The character of Helena in All's Well That Ends WellHelenaThere is an underlying ambiguity in the character of Helena. By spreading the illustration over the four most controversial moments of All is well, the virginal repartee, the miraculous healing of the King, the fulfillment of the conditions and the bed-trick, we can detect the "different nuances" of his character - honorable. , passionate, discreet, daring, romantic, rational, tenacious, forgiving... She can be considered a fundamentally idiosyncratic person with her good and her bad, positioned in the tradition of the "smart girl" and "task achiever '' folktales (WW Lawrence) that require her to behave with determination. All of Helena's ambiguity stems from an unrealistic dramaturgy and a realistic conception of woman. Throughout the play, we see Helena shaking up naivety with sexuality and at times there seem to be two Helenas, one who is conventionally tame and the other who is actively into it... a Juliette sick of love who is ready at the end to expose the bad practices of her darling. One could compare Helena to Isabella in Measure for Measure, since the characters are engulfed by different circumstances that require each of them to act differently. Isabelle is a religious figure while Helena is motivated solely by love. Hélène... virtue in action? All other characters contribute to the promotion of Helena as a virtuous and good-doing character. II Sc. v Bertram addresses her with “here is my hoof”, he does not diminish her already cultivated righteousness which renounces inherited wealth and nobility. The Countess is convinced that she possesses a noble virtue that her son cannot achieve through his valor in war. Her virtues were attributed to her by her father and by Heaven to whose intervention she attributes all her ability to heal the King. In one way or another, she is this “semi-divine person or some kind of new saint” who fights for what is authentic and legal and personifies virtue in action. This projection of Christ with which W. Knights endows could have been further supported by showing that it is rooted in what Lefaw says in Act II Sc. iii:-It is said that miracles are past; and we have our philosophical persons to make things modern and familiar, supernatural and causeless. This is why we engage in frivolous terrors, locking ourselves in an apparent knowledge when we should submit to an unknown fear..