@article{oai:soar-ir.repo.nii.ac.jp:00017728,
 author = {中村,  六男},
 journal = {信州大学教養部紀要. 第一部, 人文科学},
 month = {Jan},
 note = {Roses and their related words and imagery are very frequently used in Shakespeare's dramas and poems, especially in his Sonnels. In his works Shakespeare used the rose in 6 meanings: (1) the flower Rosa, (2) ribbons worn in the ears or on the shoes, (3) the badges of the houses of Lancaster and York, (4) denotation of a florid complexion or red cheeks, (5) symbol of youth and beauty, (6) fond compellation, and (7) name of a house. In Sonnets the 1 st, 4 th, 5 th and 6 th meanings are mainly used. As for the flower Rosa, there were only fourteen kinds of roses known in Shakespeare's time as shown in Gerard's The Herball. And they were not so beautiful as the present-day's roses are. But they were deemed to be the king or queen of flowers and were also regarded as a symbol of supreme beauty. Shakespeare's 154 sonnets are divided into two main groups. The first group contains 1-126 sonnets which are addressed mainly to young Southampton (1-17 : an appeal to him to marry and reproduce his beauty in a child; 40-42: his stealing of Shakespeare's mistress; 78-86: a rival poet's securing of his favour). The second group contains 127-152 sonnets which are addressed mainly to Shakespeare's mistress, the dark lady. Roses are mainly used in the first group of sonnets and not in the second group (except one sonnet 130). Roses are used in the following sonnets: 1, 2, 5, 6, 14, 15, 16, 17, 18, 19, (25), 35, 54, 65, 67, 68, 69, 70, 94, 95, 98, 99, 109, and 116. They are used 23 times: 8 times in 1-17 group, none in both the 40-42 group and the 78-86 group, and 15 times in the rest. But in the second group addressed to the dark lady the rose is used only once in 130, showing the reason why the rose connot be used in this group. In Shakespeare's Sonnets his love for Southampton and his love for the dark lady are depicted respectively in the first group and the second group. These two kinds of love are purified from each other into the two opposing poles, and the contrast between them intensifies and vivifies each other. The love for Southampton is Platonic love and heavenly love. He is represented as an angel, the pattern of beauty, and the ideal of good and beauty or truth and beauty. Shakespeare desires that Southampton will make himself eternal by means of begetting his children by marriage, and also that he will make Southampton eternal by his sonnets. This love is neither homosexual love nor the sublimation of sexual desires. It is the spiritual longing for the ideal of beauty and truth, and at the same time the desire for its eternization. The love for the dark lady, on the other hand, is an earthly, hellish and sinful love. It is of lust and sexual desire, even though it is so powerful that it overwhelms him. The dark lady is represented as the worse spirit, a bad angel, and the female evil. Her unworthiness makes him dote on her as if he were beside himself with a fever. In the Sonnets the roses are used as symbols, images, and metaphors to represent the Platonic love for Southampton and, not used for the dark lady and her love. Presumably Shakespeare got his knowledge of roses not only from traditional literary works, but also from real wild roses and cultivated roses of his time. His roses are more in line with those which can be seen in Hebrew, Christian, Medieval and Dantean literatures and morality plays than those of Greek and Renaissance literatures which connect closely with Eros., Article, 信州大学教養部紀要. 第一部, 人文科学 4: 31-46(1970)},
 pages = {31--46},
 title = {シェイクスピアの「ソネット集」と薔薇},
 volume = {4},
 year = {1970}
}