The web of our life is of a mingled yarn,
Good and ill together: In all of Shakespeare’s most famous plays,
the principal actors (Brutus, Hamlet, Othello and Macbeth) each bear some fatal weakness of character that proves to be their undoing as the play progresses. Sometimes they act out of the best of intentions, while at other times they are led astray. They are decent persons with some nobility in them, but their moral courage fails them at their time of trial - this is the tragedy of their destiny. Bertram, the count of Rousillon, is no different from these other tragic actors; as his youthful impetuosity causes him to err. But there is one important difference nonetheless: Bertram is redeemed by the love his wife bears him, and the play has a happy ending. In that sense, the play truly lives up to its title, and all is well that ends well!
Our remedies oft in ourselves do lie,
Which we ascribe to heaven: This is another recurring theme that is found in many of the Shakespearean plays. The
playwright seems to be saying that we should not blame our fates for the misfortune that befalls us; rather, we should acknowledge that are own actions (or lack thereof) are in many ways responsible for our troubles. The implication, of course, is that the remedy to our problems also lies within our grasp.
Helena, the daughter of a poor French doctor, miraculously cures the King of France of a serious ailment. To recompense her for her effort, he promises her the hand (in marriage) of any lord that she desires. Helena has set her heart on Bertram – whose mother is also favorably disposed towards her. But Bertram finds the match below his dignity – and status – and is more interested in earning name and glory for himself in the Florentine wars. He risks the displeasure of the King, and abandons her to her fate… Meanwhile, in Italy, he is much enamored by Diana (a Florentine widow). Heartbroken, Helena leaves the safety of her marriage home, and embarks on a pilgrimage to the pilgrim center of Saint Jacque. As fate wills it, the two women (Helena and Diana) meet.
The villain is played by
Parolles, a follower of Bertram, who is as bold in his speech as he is timid with his sword. Parolles is the butt of much humor throughout the play; but of course the real villain is none other than the lord Bertram himself. Bertram betrays immaturity and lack of foresight – and is curiously unconcerned by the consequences of his actions. The King refers to him as a “proud and scornful boy”; and though Bertram grows in maturity and status as the play progresses, he is forever having to explain his past indiscretions – and keeps falling short!
Neither comedy nor tragedy, All’s Well That Ends Well sees the playwright writing at the height of his powers. He is creative, insightful, adds some fine humorous touches, and maintains the suspense till the end of the play. The characters are mostly believable, and are suited to (though not encumbered by) the times that they inhabit. The part played by the Countess – Bertram’s mother – is an especially sympathetic part.