Free All's Well That Ends Well by William Shakespeare Page B

by Henry Chettle, Thomas Dekker, and Thomas Heywood)
    1594
    The Comedy of Errors
    1595
    Love’s Labour’s Lost
    1595–97
    Love’s Labour’s Won
(a lost play, unless the original title for another comedy)
    1595–96
    A Midsummer Night’s Dream
    1595–96
    The Tragedy of Romeo and Juliet
    1595–96
    King Richard the Second
    1595–97
    The Life and Death of King John
(possibly earlier)
    1596–97
    The Merchant of Venice
    1596–97
    The First Part of Henry the Fourth
    1597–98
    The Second Part of Henry the Fourth
    1598
    Much Ado About Nothing
    1598–99
    The Passionate Pilgrim
(20 poems, some not by Shakespeare)
    1599
    The Life of Henry the Fifth
    1599
    â€œTo the Queen” (epilogue for a court performance)
    1599
    As You Like It
    1599
    The Tragedy of Julius Caesar
    1600–01
    The Tragedy of Hamlet, Prince of Denmark
(perhaps revising an earlier version)
    1600–01
    The Merry Wives of Windsor
(perhaps revising version of 1597–99)
    1601
    â€œLet the Bird of Loudest Lay” (poem, known since 1807 as “The Phoenix and Turtle” [turtledove])
    1601
    Twelfth Night, or What You Will
    1601–02
    The Tragedy of Troilus and Cressida
    1604
    The Tragedy of Othello, the Moor of Venice
    1604
    Measure for Measure
    1605
    All’s Well That Ends Well
    1605
    The Life of Timon of Athens
, with Thomas Middleton
    1605–06
    The Tragedy of King Lear
    1605–08
    ? contribution to
The Four Plays in One
(lost, except for
A Yorkshire Tragedy
, mostly by Thomas Middleton)
    1606
    The Tragedy of Macbeth
(surviving text has additional scenes by Thomas Middleton)
    1606–07
    The Tragedy of Antony and Cleopatra
    1608
    The Tragedy of Coriolanus
    1608
    Pericles, Prince of Tyre
, with George Wilkins
    1610
    The Tragedy of Cymbeline
    1611
    The Winter’s Tale
    1611
    The Tempest
    1612–13
    Cardenio
, with John Fletcher (survives only in later adaptation called
Double Falsehood
by Lewis Theobald)
    1613
    Henry VIII
(
All Is True
), with John Fletcher
    1613–14
    The Two Noble Kinsmen
, with John Fletcher

FURTHER READING
AND VIEWING
CRITICAL APPROACHES
    Calderwood, James L., “Styles of Knowing in
All’s Well,
”
Modern Language Quarterly
25, September 1964, pp. 272–94. Examines the play’s various problems in relation to Shakespeare’s narrative poem,
Venus and Adonis
, and the importance of literal, symbolic, and self-knowledge.
    Cole, Howard C.,
The All’s Well Story from Boccaccio to Shakespeare
(1981). Thorough review of all the source material.
    Findlay, Alison,
A Feminist Perspective on Renaissance Drama
(1999). Discusses
All’s Well
in relation to female self-fashioning, pp. 91–100.
    Frye, Northrop,
The Myth of Deliverance: Reflections on Shakespeare’s Problem Comedies
(1983). Brilliant analysis of comedy in terms of mythic structures and cultural history across a broad terrain of classical literary texts, arguing that
All’s Well
is untypical in its emphasis on social change.
    Haley, David,
Shakespeare’s Courtly Mirror: Reflexivity and Prudence in All’s Well That Ends Well
(1993). Argues the play offers a critical analysis of courtly society.
    Hopkins, Lisa,
The Shakespearean Marriage: Merry Wives and Heavy Husbands
(1998). Examines all aspects of contemporary marriage and its significance in Shakespeare’s plays:
All’s Well
is treated at pp. 56–62 and
passim
.
    McCandless, David, “Helena’s Bed-Trick: Gender and Performance in
All’s Well That Ends Well,
”
Shakespeare Quarterly
45 (1994), pp. 449–68. Theoretically informed exploration of the problematic nature of Helen’s physical desire and its representation in performance, including the possibility of staging the bed trick.
    Muir, Kenneth, ed.,
Shakespeare: The Comedies
(1965). Collection of distinguished earlier critical essays, including M. C. Bradbrook, “Virtue Is the True Nobility: A Study in the