Authorship.—It is generally agreed that a small part of this play is by another author. The Prologue and most of the Fifth Act are usually considered non-Shakespearean. They differ from the rest of the play in many details of vocabulary, meter, and style.
Date.—Troilus and Cressida must have been written before 1603, for in the spring of that year an entry in regard to it was made in the Stationers' Register. It must have been written after 1601, for it alludes (Prologue, ll. 23-25) to the Prologue of Jonson's Poetaster, a play published in that year. Hence the date of composition would fall during or slightly before 1602. The First Quarto was not published until 1609.
Sources.—The main source of this drama was the narrative poem Troilus and Criseyde by Chaucer. Contrary to his custom, Shakespeare has degraded the characters of his original, instead of ennobling them. The camp scenes are adapted from Caxton's Recuyell of the Historyes of Troye; and the challenge of Hector was taken from some translation of Homer, probably that by Chapman. An earlier lost play on this subject by Dekker and Chettle is mentioned in contemporary reference. We do not know whether Shakespeare drew anything from it or not. Scattered hints were probably taken from other sources, as the story of Troy was very popular in the Middle Ages.
All's Well That Ends Well.—When a beautiful and noble-minded young woman falls in love with a contemptible scoundrel, forgives his rebuffs, compromises her own dignity to win his affection, and finally persuades him to let her throw herself away on him,—is the result a romance or a tragedy? This is a nice question; and by the answer to it we must determine whether All's Well That Ends Well is a romantic comedy like Twelfth Night or a satirical comedy bitter as tragedy, like Troilus and Cressida.
Helena, a poor orphan girl, has been brought up by the kindly old Countess of Rousillon, and cherishes a deep affection for the Countess's son Bertram, though he neither suspects it nor returns it. She saves the life of the French king, and he in gratitude allows her to choose her husband from among the noblest young lords of France. Her choice falls on Bertram. Being too politic to offend the king, he reluctantly marries her, but forsakes her on their wedding day to go to the wars. At parting he tells her that he will never accept her as a wife until she can show him his ring on her finger and has a child by him. By disguising herself as a young woman whom Bertram is attempting to seduce, Helena subsequently fulfills the terms of his hard condition. Later, before the king of France she reminds him of his promise, shows his ring in her possession, and states that she is with child by him. The count, outwitted, and in fear of the king's wrath, repentantly accepts her as his wife; and at the end Helena is expected to live happily forever after.
Disagreeable as the plot is when told in outline, it is redeemed in the actual play by the beautiful character given to the heroine. But this, while it vastly tones down the disgusting side of the story, only increases the bitter pathos which is latent there. The more lovely and admirable Helena is, the more she is unfitted for the unworthy part which she is forced to act and the man with whom she is doomed to end her days. A modern thinker could easily read into this "comedy" the world-old bitterness of pearls before swine.
Date.—No quarto of this comedy exists, nor is there any mention of such a play as All's Well That Ends Well before the publication of the First Folio in 1623. A play of Shakespeare's called Love's Labour's Won is mentioned by Francis Meres in 1598; and many think that this was the present comedy under another name. However, the meter, style, and mood of most of the play seem to indicate a later date. The most common theory is that a first version was written before 1598, and that this was rewritten in the early part of the author's third period. This would put the date of the play in its present form somewhere around 1602.
Sources.—The story is taken from Boccaccio's Decameron (ninth novel of the third day). It was translated into English by Painter in his Palace of Pleasure, where our author probably read it. Shakespeare has added the Countess, Parolles, and one or two minor characters. The conception of the heroine has been greatly ennobled. It is a question whether the bitter tone of the play is due to the dramatist's intention or is the unforeseen result of reducing Boccaccio's improbable story to a living possibility.
Measure for Measure.—When Hamlet told his guilty mother that he would set her up a glass where she might see the inmost part of her, he was doing for his mother what Shakespeare in Measure for Measure is doing for the lust-spotted world. The play is a trenchant satire on the evils of society. Such realistic pictures of the things that are, but should not be, have always jarred on our aesthetic sense from Aristophanes to Zola, and Measure for Measure is one of the most disagreeable of Shakespeare's plays. But no one can deny its power.