Asimov’s Guide To Shakespear. Volume 1, Page 2

  If so, this pious wile did not work. Ezekiel, at the time of the Judean exile in Babylon, enumerated the sins of the Jews of the time and said that in the very Temple in Jerusalem "there sat women weeping for Tammuz" (Ezekiel 8:14).

  And in one way, Tammuz has remained in Jewish consciousness ever since. The Babylonians named a month in honor of the god and the exiled Jews, in adopting the Babylonian calendar, adopted the month too. Even today, one of the months of the Jewish calendar (falling in the latter half of June and the earlier half of July) is called Tammuz.

  The rites of a dead-and-resurrected God occur in the Greek myths too.

  There is the case of Demeter (the grain goddess), whose daughter, Persephone, is abducted by Hades, the god of the underworld. While Persephone is gone, all grain withers, but finally Demeter manages to rescue her daughter under conditions that allow herself and Hades to share her, each for part of the year. The Eleusinian Mysteries, secret religious rites among the Greeks, seem to have involved the celebration of this death-and-resurrection, expanding it to include the resurrection of the human soul after the death of the human body.

  As the Greeks and the Semites of the East gained more and more in the way of cultural interchange, the Tammuz version entered Greek mythology directly. Tammuz became Adonis.

  The name shift is no mystery. Names of gods are always a little difficult to handle in any culture that considers the name of an object to be almost the equivalent of the object itself. To touch the name with one's own tongue and breath is a form of blasphemy and so circumlocutions are used. Instead of saying Tammuz, one says Lord (just as, in the Bible, Lord is used in place of Yahveh).

  The Semitic term for "Lord" is "Adonai" and it was "Adonai," rather than "Tammuz," that was adopted by the Greeks. They added the final s, which is an almost invariable ending on Greek proper names, making it "Adonis."

  Since Ishtar was the lover of Tammuz in the Babylonian myth, the equivalent of Ishtar would have to be the lover of Adonis in the Greek myth. The Greek equivalent of Ishtar was Aphrodite, the goddess of love and beauty.

  The Greek myth had Adonis born the son of King Theias of Assyria. No such king existed in actual history, to be sure, but this is a hint of the Babylonian origin of the myth. We might suppose, therefore, that the scene of the poem is Babylonia, though Shakespeare never indicates any particular place-and perhaps gave the matter no thought at all.

  Adonis' mother was Myrrha, who was herself the daughter of Theias. Myrrha had conceived an incestuous passion for her father and managed to sneak into his bed, with the result that she became pregnant by him. When the shocked father discovered the truth, he would have killed her, but the pitying gods changed her into the myrrh tree.

  The myrrh tree yields a bitter resinous sap (myrrh), which oozes out when the bark is split. (The word "myrrh" is from an Arabic word meaning "bitter.") The sap is valued for its uses as incense and in cosmetics and embalming. (It was one of the three gifts brought to the infant Jesus by the wise men-"they presented unto him gifts; gold, and frankincense, and myrrh," Matthew 2:11.)

  The sap on being exposed to air hardens into resinous drops called "tears," and these are supposed to represent the tears of Myrrha over the terrible thing she had done. (Working backward, we can suppose that this part of the myth arose over the attempt to explain why a tree should seem to weep.)

  In the Greek myth, the myrrh tree into which Myrrha had been changed split after nine months, and the infant Adonis emerged. Aphrodite (who had inspired Myrrha's fatal love in the first place) felt remorse at the event and rescued Adonis. She placed him in a box and gave him to Persephone, goddess of the underworld, for temporary safekeeping. Persephone, noting the beauty of the child, refused to give him back and there was a quarrel that ended with each having him part of the time.

  Here again is the tale of whiter (Adonis with Persephone) and summer (Adonis with Aphrodite), enlivened, in the Greek way, by a story of forbidden love.

  This, at least, is the myth as told by Apollodorus, an Athenian poet who lived in the second century b.c. Shakespeare does not follow this. He begins with Adonis as a grown man, says nothing of his origins, and concerns himself only with the final stage of the myth, following a version given by Ovid.

  Ovid, who seems to have been Shakespeare's favorite classical author, is the Roman poet whose name in full was Publius Ovidius Naso. About a.d. 1 he was writing his most famous work-a version, in Latin verse, of those Greek myths that involved the transformation ("metamorphosis") of one living thing into another.

  Ovid's book is therefore called Metamorphoses, and the myth of Adonis is included, since his mother had been turned into a myrrh tree.

  Sick-tkoughted Venus…

  In the final couplet of the first stanza, Shakespeare introduces the other member of the mythical duo:

  Sick-thoughted Venus makes amain unto him And like a bold-fac'd suitor gins to woo him.

  —lines 5-6

  This is not Aphrodite, notice, as it would be if Shakespeare were following the work of the Greek poet Apollodorus. Shakespeare is using the name of a Roman goddess instead, the name used by Ovid.

  The Romans in the early centuries of their history had a primitive religion, with numerous gods and goddesses of a rather arid nature who were not to be compared with the sophisticated deities of the much more cultivated Greeks. From the third century b.c. onward, the Romans fell more and more under the spell of Greek culture and were impelled to adopt the beautiful and intricate Greek mythology. They could not very well drop their own deities; instead they compromised by identifying their own gods with the roughly corresponding gods of the Greeks and retold the Greek myths using the Roman names.

  Here is a list of the chief gods and goddesses in their Roman and Greek versions:

  Roman Greek

  Jupiter Zeus chief of the gods

  Juno Hera his wife

  Minerva Athena goddess of wisdom and practical arts

  Diana Artemis goddess of the moon and the hunt

  Mercury Hermes messenger of the gods

  Mars Ares god of war

  Vulcan Hephaestus god of fire and the forge

  Venus Aphrodite goddess of love and beauty

  Neptune Poseidon god of the sea

  Vesta Hestia goddess of the hearth and home

  Dis Hades god of the underworld

  Ceres Demeter goddess of grain and agriculture

  Proserpina Persephone goddess of the underworld

  One major god had, apparently, no Roman equivalent at all, which is not strange, for he was the most Greek of all the Greek gods. He was Apollo, the god of youth and the fine arts (and in later poetry, of the sun as well). The Romans used the Greek name, therefore. They also used Hades or, its equivalent, Pluto, in preference to their own Dis, since Dis (a fearsome underground deity) was not popular with them and they avoided naming him.

  Two of the mortal heroes that people the Greek legends, and who play a prominent part in Shakespearean allusions, have altered names given them by the Romans. Thus, the greatest and strongest of all the Greek heroes was Heracles, but the Romans called him Hercules. Again, the wiliest of the Greeks at the siege of Troy was Odysseus, whom the Romans called Ulysses.

  In medieval Europe the Greek myths reached the west only through such Roman filters as Ovid and therefore the names used were all Roman. Shakespeare uses the Roman names of the gods invariably.

  I will conform to Shakespearean usage, though it goes against the grain to do so, since it is far more appropriate to use the Greek names in dealing with Greek myths. I will ease my conscience, therefore, by occasionally placing the Greek name in parentheses, just to remind the reader of its existence.

  Shakespeare departs from his source material in one important way. He makes Adonis reluctant to respond to Venus. "Hunting he loved, but love he laughed to scorn" and Venus, out of sheer necessity, must reverse the role of the sexes and "like a bold-fac'd suitor" be the aggressor.

  There is
precedent for this in Greek mythology. There was, for instance, Hermaphroditus, the son of Hermes and Aphrodite. He was beloved by a fountain nymph, Salmacis, but he repulsed her coldly. Once, however, when he was bathing in her spring, she was able to unite with bun hi love, and fearing that she might never be able to repeat the act, prayed the gods that she might remain united with him physically forever.

  Her prayer was granted and thereafter Hermaphroditus had the genital equipment of both sexes. The word "hermaphrodite" has, in consequence, entered the English language to represent that pathological bisexual condition.

  A much better known example is mentioned by Venus herself in this poem. She complains of Adonis' coldness and accuses him of loving only himself. She warns him he runs risks in consequence, saying:

  Narcissus so himself himself forsook, And died to kiss his shadow in the brook.

  —lines 161-62

  The tale of Narcissus begins with a nymph, Echo, who had, at Jupiter's orders, kept Juno busy with prolonged and idle gossip while Jupiter busied himself with various nymphs. When Juno found out, she punished Echo by depriving her of her voice-except that she was permitted to repeat the last words of anything said to her.

  Unhappy Echo fell in love, thereafter, with Narcissus, a handsome youth who would love no one. She tried to woo him, but could only repeat his last words, and he fled from her impatiently, so that Echo pined away until only her voice was left.

  And then one day Narcissus came across a clear spring in which he saw his own face. He had never seen his face before and, staring at it now, fell in love with it. He attempted to woo it, but the shadow could not respond and, in effect, rejected him, so that "himself himself forsook." Attempting, finally, to kiss his shadow, Narcissus drowned, and he too added a word to our language-"narcissism," the morbid love of one's self.

  This trick of having Adonis cold to Venus gives Shakespeare a chance to turn his poetic powers to a less hackneyed motif than that of a man's praise of womanly beauty. He can turn to the harder and less familiar task of a woman's praise of manly beauty.

  Then too, if we go along with the homosexual component of Shakespeare, it may be significant that a poem dedicated to young Southampton features the prolonged praise of manly beauty and a prolonged pleading for a love that is not, and cannot, be given.

  … god of war

  Venus points out that she is rarely refused when she asks for love:

  "I have been wooed, as I entreat thee now, Even by the stern and direful god of war,

  —lines 97-98

  One of the most famous tales of Venus/Aphrodite is her love affair with Mars/Ares. The tale is told in the Odyssey (Homer's epic poem concerning the voyages of Odysseus), in which Venus is pictured as married to Vulcan/Hephaestus, the ugly and lame smith god. Venus is, under these conditions, quite ready to respond to the wooing of Mars.

  Vulcan, suspecting that Venus is being unfaithful, rigged up a device whereby an unbreakable net could fall upon the bed and catch Venus and Mars in the position of love. This was done; Mars and Venus were helplessly bound together while the angry Vulcan called in the other gods to witness his wife's criminal behavior. Unfortunately for himself, the reaction of the gods was not one of sympathy for Vulcan, but rather of envy for Mars.

  And Titan …

  By now, the sun was high in the sky:

  And Titan, tired in the midday heat,

  With burning eye did hotly overlook them,

  Wishing Adonis had his team to guide,

  So he were like him, and by Venus' side.

  —lines 177-80

  In the Greek myths, Jupiter/Zeus and his fellow deities had not always ruled the universe. Before them had been a race of older gods whom they supplanted. (Perhaps this is a reflection in myth of the supercession of the pre-Greeks of the Balkan peninsula by the invading Greek tribes.)

  These older gods were called Titans, and their chief was Cronus, whom the Romans called Saturn.

  The Titan who served as the god of the sun was Hyperion. One way of saying this, mythologically, was to make him the father of Helios (the Greek word for "sun"). Both "Hyperion" and "Helios" are thus used in classic-minded literature to represent the sun. Since both are considered Titans, the sun can be called, as here, "Titan."

  The sun was always pictured as a blazing, golden chariot, driven by a team of wild, fiery horses. It is with this in mind that Shakespeare pictures the "Titan" as wishing Adonis held the reins and he himself were lying by Venus.

  In later Greek poetry, Apollo was made the god of the sun, and Shakespeare, in the course of his writing, uses "Apollo" to symbolize the sun too. The Titaness Phoebe, a sister of Hyperion, was the goddess of the moon, and the myths make Apollo a grandson (on his mother's side) of Phoebe. He inherits the ancient name in its masculine form, then, and is called Phoebus or Phoebus Apollo, "Phoebus" too is used by Shakespeare to represent the sun.

  Thy mermaid's voice …

  Adonis is only irritated by Venus' pleadings. While she keeps him back from the hunt with her attempted love-making, his stallion spies a mare and breaks loose. Adonis fails to recapture him and petulantly scolds Venus, blaming her for the loss.

  Venus laments that she suffers twice, first because he will not speak to her, and second because when at last he does, it is to scold her. She says:

  Thy mermaid's voice hath done me double wrong;

  —line 429

  The Greeks had, in their myths, tales of beautiful young women, called sirens, who rested on the rocks of a seashore and sang in heavenly voices. Sailors passing by would be attracted by them and, steering their boats nearer, would meet death upon the rocks.

  Originally sirens may have been wind spirits carrying off the souls of the dead, and were sometimes pictured with birds' bodies. However, the wind was more deadly on sea than on land, and the sirens became more and more closely associated with the sea until they were pictured as creatures who were women down to the waist and fish below that.

  These are the "mermaids" ("sea-maids"), who bewitch sailors to their doom on the rocks, as they sit combing their long hair and singing. The famous German poem "Die Lorelei" is of such a creature.

  So when Venus speaks of Adonis' "mermaid voice" she means a beautiful voice that is luring her to doom.

  … worse than Tantalus'.. .

  The day is drawing to a close and Adonis finally manages to get Venus to promise to leave him alone if he kisses her. He proceeds to do so but she returns the embrace in such full measure that he has all he can do to disengage himself. He then reveals that the next day he intends to hunt boar.

  At this Venus is sent into a paroxysm of fear, lest he be killed in so dangerous a pursuit. She seizes him and they fall to the ground in the very position of love. Yet even so, to Venus' frustration, he will do nothing.

  That worse than Tantalus' is her annoy To clip Elysium and to lack her joy.

  —lines 599-600

  Tantalus was a Peloponnesian king who was an intimate friend of Jupiter and the other gods. He was admitted to their feasts and in return he invited them to his house. For some reason, perhaps to test their divine knowledge, he served them the flesh of his own son when they were feasting at his house. The gods were horrified. They restored the son to life, and, for his detestable crime, Tantalus was killed by Jupiter's lightning bolt. What's more, Tantalus was sent to Tartarus, the region beneath Hades where particularly wicked people were specially punished.

  Tantalus' punishment was to stand in water up to his neck in eternal frustration. He was consumed by thirst, but every time he stooped to drink, the water swirled downward. Fruit-laden branches hovered temptingly near and he was famished, but every time he reached to snatch a fruit, it whisked away. It is from this that the word "tantalize" is derived.

  For Venus, to have Adonis exactly where he ought to be and yet have him make no use of the fact seems a frustration worse than that of Tantalus. She was in Tartarus, even though she was "clipping" (holding) Elysium,
which was the Greek version of Paradise.

  In the Homeric writings, Elysium or "the Elysian plain" existed in the far west, the dimly explored (and therefore wonder-filled) western regions of the Mediterranean Sea, where heroes were taken after death to live in eternal bliss. By later writers this had to be transported beyond the ocean rim, for explorers reached the westernmost point of the Mediterranean shores without finding Elysium. The Greek poet Hesiod, writing a century after Homer, speaks of "the Islands of the Blest" lying out in the Atlantic.

  As geographic knowledge continued to broaden, the Roman poet Vergil, writing six centuries after Hesiod, was forced to move Elysium underground, making it a portion of Hades devoted to delight. It was suffused with an eternal spring. Its flowers, groves, and fountains were lit by soft sunshine during the day and by the familiar constellations at night. Then the righteous, resting on banks of resilient and perfumed flowers, lived in never-ending felicity.

  … modest Dian ...

  Venus urges Adonis to hunt foxes or hares, anything that is not dangerous, rather than boars. Adonis, having paid his kiss, finds that he still cannot disengage himself from her wild grasp. It is night already and he is annoyed at this, for it will be hard to find his way. Venus turns this too into praise of Adonis' beauty.

  So do thy lips

  Make modest Dian cloudy and forlorn,

  Lest she should steal a kiss and die forsworn.