All's Well That Ends Well - William Shakespeare - ebook
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All's Well That Ends Well is a play by William Shakespeare, originally classified as a comedy, though now often counted as one of his problem plays, so-called because they cannot be easily classified as tragedy or comedy. It was probably written in later middle part of Shakespeare's career, between 1601 and 1608, and was first published in the First Folio in 1623.The name of the play comes from the proverb All's Well That Ends Well, which means that problems do not matter so long as the outcome is good.

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All's Well That Ends Well

William Shakespeare

Published: 1608Categorie(s): Fiction, Drama
About Shakespeare:

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world.

Act I

SCENE I. Rousillon. The COUNT's palace.

Enter BERTRAM, the COUNTESS of Rousillon, HELENA, and LAFEU, all in black

COUNTESS

In delivering my son from me, I bury a second husband.

BERTRAM

And I in going, madam, weep o'er my father's death anew: but I must attend his majesty's command, to whom I am now in ward, evermore in subjection.

LAFEU

You shall find of the king a husband, madam; you, sir, a father: he that so generally is at all times good must of necessity hold his virtue to you; whose worthiness would stir it up where it wanted rather than lack it where there is such abundance.

COUNTESS

What hope is there of his majesty's amendment?

LAFEU

He hath abandoned his physicians, madam; under whose practises he hath persecuted time with hope, and finds no other advantage in the process but only the losing of hope by time.

COUNTESS

This young gentlewoman had a father,—O, that 'had'! how sad a passage 'tis!—whose skill was almost as great as his honesty; had it stretched so far, would have made nature immortal, and death should have play for lack of work. Would, for the king's sake, he were living! I think it would be the death of the king's disease.

LAFEU

How called you the man you speak of, madam?

COUNTESS

He was famous, sir, in his profession, and it was his great right to be so: Gerard de Narbon.

LAFEU

He was excellent indeed, madam: the king very lately spoke of him admiringly and mourningly: he was skilful enough to have lived still, if knowledge could be set up against mortality.

BERTRAM

What is it, my good lord, the king languishes of?

LAFEU

A fistula, my lord.

BERTRAM

I heard not of it before.

LAFEU

I would it were not notorious. Was this gentlewoman the daughter of Gerard de Narbon?

COUNTESS

His sole child, my lord, and bequeathed to my overlooking. I have those hopes of her good that her education promises; her dispositions she inherits, which makes fair gifts fairer; for where an unclean mind carries virtuous qualities, there commendations go with pity; they are virtues and traitors too; in her they are the better for their simpleness; she derives her honesty and achieves her goodness.

LAFEU

Your commendations, madam, get from her tears.

COUNTESS

'Tis the best brine a maiden can season her praise in. The remembrance of her father never approaches her heart but the tyranny of her sorrows takes all livelihood from her cheek. No more of this, Helena; go to, no more; lest it be rather thought you affect a sorrow than have it.

HELENA

I do affect a sorrow indeed, but I have it too.

LAFEU

Moderate lamentation is the right of the dead, excessive grief the enemy to the living.

COUNTESS

If the living be enemy to the grief, the excess makes it soon mortal.

BERTRAM

Madam, I desire your holy wishes.

LAFEU

How understand we that?

COUNTESS

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 cheque'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! Farewell, my lord; 'Tis an unseason'd courtier; good my lord, Advise him.

LAFEU

He cannot want the best That shall attend his love.

COUNTESS

Heaven bless him! Farewell, Bertram.

Exit

BERTRAM

[To HELENA] The best wishes that can be forged in your thoughts be servants to you! Be comfortable to my mother, your mistress, and make much of her.

LAFEU

Farewell, pretty lady: you must hold the credit of your father.

Exeunt BERTRAM and LAFEU

HELENA

O, were that all! I think not on my father; And these great tears grace his remembrance more Than those I shed for him. What was he like? I have forgot him: my imagination Carries no favour in't but Bertram's. I am undone: there is no living, none, If Bertram be away. 'Twere all one That I should love a bright particular star And think to wed it, he is so above me: In his bright radiance and collateral light Must I be comforted, not in his sphere. The ambition in my love thus plagues itself: The hind that would be mated by the lion Must die for love. 'Twas pretty, though plague, To see him every hour; to sit and draw His arched brows, his hawking eye, his curls, In our heart's table; heart too capable Of every line and trick of his sweet favour: But now he's gone, and my idolatrous fancy Must sanctify his reliques. Who comes here?

Enter PAROLLES

Aside

One that goes with him: I love him for his sake; And yet I know him a notorious liar, Think him a great way fool, solely a coward; Yet these fixed evils sit so fit in him, That they take place, when virtue's steely bones Look bleak i' the cold wind: withal, full oft we see Cold wisdom waiting on superfluous folly.

PAROLLES

Save you, fair queen!

HELENA

And you, monarch!

PAROLLES

No.

HELENA

And no.

PAROLLES

Are you meditating on virginity?

HELENA

Ay. You have some stain of soldier in you: let me ask you a question. Man is enemy to virginity; how may we barricado it against him?

PAROLLES

Keep him out.

HELENA

But he assails; and our virginity, though valiant, in the defence yet is weak: unfold to us some warlike resistance.

PAROLLES

There is none: man, sitting down before you, will undermine you and blow you up.

HELENA

Bless our poor virginity from underminers and blowers up! Is there no military policy, how virgins might blow up men?

PAROLLES

Virginity being blown down, man will quicklier be blown up: marry, in blowing him down again, with the breach yourselves made, you lose your city. It is not politic in the commonwealth of nature to preserve virginity. Loss of virginity is rational increase and there was never virgin got till virginity was first lost. That you were made of is metal to make virgins. Virginity by being once lost may be ten times found; by being ever kept, it is ever lost: 'tis too cold a companion; away with 't!

HELENA

I will stand for 't a little, though therefore I die a virgin.

PAROLLES

There's little can be said in 't; 'tis against the rule of nature. To speak on the part of virginity, is to accuse your mothers; which is most infallible disobedience. He that hangs himself is a virgin: virginity murders itself and should be buried in highways out of all sanctified limit, as a desperate offendress against nature. Virginity breeds mites, much like a cheese; consumes itself to the very paring, and so dies with feeding his own stomach. Besides, virginity is peevish, proud, idle, made of self-love, which is the most inhibited sin in the canon. Keep it not; you cannot choose but loose by't: out with 't! within ten year it will make itself ten, which is a goodly increase; and the principal itself not much the worse: away with 't!

HELENA

How might one do, sir, to lose it to her own liking?

PAROLLES

Let me see: marry, ill, to like him that ne'er it likes. 'Tis a commodity will lose the gloss with lying; the longer kept, the less worth: off with 't while 'tis vendible; answer the time of request. Virginity, like an old courtier, wears her cap out of fashion: richly suited, but unsuitable: just like the brooch and the tooth-pick, which wear not now. Your date is better in your pie and your porridge than in your cheek; and your virginity, your old virginity, is like one of our French withered pears, it looks ill, it eats drily; marry, 'tis a withered pear; it was formerly better; marry, yet 'tis a withered pear: will you anything with it?

HELENA

Not my virginity yet [ ] There shall your master have a thousand loves, A mother and a mistress and a friend, A phoenix, captain and an enemy, A guide, a goddess, and a sovereign, A counsellor, a traitress, and a dear; His humble ambition, proud humility, His jarring concord, and his discord dulcet, His faith, his sweet disaster; with a world Of pretty, fond, adoptious christendoms, That blinking Cupid gossips. Now shall he— I know not what he shall. God send him well! The court's a learning place, and he is one—

PAROLLES

What one, i' faith?

HELENA

That I wish well. 'Tis pity—

PAROLLES

What's pity?

HELENA

That wishing well had not a body in't, Which might be felt; that we, the poorer born, Whose baser stars do shut us up in wishes, Might with effects of them follow our friends, And show what we alone must think, which never Return us thanks.

Enter Page

Page

Monsieur Parolles, my lord calls for you.

Exit

PAROLLES

Little Helen, farewell; if I can remember thee, I will think of thee at court.

HELENA

Monsieur Parolles, you were born under a charitable star.

PAROLLES

Under Mars, I.

HELENA

I especially think, under Mars.

PAROLLES

Why under Mars?

HELENA

The wars have so kept you under that you must needs be born under Mars.

PAROLLES

When he was predominant.

HELENA

When he was retrograde, I think, rather.

PAROLLES

Why think you so?

HELENA

You go so much backward when you fight.

PAROLLES

That's for advantage.

HELENA

So is running away, when fear proposes the safety; but the composition that your valour and fear makes in you is a virtue of a good wing, and I like the wear well.

PAROLLES

I am so full of businesses, I cannot answer thee acutely. I will return perfect courtier; in the which, my instruction shall serve to naturalize thee, so thou wilt be capable of a courtier's counsel and understand what advice shall thrust upon thee; else thou diest in thine unthankfulness, and thine ignorance makes thee away: farewell. When thou hast leisure, say thy prayers; when thou hast none, remember thy friends; get thee a good husband, and use him as he uses thee; so, farewell.

Exit

HELENA

Our remedies oft in ourselves do lie, Which we ascribe to heaven: the fated sky Gives us free scope, only doth backward pull Our slow designs when we ourselves are dull. What power is it which mounts my love so high, That makes me see, and cannot feed mine eye? The mightiest space in fortune nature brings To join like likes and kiss like native things. Impossible be strange attempts to those That weigh their pains in sense and do suppose What hath been cannot be: who ever strove So show her merit, that did miss her love? The king's disease—my project may deceive me, But my intents are fix'd and will not leave me.

Exit

SCENE II. Paris. The KING's palace.

Flourish of cornets. Enter the KING of France, with letters, and divers Attendants

KING

The Florentines and Senoys are by the ears; Have fought with equal fortune and continue A braving war.

First Lord

So 'tis reported, sir.

KING

Nay, 'tis most credible; we here received it A certainty, vouch'd from our cousin Austria, With caution that the Florentine will move us For speedy aid; wherein our dearest friend Prejudicates the business and would seem To have us make denial.

First Lord

His love and wisdom, Approved so to your majesty, may plead For amplest credence.

KING

He hath arm'd our answer, And Florence is denied before he comes: Yet, for our gentlemen that mean to see The Tuscan service, freely have they leave To stand on either part.

Second Lord

It well may serve A nursery to our gentry, who are sick For breathing and exploit.

KING

What's he comes here?

Enter BERTRAM, LAFEU, and PAROLLES

First Lord

It is the Count Rousillon, my good lord, Young Bertram.

KING

Youth, thou bear'st thy father's face; Frank nature, rather curious than in haste, Hath well composed thee. Thy father's moral parts Mayst thou inherit too! Welcome to Paris.

BERTRAM

My thanks and duty are your majesty's.

KING

I would I had that corporal soundness now, As when thy father and myself in friendship