John Vyvyan - Shakespeare and the Rose of Love

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Originally published by Chatto & Windus in 1960 as the second volume in a trilogy, this book has long been out of print. It offers a viewpoint seldom considered: an unusual and exceptionally clear insight into Shakespeare's philosophy. It does so with freshness, modesty and conviction.
John Vyvyan continues his exploration into Shakespeare's philosophy, begun in The Shakespearean Ethic, which he believes to have been consistent, consciously held and profoundly Christian. However, appreciating the danger faced in writing at a time of major religious intolerance, for 'by the orthodox standards of his age, philosophy was heretical', Vyvyan explains how Shakespeare used the medieval allegory of love, The Romance of the Rose, to veil his ideas.
The ultimate principle of his unorthodoxy, Vyvyan points out, was not original. It was one that had 'been getting the mystics into trouble repeatedly since the early Middle Ages. Shakespeare's view, that love leads to the recognition of unity, in essence is a poet's presentation of the doctrine of divine immanence. This is something the mystics are continually reasserting'.
In The Romance of the Rose, the heroine symbolises the highest form of Love, not just romance, but also the qualities of purity and constancy, as Vyvyan reveals by discussing at length Love's Labour's Lost, Two Gentlemen of Verona and Romeo and Juliet. He shows that, even in his earliest work, Shakespeare was moving towards the universal ideas of love, forgiveness and regeneration which found their fullest expression in The Tempest and A Winter's Tale.
'There is no other voice from the past', Vyvyan writes, 'to which we still listen so willingly; and this is not merely because he entertains us, even in the higher sense, but also because there is something in his outlook on life that is deeply satisfying.'
Author Details: John Vyvyan, born in 1908 in Sussex, was educated mainly in Switzerland. His first profession was archaeology, and he worked with Sir Flinders Petrie in the Middle East. Illness, which dogged him all his life, ended this kind of arduous field work, and he retired from archaeology to become a Shakespearean scholar and to write. In recognition of his contribution to Shakespearean scholarship in his trilogy, The Shakespearean Ethic (1959), Shakespeare and the Rose of Love (1960) and Shakespeare and Platonic Beauty (1961), he was offered, but unable to take up, a visiting lectureship at the State University of New York. He died in Exmouth in 1975.

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I knew her by the jewel on her sleeve.

They are all, in fact, making love to illusions; all…

Following the signs, woo’d but the sign for she.

If we accept the hypothesis of the duality of Shakespeare’s heroines, then the undermeaning of this scene is clear: the young men do not yet know what love is. Their conception of it, and their courtship are those of the conventions, they are merely wooing the signs; and that, Shakespeare is saying, goes for the audience as well, until some awakening experience reveals the deeper truth. We should no doubt concede, in view of the diversity of love-conventions in different societies and periods, that this is so, and also that there is a permanent power in the background. Whether Shakespeare succeeded in elucidating its nature, or whether he merely arrayed it in a vision of his own, is another matter: all we can attempt to do is to establish what he believed himself to have discovered, and what he affirmed. It is at least certain that he pursued the enquiry with high seriousness – even in comedy – throughout his work, and reached some astonishing conclusions. And I am sure we ought to grant – as some critics do not – that Shakespeare was sincere.

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Love’s labour is lost in this play because it is a labour of affectation and not sincerity. But it will be won – so we are promised at the end – by service and sacrifice. Shakespeare is winnowing the chaff from the wheat. His present method of doing this is satirical: he makes the protestations of affectation ridiculous, and when they have been laughed off the stage, that which remains can be relied upon. At last, the characters begin to see into themselves; and this is so important to Shakespeare’s future work that it must be stressed. Beneath the fancy-dress is the true self. And when this is revealed, it is not only the ladies who will be reassured: the lords will also have found something, hitherto unknown, that they can rely on in themselves. Their discovery is not, of course, complete; but it is towards this inner simplicity that they are tending:

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