone can rendera figurefrom
severalpointsof view."4
13 William Keach, ElizabethanErotic Narratives:Ironyand Pathos in the Ovidian Poetryof
Shakespeare,Marlowe, and theirContemporaries
(New Brunswick:RutgersUniv. Press, 1977),
p. 55, ill. p. 57. Keach is correcting
Panofsky,who statesthatTitianis the firstartistto render
Adonis leaving Venus. Titian,at least, seems to have been the firstartistin the Renaissanceto
revivetheclassical motif,and he establishesthehighlydramaticprototype
imitatedbymanyartists,
includingRubens.(Keach reports1636 as theyearof thefirst
documentation
oftheoriginalpainting
in Spain, p. 242, n. 12.)
'4 See especiallyTitian's Saint Sebastian (Brescia), whereboththe front
of the body and the
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An aspect of the paintingseeminglyoverlookedby arthistorians,but suggestingcomparisonwithShakespeare'spoem, is theuse of animalsas a symbolic commenton the centralfigures.The threedogs tied to the leftarm of
Adonisseemto restatetheconflictimpliedwithinhim.His powerfultorsotwists
fromtheembraceof Venus,;buthis expressiveeyes are turnedback upon her
pleadingbeauty.Two of thedogs, fangsbared,strainon theircords,eager for
the hunt;but the thirdturnsin hesitation,as if unsureof the day's plan. The
conflictsare bothinternaland externalin moreways thanone. The righthand
thedogs. In commonwith
of Adonisgripstheboarspear;thelefthandrestrains
of Adonis is the way Titiancombines
almostall Renaissancerepresentations
an athleticmale body witha head erringtowardsoftfemininity.
Shakespeare
retainsthis conventionaltensionbetweenmale firmnessand an undercutting'
aestheticappeal,15buthe forgoesconflictwithinAdonisforthesake of external
debate. The closest Shakespearecomes to creatingthe narrativemomentrenof
dered by Titian is in the lines immediatelyfollowingAdonis' refutation
Venus' deliberateconfusionbetweenprocreativelove and merelust:
Withthishe breakethfromthe sweetembrace
Of thosefairarmswhichboundhimto herbreast,
And homewardthroughthe darklaundrunsapace;
Leaves love upon herback deeplydistress'd.
(11.811-14)
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