All's Well That Ends Well is regularly portrayed as a "dull" or "issue" play, recognized from the prior, more sprightly comedies by offensive characters and a complex sharpness toward human relations, all topped off with a "cheerful completion" that is nothing of the sort. To a limited extent, these reactions are out of line. The characters all in all are a wonderful gathering, recognized either by the insight of experience (the Ruler of France, Lafew, the Royal lady) or by fundamental fairness and great aims (Diana, the Principal Master and Second Ruler Dumaine). The main really unsympathetic figure in the supporting cast is Parolles, who is less a scoundrel than a humorously esteem free maverick. The consummation, while unsuitable to our sensibilities, appears to satisfy the characters, and the play is a long way from being a catastrophe.
There are obnoxious topics permeating in the midst of the comic drama, in any case. In particular, the unhappiness of rot and maturity hangs vigorously finished the more established characters, none of whom appear to have long to live. In the meantime, for a play apparently worried about sentiment, Every single's Well take a brutally critical perspective of sexual love. We expect coarse silliness from characters like the Comedian, who exist to give filthy lighthearted element, and skeptics like Parolles, yet even the sentimental champion, Helena, enjoys sexual talk, and has a low feeling of male sexual conduct as a rule. This view is advocated, the play proposes, since the fruitful focal double dealing, the room switch that empowers Helena to wind up noticeably pregnant by her significant other, Bertram, and in this way drive him to remain close by, relies on the way that oblivious, all ladies are indistinguishable to men.
Similarly as critical in investigating the upsetting impact of the play on the peruser/group of onlookers are the actualities of the focal "sentiment," on the off chance that we can call it that. Shakespearean groups of onlookers need to acknowledge extraordinary ladies picking men who are unworthy of them (Portia and the fortune-seeker Bassanio in The Trader of Venice; Saint and the careless Claudio in A lot of excitement about something that is not important, and numerous others), yet it is greatly hard to accommodate oneself to a sentimental lead as nefarious as Bertram, who deserts Helena, tries to entice a guiltless lady, and just turns contrite in the play's last scene. We might be intended to see him as salvageable somehow, and to expect that he will develop in marriage, however the play gives us just a couple of clues of this, liking to concentrate on his conspicuous blemishes.
The creative Helena, in the mean time, cherished by everybody (put something aside for Bertram), cuts a significantly additionally engaging figure. Be that as it may, her determined quest for a man who is clearly unworthy of her has the shocking impact of lessening her allure as the play goes on. Nothing remains in Helena's way as she emphatically seeks after the man she adores, and keeping in mind that we may respect her, when she appears to triumphantly indicate Bertram how he has been deceived, we never again like her as much as we did- - and our assessment of her great taste, after so long watching her pursuit a miscreant, is everything except gone. The last scene requests that we praise the triumph of adoration - however it appears to be less a fairy-tale finishing than a skeptically invented near a negative drama, in which genuine romance takes a backseat to control.