Books with title All's Well That Ends Well

Helena, the orphan daughter of a famous physician, is the ward of the Countess of Rousillon, and hopelessly in love with her son, Count Bertram, who has been sent to the court of the King of France. Despite her beauty and worth, Helena has no hope of attracting Bertram, since she is of low birth and he is a nobleman. However, when word comes that the King is ill, she goes to Paris and, using her father's arts, cures the illness. In return, she is given the hand of any man in the realm; she chooses Bertram. Her new husband is appalled at the match, however, and shortly after their marriage flees France, accompanied only by a scoundrel named Parolles, to fight in the army of the Duke of Florence. Helena is sent home to the Countess, and receives a letter from Bertram informing her that he will never be her true spouse unless she can get his family ring from his finger, and become pregnant with his child--neither of which, he declares, will ever come to pass. The Countess, who loves Helena and approves of the match, tries to comfort her, but the distraught young woman departs Rousillon, planning to make a religious pilgrimage.

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Excerpt: ...none in France, Then hast thou all againe: poore Lord, is't I That chase thee from thy Countrie, and expose Those tender limbes of thine, to the euent Of the none-sparing warre? And is it I, That driue thee from the sportiue Court, where thou Was't shot at with faire eyes, to be the marke Of smoakie Muskets? O you leaden messengers, That ride vpon the violent speede of fire, Fly with false ayme, moue the still-peering aire That sings with piercing, do not touch my Lord: Who euer shoots at him, I set him there. Who euer charges on his forward brest I am the Caitiffe that do hold him too't, And though I kill him not, I am the cause His death was so effected: Better 'twere I met the rauine Lyon when he roar'd With sharpe constraint of hunger: better 'twere, That all the miseries which nature owes Were mine at once. No come thou home Rossillion, Whence honor but of danger winnes a scarre, As oft it looses all. I will be gone: My being heere it is, that holds thee hence, Shall I stay heere to doo't? No, no, although The ayre of Paradise did fan the house, And Angels offic'd all: I will be gone, That pittifull rumour may report my flight To consolate thine eare. Come night, end day, For with the darke (poore theefe) Ile steale away. Enter. Flourish. Enter the Duke of Florence, Rossillion, drum and trumpets, soldiers, Parrolles. Duke. The Generall of our horse thou art, and we Great in our hope, lay our best loue and credence Vpon thy promising fortune Ber. Sir it is A charge too heauy for my strength, but yet Wee'l striue to beare it for your worthy sake, To th' extreme edge of hazard Duke. Then go thou forth, And fortune play vpon thy prosperous helme As thy auspicious mistris Ber. This very day Great Mars I put my selfe into thy file, Make me but like my thoughts, and I shall proue A louer of thy drumme, hater of loue. Exeunt. omnes Enter Countesse & Steward. La. Alas! and would you take the letter of her: Might you not know...

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An international team of scholars offers: • modernised, easily accessible texts • ample but unobtrusive academic guidance • attention to the theatrical qualities of each play and its stage history • informative illustrations, including reconstructions of early performances This play has attracted unprecedented interest in recent times. Professor Fraser takes account of its history, in which neglect and unpopularity have been important features, and discusses such reactions and the reasons for them. He argues for a play which is a powerful and often disconcerting blend of darkness and comedy, faults and virtues, failing and forgiveness. Beneath the fluctuating imagery there is a constant sexual undercurrent which compels unusual critical attention.