By Sterling Professor of the Humanities Harold Bloom
A examine consultant to at least one of Shakespeare's maximum performs that incorporates a collection of feedback in the course of the centuries, in addition to an creation through the writer, a precis of the plot, a accomplished record of characters, a biography of Shakespeare, and extra.
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Extra resources for All's Well That Ends Well (Bloom's Shakespeare Through the Ages)
The style of the whole is more sententious than imaginative: the glowing colours of fancy could not with propriety have been employed on such a subject. In the passages where the humiliating rejection of the poor Helena is most painfully aﬀecting, STA All's Well That Ends Well fi34 34 11/23/2009 3:43:34 PM All’s Well That Ends Well in the Nineteenth Century 35 the cowardly Parolles steps in to the relief of the spectator. The mystiﬁcation by which his pretended valour and his shameless slanders are unmasked must be ranked among the most comic scenes that ever were invented: they contain matter enough for an excellent comedy, if Shakspeare were not always rich even to profusion.
But, indeed, we may ﬁnd occasion for wonder at the matrimonial alliances STA All's Well That Ends Well fi42 42 11/23/2009 3:43:36 PM All’s Well That Ends Well in the Nineteenth Century 43 concocted in more than one of Shakespeare’s dramas; in which it should seem, that if the woman were but legitimately united with the man, and according to ecclesiastical law, and was provided with an establishment for life, it was expected of her to become profoundly grateful and complacent, whatever may be the character, or have been the previous conduct of the man.
From An Essay on the Dramatic Character of Sir John Falstaff STA All's Well That Ends Well fi26 26 11/23/2009 3:43:33 PM All’s Well That Ends Well in the Eighteenth Century 27 Morgann (1726–1802) was a man of letters perhaps best remembered for this extended study of the Shakespearean character Falstaff. The following excerpt is taken from that work and in part reveals the eighteenth-century interest in Parolles. Here, the braggart soldier is compared unfavorably to Falstaff. I am to avow then, that I do not clearly discern that Sir John Falstaﬀ deserves to bear the character so generally given him of an absolute coward; or, in other words, that I do not conceive Shakespeare ever meant to make cowardice an essential part of his constitution.