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<rss xmlns:itunes="http://www.itunes.com/dtds/podcast-1.0.dtd" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:podcast="https://podcastindex.org/namespace/1.0" xmlns:media="http://search.yahoo.com/mrss/" version="2.0"><channel><title>Venus and Adonis (Version 2)</title><link>https://www.spreaker.com/podcast/venus-and-adonis-version-2--7085944</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><atom:link href="https://www.spreaker.com/show/7085944/episodes/feed" rel="self" type="application/rss+xml"/><language>en</language><category>Books</category><copyright>Copyright Literary Collections Genre</copyright><image><url>https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg</url><title>Venus and Adonis (Version 2)</title><link>https://www.spreaker.com/podcast/venus-and-adonis-version-2--7085944</link></image><lastBuildDate>Tue, 25 Aug 2026 09:38:16 +0000</lastBuildDate><itunes:author>William Shakespeare</itunes:author><itunes:owner><itunes:name>Literary Collections Genre</itunes:name><itunes:email>spreaker63@podcastlibrary.org</itunes:email></itunes:owner><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:category text="Arts"><itunes:category text="Books"/></itunes:category><itunes:category text="Health &amp; Fitness"/><itunes:category text="Health &amp; Fitness"><itunes:category text="Mental Health"/></itunes:category><itunes:explicit>false</itunes:explicit><podcast:guid>41d61a3b-f820-59fb-91fa-9ab351d799d0</podcast:guid><itunes:type>episodic</itunes:type><item><title>Faerie Queene Book 3-Edmund Spenser</title><link>https://www.spreaker.com/episode/faerie-queene-book-3-edmund-spenser--74133010</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74133010</guid><pubDate>Tue, 25 Aug 2026 09:01:40 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74133010/faerie_queene_book_3_edmund_spenser.mp3" length="184392637" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>23026</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Admirable Bashville-George Bernard Shaw</title><link>https://www.spreaker.com/episode/admirable-bashville-george-bernard-shaw--74078791</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74078791</guid><pubDate>Mon, 24 Aug 2026 09:03:39 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74078791/admirable_bashville_george_bernard_shaw.mp3" length="33867162" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>4229</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Tempest-William Davenant, John Dryden</title><link>https://www.spreaker.com/episode/tempest-william-davenant-john-dryden--74051275</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74051275</guid><pubDate>Sun, 23 Aug 2026 09:03:18 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74051275/tempest_william_davenant_john_dryden.mp3" length="81177225" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>10137</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Finland and the Tsars, 1809-1899-Joseph R. Fisher</title><link>https://www.spreaker.com/episode/finland-and-the-tsars-1809-1899-joseph-r-fisher--74025140</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74025140</guid><pubDate>Sat, 22 Aug 2026 09:02:52 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74025140/finland_and_the_tsars_1809_1899_joseph_r_fisher.mp3" length="243906414" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>30457</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Wigwam Evenings Sioux Folk Tales Retold-Elaine Goodale Eastman, Charles Alexander Eastman</title><link>https://www.spreaker.com/episode/wigwam-evenings-sioux-folk-tales-retold-elaine-goodale-eastman-charles-alexander-eastman--74000022</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/74000022</guid><pubDate>Fri, 21 Aug 2026 09:03:08 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/74000022/wigwam_evenings_sioux_folk_tales_retold_elaine_goodale_eastman_charles_alexander_eastman.mp3" length="73537089" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>9183</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Amoretti A sonnet sequence-Edmund Spenser</title><link>https://www.spreaker.com/episode/amoretti-a-sonnet-sequence-edmund-spenser--73973595</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73973595</guid><pubDate>Thu, 20 Aug 2026 09:03:14 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73973595/amoretti_a_sonnet_sequence_edmund_spenser.mp3" length="53763461" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>6713</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Much Ado About Nothing (version 2)-William Shakespeare</title><link>https://www.spreaker.com/episode/much-ado-about-nothing-version-2-william-shakespeare--73947968</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73947968</guid><pubDate>Wed, 19 Aug 2026 09:03:14 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73947968/much_ado_about_nothing_version_2_william_shakespeare.mp3" length="73444630" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>9171</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Law Against Lovers-William Davenant</title><link>https://www.spreaker.com/episode/law-against-lovers-william-davenant--73921082</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73921082</guid><pubDate>Tue, 18 Aug 2026 09:03:28 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73921082/law_against_lovers_william_davenant.mp3" length="66848154" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>8348</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Early Church Collection Volume 3-Various</title><link>https://www.spreaker.com/episode/early-church-collection-volume-3-various--73894005</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73894005</guid><pubDate>Mon, 17 Aug 2026 09:03:34 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73894005/early_church_collection_volume_3_various.mp3" length="220448351" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>27528</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Rootabaga Stories-Carl Sandburg</title><link>https://www.spreaker.com/episode/rootabaga-stories-carl-sandburg--73868252</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73868252</guid><pubDate>Sun, 16 Aug 2026 09:03:08 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73868252/rootabaga_stories_carl_sandburg.mp3" length="93015360" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>11615</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Kama Sutra-Mallanaga Vatsyayana</title><link>https://www.spreaker.com/episode/kama-sutra-mallanaga-vatsyayana--73845300</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73845300</guid><pubDate>Sat, 15 Aug 2026 09:03:54 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73845300/kama_sutra_mallanaga_vatsyayana.mp3" length="180707498" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>22566</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Prose Edda (Brodeur Translation)-Snorri Sturleson</title><link>https://www.spreaker.com/episode/prose-edda-brodeur-translation-snorri-sturleson--73797130</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73797130</guid><pubDate>Tue, 11 Aug 2026 04:18:59 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73797130/prose_edda_brodeur_translation_snorri_sturleson.mp3" length="183066115" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>22860</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Astrophel and Stella-Sir Philip Sidney</title><link>https://www.spreaker.com/episode/astrophel-and-stella-sir-philip-sidney--73341796</link><description><![CDATA[Astrophel and Stella, penned by Sir Philip Sidney, is a poignant exploration of love and desire through a sequence of sonnets that delve into the complexities of romantic longing and the pain of unrequited affection. This timeless work captures the essence of human emotion, articulating the struggles of the heart with eloquence and depth that resonate through the ages. Its themes of love's trials and the pursuit of unattainable ideals remain relevant today, inviting listeners to reflect on their own experiences of love and loss. The lyrical beauty and emotional intensity of Sidney's verses make this collection an enduring masterpiece that continues to inspire and move audiences.]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/73341796</guid><pubDate>Sun, 02 Aug 2026 16:25:22 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/73341796/astrophel_and_stella_sir_philip_sidney.mp3" length="48482480" type="audio/mpeg"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Astrophel and Stella, penned by Sir Philip Sidney, is a poignant exploration of love and desire through a sequence of sonnets that delve into the complexities of romantic longing and the pain of unrequited affection. This timeless work captures the...</itunes:subtitle><itunes:summary><![CDATA[Astrophel and Stella, penned by Sir Philip Sidney, is a poignant exploration of love and desire through a sequence of sonnets that delve into the complexities of romantic longing and the pain of unrequited affection. This timeless work captures the essence of human emotion, articulating the struggles of the heart with eloquence and depth that resonate through the ages. Its themes of love's trials and the pursuit of unattainable ideals remain relevant today, inviting listeners to reflect on their own experiences of love and loss. The lyrical beauty and emotional intensity of Sidney's verses make this collection an enduring masterpiece that continues to inspire and move audiences.]]></itunes:summary><itunes:duration>6054</itunes:duration><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item><item><title>Venus and Adonis Version 2 - William Shakespeare</title><link>https://www.spreaker.com/episode/venus-and-adonis-version-2-william-shakespeare--72368974</link><description><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></description><guid isPermaLink="false">https://api.spreaker.com/episode/72368974</guid><pubDate>Fri, 05 Jun 2026 14:29:30 +0000</pubDate><enclosure url="https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/72368974/venus_and_adonis_version_2_william_shakespeare.mp3" length="32197111" type="audio/mpeg"/><podcast:transcript url="https://transcription.spreaker.com/starship/5f62b597-bd4f-4786-8057-dd7da799819f/5f62b597-bd4f-4786-8057-dd7da799819f.srt" type="application/x-subrip" language="en"/><podcast:transcript url="https://transcription.spreaker.com/starship/5f62b597-bd4f-4786-8057-dd7da799819f/5f62b597-bd4f-4786-8057-dd7da799819f.txt" type="text/plain" language="en"/><podcast:transcript url="https://transcription.spreaker.com/starship/5f62b597-bd4f-4786-8057-dd7da799819f/5f62b597-bd4f-4786-8057-dd7da799819f.vtt" type="text/vtt" language="en"/><itunes:author>William Shakespeare</itunes:author><itunes:subtitle>Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus...</itunes:subtitle><itunes:summary><![CDATA[Both Ovid and Spenser also treat this ancient myth, but Spenser alters the ending, converting the tale into an archetype of fulfilled love, whereas Ovid, like Shakespeare, combines humor with pathos as a buffer against sentimentality. Ovid’s Venus behaves absurdly out of character, becoming a huntress to keep her lover company in the woods. Shakespeare, however, preserves decorum; his Venus remains at all times the queen of love. The humor arises rather from the fact that the would-be paramour isn’t interested. This endows the goddess’s wooing with nearly slapstick over-exertion, and yet her sincerity makes her appealing, while Adonis’s immaturity forces us to respect his chastity. The pathos comes, of course, from the unhappy ending—more unhappy because we do not expect a comedy to end sadly, especially not when we sympathize with the characters. The poetic form or genre, the epyllion, is an erotic narrative based on mythology, like Marlowe's Hero and Leander and, later, Phineus Fletcher's Venus and Anchises, also found in the Librivox catalogue. Venus and Adonis and The Rape of Lucrece, both narrative poems, are the only works that Shakespeare ever carefully saw through the press. - Summary by T. A. Copeland]]></itunes:summary><itunes:duration>4025</itunes:duration><itunes:keywords>adonis,fairy,legends,ovid,pathos,shakespeare,spenser,tales,unhappy,venus</itunes:keywords><itunes:explicit>false</itunes:explicit><itunes:image href="https://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/e10e8cff635c4fd327a2de47d2ad5028.jpg"/><itunes:episodeType>full</itunes:episodeType></item></channel></rss>
