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AbstractShakespeare's plays are best studied in clusters if we want to understand the political thought and preoccupations which inform their action rather than, as has been more usual practice, their generic identity. Plays written around the time of the Gunpowder Plot (1605) and the subsequent imposition of the Oath of Allegiance share common concerns regarding the swearing of oaths, honest speech, trustworthiness, and loyalty—issues that transcend distinctions between tragedies, comedies, histories and Roman Plays. I explore the relationship between political language and ideas inCoriolanusandAll's Well That Ends Well, plays that are rarely analyzed together yet which use similar language, represent related issues, and address similar anxieties. Both are part of a larger group—includingOthelloandMacbeth—which engage a contemporary audience of London citizens, representing the difficulty of life in times of acute paranoia.

AbstractAll's Well That Ends Wellis a complicated and disturbing play that has a comic ending, but which seems anything but a comedy with a forced marriage based on bed-trickery between the reluctant Bertram and the feisty and witty Helena. Unsurprisingly, audiences have tended to side with Helena and the play has been classified as a "problem comedy" ever since William Lawrence identified this particular group of Shakespeare plays nearly a century ago. I want to argue in this essay that the play might better be classified as an "equivocation" play alongsideMacbeth, Othello, andTroilus and Cressidaand that the anxieties about fidelity, honesty and truthfulness in marriage need to be read in terms of the fear of religious tolerance/intolerance which dominated religious politics in the early years of James's reign before the passing of the Oath of Allegiance (1606). The play is notable for its interest in chop logic, which the clown in particular displays throughout the play, a counterpoint to the arguments of Bertram and Helena who want very different things, but who are bound together as future husband and wife. Although the language of treason and treachery is used throughout, the play is less interested in answering the question of how far one can trust a stranger within than the issue of how far one can accommodate the needs of others. This article is published as part of a collection to commemorate the 400th anniversary of William Shakespeare's death.

All's Well That Ends Well is a complicated and disturbing play that has a comic ending, but which seems anything but a comedy with a forced marriage based on bed-trickery between the reluctant Bertram and the feisty and witty Helena. Unsurprisingly, audiences have tended to side with Helena and the play has been classified as a "problem comedy" ever since William Lawrence identified this particular group of Shakespeare plays nearly a century ago. I want to argue in this essay that the play might better be classified as an "equivocation" play alongside Macbeth, Othello, and Troilus and Cressida and that the anxieties about fidelity, honesty and truthfulness in marriage need to be read in terms of the fear of religious tolerance/intolerance which dominated religious politics in the early years of James's reign before the passing of the Oath of Allegiance (1606). The play is notable for its interest in chop logic, which the clown in particular displays throughout the play, a counterpoint to the arguments of Bertram and Helena who want very different things, but who are bound together as future husband and wife. Although the language of treason and treachery is used throughout, the play is less interested in answering the question of how far one can trust a stranger within than the issue of how far one can accommodate the needs of others. This article is published as part of a collection to commemorate the 400th anniversary of William Shakespeare's death.