Abstract

This essay argues that heretofore overlooked opening dialogue in All’s Well That Ends Well suggests clues as to the formation of a philosophical vision in Helena that is important to her disposition for the rest of the play. More specifically, references to Catholic-Protestant divisions frame epistemological questions that Helena ultimately resolves in a sacramental direction. I contend that this developed sacramental outlook allows her to make the leap of faith requisite for her successes. In the above respect, I claim that the play, its ambiguous ending notwithstanding, concludes in a genuinely comic vein.