All's Well That Ends Well

By William Shakespeare

Originally published in Shakespeare’s “First Folio” in 1623, “All’s Well That Ends Well” is a fascinating play that defies classification, an unusual work that blends the comic with the tragic. The play tells the story of Helena, a penniless worker at the Palace of Rousillion, and her cunning adventures to wed Bertram, the prosperous son of the count. Bertram goes to Paris to attend the King of France and Helena follows and uses her cunning and charm to convince the King she is a healer. When Helena risks her life to rid the King of France of a peculiar illness, she is rewarded with her choice of grooms from the King’s court and she chooses the hand of Bertram. Faced with rejection from Bertram due to her lowly social status, she devises a clever and devious plan to birth his son and keep his ring. This is love as war, full of scheming, seduction, and manipulation. Based on a tale from Boccaccio’s, “The Decameron”, the play energizes a classic Shakespearean theme of love complicated and conflicted by differences in class. Full of the expected wit and ardor of Shakespeare, “All’s Well That Ends Well” is an entertaining classic. This edition is annotated by Henry N. Hudson, includes an introduction by Charles Harold Herford, and a biographical afterword.

• Language: English
• Publisher: Digireads.com Publishing
• Release date: Jun 24, 2019
• ISBN: 9781420962567

William Shakespeare

William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England’s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children—an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare’s only son, died in childhood. The bulk of Shakespeare’s working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.

Book preview

cover.jpg

ALL’S WELL THAT ENDS WELL

By WILLIAM SHAKESPEARE

Preface and Annotations by

HENRY N. HUDSON

Introduction by

CHARLES HAROLD HERFORD

All’s Well That Ends Well

By William Shakespeare

Preface and Annotations by Henry N. Hudson

Introduction by Charles Harold Herford

Print ISBN 13: 978-1-4209-6255-0

eBook ISBN 13: 978-1-4209-6256-7

This edition copyright © 2019. Digireads.com Publishing.

All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law.

Cover Image: a detail of William Shakespeare, All’s Well That Ends Well (colour litho), by Artus Scheiner (1863-1938) / Private Collection / © Look and Learn / Bridgeman Images.

Please visit www.digireads.com

CONTENTS

PREFACE

INTRODUCTION

ALL’S WELL THAT ENDS WELL

DRAMATIS PERSONAE

ACT I.

SCENE I.

SCENE II.

SCENE III.

ACT II.

SCENE I.

SCENE II.

SCENE III.

SCENE IV.

SCENE V.

ACT III.

SCENE I.

SCENE II.

SCENE III.

SCENE IV.

SCENE V.

SCENE VI.

SCENE VII.

ACT IV.

SCENE I.

SCENE II.

SCENE III.

SCENE IV.

SCENE V.

ACT V.

SCENE I.

SCENE II.

SCENE III.

BIOGRAPHICAL AFTERWORD

PREFACE

First published in the folio of 1623, and among the worst-printed plays in that volume. In many places the text, as there given, is in a most unsatisfactory state, and in not a few I fear it must be pronounced incurably at fault. A vast deal of study and labour has been spent in trying to rectify the numerous errors: nearly all the editors and commentators, from Rowe downwards, have strained their faculties upon the work: many instances of corruption have indeed yielded to critical ingenuity and perseverance, and it is to be hoped that still others may; yet there are several passages that seem too hard for any legitimate efforts of corrective sagacity and skill. Of course, in a case of such extreme textual corruption, something more of scope than usual must, in all reason, be allowed to conjectural emendation.

No direct and certain contemporary notice of All’s Well that Ends Well has come down to us. But the often-quoted list of Shakespeare’s plays set forth by Francis Meres in his Palladis Tamia, 1598, includes a play called Love’s Labours Won,—a title nowhere else given to any of the Poet’s pieces. Dr. Farmer, in his Essay on the Learning of Shakespeare, 1767, first gave out the conjecture, that the two titles belonged to one and the same play; and this opinion has since been concurred or acquiesced in by so many competent critics, that it might well be allowed to pass without further argument. There is no other of the Poet’s dramas to which that title applies so well, while, on the other hand, it certainly fits this play quite as well as the one it now bears. The whole play is emphatically love’s labours: its main interest throughout turns on the unwearied and finally-successful struggles of affection against the most stubborn and disheartening obstacles. It may indeed be urged that the play entitled Love’s Labours Won has been lost; but this, it being considered what esteem the Poet’s works were held in, both in his time and ever since, is so very improbable as to be hardly worth dwelling upon. There was far more likelihood that other men’s dross would be fathered upon him than that any of his gold would be lost. And, in fact, contemporary publishers were so eager to make profit of his reputation, that they forged his name to various plays which most certainly had no touch of his hand.

There is, then, no reasonable doubt that this play was originally written before 1598. For myself, I have no doubt that the original writing was several years before that date: as early, perhaps, as 1592 or 1593. Coleridge, in his Literary Remains, holds the play to have been "originally intended as the counter part of Lovers Labours Lost’’; and a comparison of the two naturally leads to that conclusion without any help from the title. This inward relation of the plays strongly infers them both to have been written about the same time, or in pretty near succession. Now Love’s Labours Lost was printed in 1598, and in the title-page is said to have been newly corrected and augmented: and its diversities of style naturally infer a considerable interval of time between the original writing and the revisal.

It is abundantly certain, from internal evidence, that the play now in hand also underwent revisal, and this too after a much longer interval than in the case of Love’s Labours Lost. Here the diversities of style are much more strongly marked than in that play. Accordingly it was Coleridge’s decided opinion, first given out in his lectures in 1813, and again in 1818, though not found in his Literary Remains, that "All’s Well that Ends Well was written at two different and rather distant periods of the Poet’s life. This we learn from Collier, who heard those lectures, and who adds that Coleridge pointed out very clearly two distinct styles, not only of thought, but of expression. The same judgment has since been enforced by Tieck and other able critics; and the grounds of it are so manifest in the play itself, that no observant reader will be apt to question it. Verplanck tells us he had formed the same opinion before he learned through Collier what Coleridge thought on the subject; and his judgment of the matter is given as follows: The contrast of two different modes of thought and manners of expression, here mixed in the same piece, must be evident to all who have made the shades and gradations of Shakespeare’s varying and progressive taste and mind at all a subject of study."

Some of the more recent Shakespearians are for dividing the Poet’s time of authorship into four or five distinct periods: but I am still content with the threefold division of early, middle, and later periods; as these seem to me enough for all practical purposes. In All’s Well, we have no help, outside of the play itself, towards determining at what time the revisal was made, or how long a period intervened between this and the original writing. To my taste, the better parts of the workmanship relish strongly of his later style,—perhaps I should say quite as strongly as the poorer do of his early style. This would bring the revisal down to as late a time as 1603 or 1604. I place the finished Hamlet at or near the close of the Poet’s middle period; and I am tolerably clear that in All’s Well he discovers a hand somewhat more practised in sinewy sternness than in the finished Hamlet. I will quote two passages by way of illustrating the Poet’s different styles as seen in this play. The first is from the dialogue of Helena and the King, in Act ii, scene i, where she persuades him to make trial of her remedy:

The great’st Grace lending grace,

Ere twice the horses of the Sun shall bring

Their fiery torcher his diurnal ring;

Ere twice in murk and occidental damp

Moist Hesperus hath quench’d his sleepy lamp;

Or four-and-twenty times the pilot’s glass

Hath told the thievish minutes how they pass;

What is infirm from your sound parts shall fly,

Health shall live free, and sickness freely die.

Here we have the special traits of Shakespeare’s youthful style,—an air of artifice and studied finery, a certain self-conscious elaborateness and imitative rivalry,—which totally disappear in, for instance, the blessing the Countess gives her son as he is leaving for the Court:

Be thou blest, Bertram! and succeed thy father

In manners, as in shape! thy blood and virtue

Contend for empire in thee, and thy goodness

Share with thy birthright! Love all, trust a few,

Do wrong to none: be able for thine enemy

Rather in power than use; and keep thy friend

Under thy own life’s key: be check’d for silence,

But never tax’d for speech. What Heaven more will,

That thee may furnish, and my prayers pluck down,

Fall on thy head!

I the rather quote this latter, because of its marked resemblance to the advice Polonius gives his son in Hamlet. Mr. Grant White justly observes that either the latter is an expansion of the former, or the former a reminiscence of the latter; and I fully concur with him that the second part of the alternative is the more probable. For a broader and bulkier illustration of the point in hand, the student probably cannot do better than by comparing in full the dialogue from which the first of the forecited passages is taken with the whole of the second scene in Act i. These seem to me at least as apt and telling examples as any, of the Poet’s rawest and ripest styles so strangely mixed in this play; and the difference is here so clearly pronounced, that one must be dull indeed not to perceive it.

It has indeed been urged, and truly, that the play twice be speaks its present title; but both instances occur in just those parts which relish most of the Poet’s later style. And the line in the epilogue—"All is well ended, if this suit be won"—may be fairly understood as intimating some connection between the two titles which the play is supposed to have borne.

The only known source from which the Poet could have borrowed any part of this play is a story in Boccaccio, entitled Giletta di Nerbona. In 1566 William Paynter published an English version of this tale in his Palace of Pleasure. Here it was, no doubt, that Shakespeare got his borrowed matter; and the following outline will show the nature and extent of his obligations.

Isnardo, Count of Rousillon, being sickly, kept in his house a physician named Gerardo of Nerbona. The count had a son named Beltramo, and the physician a daughter named Giletta, who were brought up together. The Count dying, his son was left in the care of the King and sent to Paris. The physician also dying some while after, his daughter, who had loved the young Count so long that she knew not when her love began, sought occasion of going to Paris, that she might see him; but, being diligently looked to by her kinsfolk, because she was rich and had many suitors, she could not see her way clear. Now the King had a swelling on his breast, which through ill treatment was grown to a fistula; and, having tried all the best physicians and being only rendered worse by their efforts, he resolved to take no further counsel or help. Giletta, hearing of this, was very glad, as it suggested an apt reason for visiting Paris, and offered a chance of compassing her secret and cherished wish. Arming herself with such knowledge in the healing art as she had gathered from her father, she rode to Paris and repaired to the King, praying him to show her his disease. He consenting, as soon as she saw it she told him that, if he pleased, she would within eight days make him whole. He asked how it was possible for her, being a young woman, to do that which the best physicians in the world could not; and, thanking her for her good-will, said he was resolved to try no more remedies. She begged him not to despise her knowledge because she was a young woman, assuring him that she ministered physic by the help of God, and with the cunning of Master Gerardo of Nerbona, who was her father. The King, hearing this, and thinking that peradventure she was sent of God, asked what might follow, if she caused him to break his resolution, and did not heal him. She said, Let me be kept in what guard you list, and if I do not heal you let me be burnt; but, if I do, what recompense shall I have? He answered that, since she was a maiden, he would bestow her in marriage upon a gentleman of right good worship and estimation. To this she agreed, on condition that she might have such a husband as herself should ask, without presumption to any

Reviews for All's Well That Ends Well

[therebelprince · Rating: 4 out of 5 stars]

A very good everyman edition, although it still struggles with the issues that this play raises (not that I have the answers either!)

[amerynth · Rating: 3 out of 5 stars]

I found "All's Well that Ends Well" to be really uneven. Helena is in love with Bertram, who apparently hates her for no reason and treats her shabbily... apparently that's incredibly attractive. Of course, with the title the play has, you can guess it's all going to go swimmingly well for Helena even if she has to trick her way into it.Actually, Helena was a pretty interesting character as far as Shakespeare's women go. However, there seemed to be a lot of filler conversations (mostly by a clown in a bunch a dialog that perhaps just hasn't aged well.Overall, I just found this one kind of bland.

[jhudsui_1 · Rating: 2 out of 5 stars]

This title of this comedy refers to the marriage that ensues as a result of its climactic rape so uh yeah this is another one that is up there with Taming Of The Shrew in failing to satisfy modern sensibilities.Also it just me or is Parolles not only fairly okay but even one of the most morally sound characters in this mess? His letter to Diana sounds like he's giving her decent honest advice.

[coach_of_alva · Rating: 3 out of 5 stars]

An unsatisfying romantic comedy about a scorned and abandoned wife's efforts to reclaim her husband. To compare this to Shakespeare's romantic comedies is like comparing a Katherine Heigl romcom to one of the great 1930s screwball films.

[glennbell_1 · Rating: 3 out of 5 stars]

Witty, clever but difficult to understand the meaning of some discussion due to the use of obsolete or obscure wording. Mildly recommended for the historical value of a classical author.

[nmhale_1 · Rating: 3 out of 5 stars]

Sometimes designated as a problem play, because it handles social issues with conflicting points of view, this comedy ends with the typical marriage and reconciliation, but the resolution feels far from happy. The story concerns Helena and Bertram as the main couple, with a host of other characters that are much more interesting than Bertram. Bertram is a Count, and his mother took in Helena, the daughter of a famous doctor, after her parents died. The play opens with Bertram heading to court to serve under the king, and Helena grieving because she secretly loves him and can't stand to see him leave. Helena is a complex character. Her love for Bertram is almost incomprehensible, but she is unquestionably clever. She knows the king is dying from an illness no one has been able to cure. She also believes that her father knew the solution, and she concocts a plan. She meets with the king, who is unwilling to trust a woman, and they make a bargain: if she heals him, he will grant her the chance to choose her own husband; if she fails, he will kill her. Helena does heal the king, and when her request is granted, she chooses Bertram as her husband. Unfortunately, Bertram the evil has no interest in his mother's ward, and prefers running off to war over heading to the marriage bed. Even though the reader already loves Helena, Bertram's anger at a forced marriage is sympathetic, perhaps, if it weren't for his cowardly way of handling it. But Bertram's later actions quickly reveal a shallow and dark nature. With evil influence Parrolles by his side, he whores around France and takes pleasure in seducing virgins, drinking and carousing when not involved in battles. Bertram's only redeeming virtue is that he actually is a good solider. Despite his abandonment, and cruel and cowardly letter that accuses Helena with words he wouldn't use in person, Helena is still in love with Bertram. In fact, she feels responsible for his going off to war, and decides that she should take a pilgrimage and leave the country, so that he can feel free to return home.Her voyage coincidentally takes her to the same place where Bertram's troop is stationed - although as Helena's cunning is more and more apparent, coincidentally may not be accurate. She meets the young lady that Bertram is currently trying to seduce, and tells Diana and her mother her story of woe. They agree to assist her in an unorthodox plan, where Helena hides in Diana's darkened room and sleeps with her husband while he thinks she is someone else. That sounds like the course to disaster, but everything technically works out in the end, when Helena reveals herself and Bertram declares that he now will love her forever and ever. Not only that, but Parrolles faces retribution for his evil actions, is taken on as a fool, and Diana is promised the king's aid.The plot is clever, with a fast pace and compelling side characters. There are two deceptions pulled off to great effect - both Bertram's and Parrolles are revealed through trickery - and the dialogue shines with Shakespeare's wit. Bertram ruins this play for me, though, casting it far down on the list of comedies I would like to read or see staged. He is a arrogant and self-loving cad; at the end, the others exonerate him as being influenced by Parrolles, but I don't see any evidence of that in the play. Rather, he chose Parrolles as a match to his own dark nature.

[caseybp · Rating: 4 out of 5 stars]

One of Shakespeare's "problem plays". It is contrived and a little confusing at times. I however loved the play. I think it is funny and clever despite it's problems.

[cmbohn · Rating: 2 out of 5 stars]

Well, it does end with Helena and Bertram married and living together, but he's a big jerk so I'm not sure why she wants him.Helena is the daughter of a gifted physician, recently deceased. Bertram is a Count, newly become ward of the King of France. She heals the king and asks for Bertram as her husband for her reward. He (Bertram) is disgusted by her low rank and runs off to fight a war in Italy. For some totally unknown reason, she thinks it's her fault and sets off on a pilgrimage. Which just happens to take her to Italy.I read the preface in this edition, which suggests that Shakespeare was adapting earlier stories, so the lame plot may not be entirely his fault.I also hated the "clown" parts in this which just weren't funny at all. Then there are all these completely extraneous scenes and dialogues that just slow the action down and make my eyes gloss over. In the theater, that would be the time to run to the restroom.There are a few good lines in here though. Most of them are at the beginning, so you could just stop there. Shakespeare seems to give the best lines to Helena and the King. He must have been playing favorites.Absolutely not his best. I know that seeing the play is always better, but it just couldn't save this play. Don't bother!

[antiquary_1 · Rating: 4 out of 5 stars]

Although I agree with critics who ask why would the heroine bother to win this unpleasant young man, I do enjoy it overall

[astrologerjenny · Rating: 3 out of 5 stars]

Bertram! You're such an idiot! It's a good thing your mother and your sweetheart are so wise and forbearing. By rights, you should be thrown to the dogs at the end of this play for acting like a total jackass, but since you're the hero, you get to be redeemed. And Helena still loves you, imagine that, even after you accidentally impregnated her while thinking you were sleeping with a French virgin!

[bookworm12_1 · Rating: 4 out of 5 stars]

Helena, a physician's daughter, falls in love with a nobleman, Bertram. She cures the king with the stipulation that he will give her Bertram as her husband. They marry, but Bertram can't stand her and leaves before they even spend one night together. He gives her a brush off and says she isn't his real wife until she bears him a child... but he won't sleep with her. He then tries to court another woman. Helena is a witty and resourceful woman and comes up with a way to trick him into impregnating her. All's Well That Ends Well... I guess. So Helena wins over her husband, who doesn't like her, by tricking him. In my opinion Helena's love and efforts are completely wasted on a selfish jerk. Even Bertram's mother thinks that Helena is a wonderful wife for her son. I wish Helena would have wised up and picked a different guy from the get-go. The play has Shakespeare classic puns and double entendres, but it's not one of my favorites of his.