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There are two rings in the text, and they each play a specific role in representing the concepts of honor and reputation. Bertram’s ring is the Count’s ring, which is an heirloom passed down through the Count’s family. This would be a signet or seal ring and, worn by each Count, it signifies his identity and authority. As an emblem of the family’s nobility, it is also a symbol of the Count’s honor. By contrast, Helen’s ring is a gift from the King, and it represents her personal reputation and honor, as it is an emblem of the King’s appreciation for her medical assistance and personal value. Unlike Bertram’s ring, Helen acquired the ring through her own action and qualities, whereas Bertram inherited his ring from his father.
The Count’s ring is one of Bertram’s family’s prized possessions, and Bertram comments to Diana on how losing the ring would be “the greatest obloquy” (4.2.53), meaning public disgrace. His words are correct but in a way he does not intend. He will part with both the ring and his honor through his own choice and this will result in his “obloquy” in the final scene. Bertram is willing to give Diana his ring as part of the promises he makes to her. Crucially, it is not given in exchange for her virginity directly (i.e., as payment for sex) but is a sign of his promises and their betrothal. It is a symbol of the marriage he promises her and of his word as a nobleman—made literally “on his honor.” The exchange is only dishonorable because he is insincere: If he were to marry her, the ring—and his honor—would remain his. When Bertram sees Diana’s virginity as valuable (before sex), the ring must be valuable also. Thus, when he treats her virginity as worthless (after sex), the ring must have been correspondingly thrown away. This devaluation of the ring shows that, in dishonoring her, he has devalued his family’s honor. Bertram’s relinquishing the ring is therefore part of the play’s depiction of hereditary honor, showing how the ring, and the Countship, is a meaningless, outward show of nobility without personal noble qualities beneath. Helen’s ultimate use of the ring to force Bertram into honoring marriage with her adds another layer to the ring’s symbolism, showing how it can enforce the noble behavior it is supposed to represent.
Helen’s ring, unlike the Count’s ring, represents real personal nobleness as a means for true reputation and honor. This ring is readily recognized by both the Countess and the King in the final scene, just as they readily perceived Helen’s true value, and this serves to undo Bertram’s plan to avoid Diana and marry Lafew’s daughter. The ring, like Helen’s virtues, is immediately recognizable to all but Bertram and it acts as a foil to Bertram’s ring, representing the difference between hereditary nobility and true virtuous nobility.
Throughout the play, the concepts of battle and sexuality are intertwined in wordplay. The historical motif of the Florentine wars is important in this aim. As a wealthy city state, Florence was regularly in conflict with other regional powers, and the play most likely alludes to the Battle of Marciano, which was a conflict between Florence and Siena in 1554. The Florentine setting also echoes Shakespeare’s famous source material, The Decameron by the famous 14th-century Florentine writer Boccaccio. However, in the story on which All’s Well That Ends Well is based, called “Giletta of Narbona,” Beltramo (Bertram) flees his marriage to Giletta (Helen) by going to Florence where he loved another woman. The war context is added by Shakespeare, a deliberate design to introduce a warlike parallel into the source narrative of lust and love conquest, and to provide a coherent setting for the war-and-love duality of the imagery that permeates the play. The war also adds complexity to Bertram’s character as, unlike Beltramo, he does not simply abandon one woman for another but eschews marriage in order to fight. Bertram is too young for war, which could be taken to mean that he is likewise too young to commit himself to marriage.
The Fool especially acts as a commentator as part of this running motif. When Bertram returns to Rossillion, the Fool notes that Bertram has a piece of velvet on his face, noting: “Whether there be a scar under ‘t or no, the velvet knows, but ‘tis a goodly patch of velvet” (4.5.97-99). The patch of velvet could be covering a scar from battle, but it may be a reference to how velvet patches were used to cover scars from syphilis, a sexually transmitted disease. Lafew comments that the scar is noble regardless of its source, implying that military and sexual conquests are both means by which to garner honor. The mix of battle and sexuality affirms that Bertram’s purpose in fleeing to Florence can be read as a sexual adventure, rather than a violent one. In fact, though Bertram leaves France declaring that he loves war and hates love, he quickly settles into wooing Diana, whom he promises to marry. It is only after Bertram believes he had sex with Diana that he is suddenly amenable to marriage with Lafew’s daughter, and he barely protests the confirmation of his marriage to Helen. As such, the Florentine wars are symbolic of Bertram’s youthful lust, which, once exhausted, fades and allows him to return home, ready for marriage. The injuries he inflicts are not those of the battlefield but sexual and emotional harms that, the recurrent imagery insists, are no less real.
To understand the double-meanings of the play’s scenes fully, it is crucial to evaluate the ways in which characters express emotion in scenes, to determine whether that emotion is sincere or is a false action within that interaction. In the opening scene of the play, the Countess remarks to Helen that Helen should stop crying, “lest it be rather thought you affect sorrow” (1.1.54-55), and Helen interrupts the Countess, replying: “I do affect a sorrow indeed, but I have it too” (1.1.56). This interaction begins a motif in the play of performative emotion, in which emotions may be feigned to deceive someone. In this opening scene, though Helen expresses real sadness, the Countess is correct that Helen’s sadness is, in part, a performance, as she appears to be sad about her father’s death when she is actually sad about her unrequited love for Bertram. Later on, Parolles instructs Bertram to be “more expressive to them,” noting that Bertram gave “too cold an adieu” (2.1.59) to the lords at court before the lords left for Florence. In this second instance, Parolles is advising Bertram to perform emotion performatively to avoid suspicion falling on Bertram’s plan to flee to Florence. In the play’s central false lovers scene between Diana and Bertram, both are dissembling. Bertram affects emotion and sincerity in order to seduce Diana. She affects emotion in order to trap him into meeting with Helen in disguise. This strand culminates in the final scene of the play, when Bertram and Diana are competing to see which of them can better convince the King and Countess. In both scenes, Bertram is outmatched by Diana.
The premise of the motif aligns with English attitudes regarding emotion, in which crying, specifically, has alternately been viewed as an assertion of truth or deception, depending on the person crying, the situation in which they cry, and the motivations that may accompany the emotive performance. In the end, Bertram is caught in his lie by Diana’s presentation of his ring, as well as by Helen’s entrance when she was presumed dead, but his seemingly heartfelt but deceitful protestations, including declaring Diana promiscuous, support the idea that he uses emotional performance to sway his mother and the King. This supports a reading of him as immature.
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