{"id":"01KG6QANHHQYVKYGRQ3G270RH2","cid":"bafkreig3dls74wrjqlcquzkzyzxmry7y7zzc4gxsqnzuzp4mcrpbfebg2e","type":"file","properties":{"cid":"bafkreigkajvspona5lr4uvz632o77dmms4ij7nqf4lprjwqah545k4xg5a","content_type":"image/jpeg","filename":"06_poems_pericles_facsimiles_1905_oxford_page_0033.jpg","height":2400,"key":"pdf-page-1769752318054-7lhs4fqp4j5","label":"06_poems_pericles_facsimiles_1905_oxford_page_0033.jpg","ocr_model":"mistral-ocr-latest","page_number":33,"size":491234,"text":"26 VENUS AND ADONIS\n\nimagery which are not derived from Ovid or Theocritus or Bion can any theory of immediate interdependence deserve a hearing. There are too many details peculiar to Shakespeare’s poem and to its Italian predecessors, to preclude the suggestion that Shakespeare was acquainted with the latter and absorbed some of their ornaments and episodes.¹ The deliberate setting of the scene of *Venus and Adonis* amid flowers blooming under the languorous heat of summer skies is outside the scheme of the Latin or Greek poets. Yet this is a feature which is common to the work of Shakespeare and the Italians. Dolce gives (Stanza vii) an enchanting picture of the pleasant spot (‘alma stagion’) where Venus and Adonis first meet:—\n\nQuivi tra gigli le vermiglie rose\nVi dimostrano ogn’ hor liete & vezzose.\nParabosco (Stanza iii) is equally alive to\nL’ herbette e fiori et ogni verde stelo\nwhich deck out the fair trysting-place (‘la bella stagione’),\nand nearly bury Adonis out of sight. Shakespeare is no\nmore sparing of references to lilies and roses. Flowers—‘blue-\nveined violets’ and primroses—embroider the bank (ll. 125,\n151) whereon Venus lies while she tempts Adonis. Again,\nTarchagnota’s opening stanza shows the afternoon sun shining\non the flowery meads:—\n\nNé l’ ardente stagion, che in ciascun prato\nSecca ogni vago fior, ch’ odor rendeva;\nEra già Phebo oltre il merigie andato,\nE partendo men caldo il ciel faceva.\n\n¹ A similarity meets us in the preliminary pages. Each of the early Italian poems is preceded, as in the case of Shakespeare’s work, by a very short dedicatory epistle in prose addressed to a patron. In two cases the patron is a man, and in the third a woman. The pointed brevity of the salutation, and the employment of prose instead of verse, are somewhat rare characteristics which are precisely paralleled in Shakespeare’s two narrative poems.","text_extracted_at":"2026-01-30T06:12:06.316Z","text_extracted_by":"ocr-service","text_has_content":true,"text_images_count":0,"text_source":"ocr","uploaded":true,"width":1750},"relationships":[{"peer":"01KG6Q7Q25RHMFT3SJXPV18VFF","predicate":"derived_from"},{"peer":"01KG6NWQ2H2K4PGG7H4ZHYCZ3Y","peer_type":"collection","predicate":"collection"},{"peer":"01KG6QANHAH7R540AS29FQQ1AM","predicate":"prev"},{"peer":"01KG6QANHFKVEA3TE2TZFV3CQP","predicate":"next"},{"peer":"01KG6QTY12KZ1KEF8WEJMNP280","peer_label":"06_poems_pericles_facsimiles_1905_oxford_page_0033_medium.jpg","peer_type":"file","predicate":"has_derivative"},{"peer":"01KG6QV0EZQKCPPCNYRFQNYRAR","peer_label":"06_poems_pericles_facsimiles_1905_oxford_page_0033_thumb.jpg","peer_type":"file","predicate":"has_derivative"},{"peer":"01KG6S2X2EBB305ENM00G16GWA","predicate":"has_assembly"}],"ver":7,"created_at":"2026-01-30T05:51:59.537Z","ts":"2026-01-30T06:22:44.462Z","edited_by":{"method":"manual","user_id":"01KFFC4A8W8939TXGEXCK439ZK"}}