|Type of paper:||Research paper|
|Categories:||Relationship Shakespeare Character analysis World literature|
There is little evidence that the Shakespeare's play "All's Well That Ends Well" was prevalent in his lifetime, although it has remained to be the least known play by people due to its unorthodox mixture of cynical realism and fairy tale logic. The love of Helena for the unlovable Bertram makes the play difficult to explain although its performance can be deduced based on the physical attraction which it has, especially the ability of emotional growth. However, towards the end of the play, a shift is registered as Bertram switches from hatred to love within a single line. The change is considered as a particular problem which is exhibited by characters and actor in their admiration of psychological realism. In most of the problem plays which are associated with Shakespeare, the outstanding attributes are based on their ambiguous and complex tone which occasionally shifts violently between dark psychological drama and straightforward comic material. As coined by F.S Boas in one of the Shakespeare plays, problem plays subjects the main characters to contemporary social issues which halt their primary identity, thus simulating the reality. Overall, "All's Well That Ends Well" is regarded as problem or dark play because of its exploration of more cheerful comedies which are based on sophisticated bitterness and unpleasant characters towards human relations. This paper examines Bertram's toxic courtier personality in Shakespeare's play "All's Well That Ends Well" and realism factors of the portrayal of his character on stage.
"All's Well That Ends Well" is a freaky and twisted fairy which has gone wrong. The question of realism gives the play an open and meaningful relationship with the ideas it intends to portray. Shakespeare chooses his characters with a keen observation which is based on the attitude they have towards individual personalities. Bertram is revealed as a character with toxic courtier personality which defines his realism as portrayed on stage (Shakespeare 102). The relationship between Bertram and Helena reveals an inclined twist which not only alters the normality of seeking companionship but reveals a realism which is in question. As opposed to the usual social relations where a man pursues a woman, the play ""All's Well That Ends Well" focuses on a twist where a female is aggressively pursuing the male character. Helena is seen deeply in love with Bertram who doesn't recognize the resilience. The immature Bertram dismisses Helena because of individual social inferior standings that stand between them. Although she was abandoned on their wedding night, Helena never stopped pursuing him until she wins him in a deception scheme. The twist of event portrays Bertram as a character with courtier personalities. However, in Brett Gamboa's "'Isn't real that I see?" Staged Realism and the Paradox of Shakespeare's Audience," Bertram portrays a redeeming quality in the combat operations. And like a good soldier and a general of the Duke, he is to describe eloquence and massive confidence when approaching issues which are related to relationship and love. However, his actions leave the audience with many unanswered questions based on his actual personality. As a dark play, the behaviours of Bertram shows sophisticated bitterness and unpleasant association toward human relation. Conversely, the mix of humour and tragedy in the pay gives a comprehensive evaluative approach especially concerning the attitudes that are bestowed in Bertram's toxic personalities.
As a problem and Comedy story which is based on unaccomplished realism, "All's Well That Ends Well" possesses a greater emphasis on different situations as opposed to the characters. The connection between the characters and the audience is thus numbed with laughable misfortune experiences. Bertram springs to the audience's mind when flaws are being considered. As a nobleman without generosity, as well as a young and enthusiastic character without truth, reveals a lost reality especially when married Helena out of cowardice. After the death of Helena, Bertram leaves her profligate before sneaking to a second marriage which never materialized because of several accusations which were made against him regarding his wrong doings but falsehood in the dismissed happiness. Bertram is also a self-proclaimed bounder, cruel and shallow, though the faults are widespread among the inexperienced youths. The naivety of Bertram makes his an "unseasoned courtier" (I.i.75). He is the only character with the inability of seeing Parolles as a sign of maturity. At home, Bertram portrays tender care to his parents, but after his father died when he was allowed to visit the court to find a place to live in under the King's watchful eyes. Bertram claimed that he is commanded for a residence to the Kings' home regardless of his age as he promises to make it heightened within the shortest time possible (II.i.27-8). However, Bertram was never startled with these incidences as he kept a steady focus on all the reclaimed false which he was subjected to by the King.
Additionally, the willingness of the Dumaine brothers to befriend Bertram although they dislike his behaviours reveals a twist as well as a sense of realism which is always assigned to actors. The generation allows the experiences of the characters or actors to co-exist with the associated methods of acting which are aimed at awakening emotions. For example, Bertram is always an outstretched and relentless character whose actions leaves the audience mesmerized on their actuality. In most cases, he portrays a jarred relationship with other characters is based on extrusive juxtaposition. For instance, as Helena leaves Roussillon for make Bertram return home for her to prove her love, and make him her husband, Shakespeare adopted an open approach which shows Bertram unwillingness amidst self-evaluation and behavior. For instance, Bertram portrays a courtier-like behavior when he "sleeps" with Dian without any concrete attachment of future possible marriage between them. He knows that the action is immoral but still confuse with little care and his profession of love to Diana is based on infatuations of luring her. The events between them later reveal that Bertram is forced to give up his ring unwillingly to cover the shame which he has been exposed to in his relationship with Diana. He refusal claims about marrying Helena were later deduced, that he cannot marry a person of lower rank, "a poor physician's daughter my wife!" (Shakespeare II.iii.116). Although, Helena is recognized by everyone else as more worthy as compared to Bertram, according to him he sees nothing worthwhile in her and instead views her as nothing by a commoner. Shakespeare portrays the relationship between Bertram and Helena as a dark drama which is jarred by uneven actions to rationalize the truth and create a hegemonic intimacy. Bertram is always seen as startled between different issues. After his return from the war, he thought that Helena was dead and hid infatuations with Diana reveals that he is never immature but irrationally incorrigible in his actions towards a relationship. Shakespeare uses Bertram to show how immediate changes can expose one to unseen jeopardy.
Moreover, in Gamboa's article "'Isn't real that I see?" Staged Realism and the Paradox of Shakespeare's Audience" asserts that questioning the legitimacy of Helena as she risks reality eruption enhances a significant attraction towards acting. The concerns of Shakespeare reveal that reality on stage is entangled with the audience's paradoxical engagements. The resonate is published in Bertram's attributions which links him erratic behaviours as he tries to escape from the reality of "sleeping" with Diana. Bertram is forced by the King to marry Helena amidst massive refusal which shows that he never loved her although as the play comes to an end, he confesses and seeks to be pardoned (Shakespeare IV.iii.134). The twist portrays him as a false character whose stand cannot easily be distinguished, although according to critics the assumption is not valid, very passive. As a character cladded in tarnished honour, Bertram fails to reach the greater heights which have been achieved by other characters such as Beatrice, Rosalind and Portia (Roberts 164). Although, Helena is seen as virtually well, her love towards Bertram's mother is a sign of falsehood which can only be reiterated from the unsounded realism in the Gamboa's paradox. Story and albeit realism is also portrayed when Helena manages to heal the King although according to Bertram the whole processes is based on unplanned and jarred atrocities.
Similarly, the confession that Helena made towards Bertram based on her dire need for a sounding relationship regardless of the cruelty of fortunes between them reveals that he is an unrealistic character who never sees reality and readily accept them. Interestingly, Shakespeare uses these moments of unjust realities to create a close paradox with the audience as he lends coherence to thriving figures on tensions which are brought about by the character's indeterminacy. The thriving correlation which is portrayed between the King and Bertram as he tries to bring the two to a unified relationship shows the essence of realism. However, Bertram never allowed these events to amicably unfolds and succeed through allowing a competition between reality and fiction to widen the gap between them. The relevance of Bertram actions exhibits irreconcilable contradictions thus mars the needed engagement that should be pertinent for the success of the play.
The delivery of Diana's riddle about the quick dead (V. iii. 300), the upper level of the walkaway on the stage became lit to reveal Helena in a white shift with her belly exceedingly growing and a glowing blue Bertram ring. Her movement towards the lower stage to receive her long-awaited prize almost all characters were affected apart from Helena and Bertram who did not demonstrate any sign of care. The scene is overall owned by Helena leaving Bertram gobsmacked on one side to be swayed by her story (Peterson 120). However, the last line which was meant for Helena changed the face of the play as they dearly portray sincere love between the two. False light is used to bring the event to reality with him taking every flash with keen perspectives concerning the intended outcome. However, as the King places his hands on Bertram and Helena for an inclusive family photo, a remorseful incident is evident in the play. All's well; the King pointed to support the claim that all public relations can spin to have a happy ending.
Bertram's youth was the visionary of the blood mingling which exposes him to several mistakes to build rational conventional wisdom for Helena's rejection as compared to the King Shakespeare II.iii. 117). The events show that Bertram is realistic while the King, Lord Lafew and the Countess are romantic. The use of blood consciousness acted as a realist approach towards a fruitful marriage under virtually impossible conditions which is based on an improbable lie (Bertrand 186). However, Bertram speaks on behalf of Shakespeare with attempts to regulate his behavior within the assertion of the availability of different degrees of blood. It is worth noting that through economic and prestige reasons, Bertram upholds a distinguished honour which is remarkably related to the concept of inherent worthiness as portrayed in the Renaissance context. As a legitimate son to his father, and presents a six-generation link for a noble posterity and ancestor in the Count Roussillon, Bertram is focused on becoming a father (V. iii. 195).
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