All's Well that Ends Well: Metaphors 13 key examples

In this metaphor, Helen compares Bertram to a "bright particular star," pointing to his high status and her belief that he is utterly unattainable. Just as it would be impossible to marry or possess a star, Helen sees her chances of winning Bertram's love as equally impossible.

The metaphor also holds further layers of meaning when considered in the historical context of Shakespeare's time. During this era, social hierarchy and class distinctions were far more rigid than they now are. People born into noble families, like Bertram, would have been viewed as insurmountably distant from ordinary people. Helen, who’s of a lower social standing, uses the metaphor of a star to portray the huge gap between her and the object of her love.

Through this metaphor, Helen expresses her deep admiration and longing for Bertram, emphasizing the vast difference in their positions. The metaphor underscores the apparent impossibility of their union, and the negative feelings about her own personality and position in life that these provoke in Helen. The self-disparaging use of “'Twere all one” also supports this: it’s a period-specific way of saying “of course it would have to be this way.”

The King misses his friend, whose presence was so important to him that feels he can “hear him now.” His words were so wise and “plausive” (pleasing) that they echo in the King’s ears even after he has died. This lasting influence is emphasized by the metaphor of “grafting” that Shakespeare employs here. Grafting is the process of joining limbs from different plants to grow together on one stem. It’s difficult and takes finesse, which suggests that Bertram's father carefully chose his words, ensuring they had a real impact. His words were not scattered like wheat, but deliberately placed and cultivated to nurture and influence.

The second metaphor used here—of life and health as a "flame" needing "oil"—points to the King's reflection on aging. The flame represents vitality and energy, while the lack of oil signifies a decline in these essential qualities. The King is worried that if he keeps on living and ruling inadequately he will be the "snuff of younger spirits.” By this, he means that by staying alive, he might act like a candle-snuff (a metal instrument used for putting out long tapers), quenching the vigor and enthusiasm of younger people who might do better.

In this passage, the King compares himself to a bee in a hive that can no longer produce “wax nor honey.” This metaphor is especially potent in the context of the King’s role. Beehives have rigid socio-political structures. These are often associated with efficiency, and the support of the collective good over that of the individual. By characterizing the kingdom as a "hive," the King implies that every individual, including himself, has a role to play. The King's gloomy realization that he can no longer bring "wax nor honey" home points to his diminishing ability to contribute meaningfully to his kingdom. Wax and honey are products of the bees’ labor; they are essential for the survival and prosperity of the hive. In this context, they symbolize the useful and necessary contributions a good leader should bring to their kingdom. The King doesn’t feel like he can provide them, and so he thinks he should be “dissolvéd” (removed from office) to “give some laborers room.”

This metaphor is an important moment of character development for the King. It shows his wisdom and humility, as he acknowledges that leadership is not an entitlement but a responsibility. By identifying himself with a bee, a creature known for its diligence, the King also subtly invokes the virtues of hard work and collective responsibility. This also speaks to the idea of living one’s principles in All’s Well That Ends Well. Just saying that something is “honorable” doesn’t make it so; just being a King doesn’t make you a good ruler.

Helen uses a metaphor comparing her unrequited love for Bertram to water poured into a sieve in this quotation. This useless labor represents the futility and endlessness of her affection. This metaphor is accompanied by tactile imagery, where words like “pour” evoke sensations of wetness and fluidity. The word “desert” suggests dryness, which contrasts with the water in the first metaphor.

However, in the language of Shakespeare’s time, it also means “deserve.” Helen is saying that she doesn’t have any idea how she could possibly win his love. The passage is full of paradoxes, much as Helen’s love of Bertram is. She wants Bertram but doesn’t want to, wants to deserve him but doesn’t think she can. She pours her love for Bertram into the “captious and intenible” (large and incapable of retaining) sieve of these paradoxes, striving “against hope.”

In this passage Shakespeare makes Helen’s speech to the King sound almost like a song by using alliteration. This is a literary technique in which words that are close to each other start with the same sounds. The letters can be different as long as the sound is the same, as it is here in “kingly” and “command.” This makes Helen’s plea to the King seem more heartfelt and serious. This effect is magnified by the slow, distinguished rhyme scheme of the couplets she’s speaking. The “K” sound in “kingly” moves from the "possession" of the King to being in Helen’s grasp as she says the word “command.” In this way, the  alliteration used here represents Helen’s request for a transference of power and autonomy.

When Helen talks about wanting her “low and humble name to propagate with any branch,” she's using gardening terms and the language of growth as a metaphor to talk about marriage and fertility. The word “propagate” usually means to create new plants, and “branch” refers to part of a tree. She wants to marry into the King’s court to better herself, and to grow and tend her “low and humble name.” In so doing, she’ll “propagate” children and grow into nobility.

The King employs a metaphor here, characterizing honor as a “slave” whom people debase for unprincipled purposes. This metaphor suggests that the term “honor” is often misused and stripped of its true meaning. The King is here pointing out to Bertram that a woman’s virginity is a poor measure of her honorable character, as honor should be derived from “acts,” not from a “lying trophy.”

Furthermore, honor is personified here, as Shakespeare gives it human attributes such as thriving, challenging, and being born. The King is trying to persuade Bertram that although that honor is good, it should be something that’s cultivated through virtuous actions rather than relying solely on arbitrary qualifications like lineage.

When the King slurs the word “debauched” to “debosh’d,” it’s indicative of his frustration. This use of dialect implies his disdain for how the term “honor” is frequently degraded and deprived of its genuine significance. He literally “debauches” the word “debauched,” demonstrating to the audience how easy it is to use a word—like honor—incorrectly.

In this paragraph, the Duke refers to France as "our cousin." This was an idiom used by royalty during the Early Modern period. Rulers referred to each other by the names of their countries, and used the names of relatives like "cousins" or "uncles" to emphasize both familiarity and alliance. This idiom reflects the interconnectedness of European nobility.

Adding to this idea that France is a “cousin” of Florence’s, Shakespeare personifies the country as if it had the capacity to close off its heart to the pleas of others. By giving the country human qualities, Shakespeare tells the audience that the Duke of Florence is hurt and offended by their refusal to answer his “borrowing prayers,” as if the country itself had treated him coldly.

The word “bosom” refers to the chest area, which is closely associated with the heart. By using this metaphor, the Duke is saying that France has literally hardened its heart, and is indifferent to the pleas for assistance. This metaphor communicates the Duke’s frustration and disappointment at the lack of support from a country or "cousin" he thought was an ally.

Mariana employs hyperbolic language as she emphasizes the catastrophic potential consequences of succumbing to men’s deceitful behavior. Telling Diana to “[b]eware of them,” she describes the potential consequences of being taken in by “promises, enticements, oaths” and “tokens,” referring to the “wrack of maidenhood.” A “wrack” is an old-fashioned term for the shell of a destroyed ship, made of “limed” (waterproofed) wood. The “liming” here also refers to “birdlime,” a sticky substance that was spread on twigs to trap birds trying to use them for nests. In this doubled metaphor, Mariana both compares the ruin of a young woman’s innocence to a shipwreck, and the lures of men to sticky snares. The use of hyperbole paints a vivid picture of the devastation that could befall Diana if she is taken in by deceitful promises, or succumbs to sexual advances.

Shakespeare also uses Diana’s name as an allusion in this passage. The character shares her name with the Roman goddess of virginity and hunting. This allusion adds a layer of significance to Mariana’s warning. When she uses Diana’s name, she aligns the girl with these qualities, as Diana is the epitome of chastity. In this context, invoking the goddess Diana serves as a reminder of the values and virtues associated with that name. It’s also an admonition to uphold these virtues against the wiles of men.

This passage is full of repetitive “L” sounds. The shower of 'L' sounds in "love,” "laughter,” and "let" produce a flowing, musical effect. This alliteration gives the dialogue a playful and mocking tone, and the repetitive sounds give it a sense of movement and progressive flow. This echoes its content, as the First Lord is teasingly suggesting that Parolles will inevitably prove himself to be fake if they let him.

The scene also contains foreshadowing. By talking about what he expects to happen to Parolles if he’s allowed to “fetch his drum,” the First Lord hints at future events in the play. He sets up an expectation and excitement for the audience, as they can anticipate a funny and revealing scene is coming. Just as the First Lord suggests, Parolles does indeed reveal “the bottom of his character” shortly after this.

As if this weren’t enough, Shakespeare’s use of metaphor adds yet another layer of mockery to this setup for Parolles. When Parolles is referred to as a “counterfeit lump of ore,” the First Lord suggests that he is pretending to be something valuable but is in fact worthless. Just as heating ore reveals the true metal within, the audience is told that putting Parolles in a pressured situation will reveal his true character. The word “metal” here is also a pun, as it sounds like “mettle,” which is a period-specific phrase meaning "courage and fortitude." This usage is funny because these are the very qualities that Parolles lacks.

Diana refers to her honor (her virginity) as a ring, and her chastity as the "jewel of our house." This metaphor effectively conveys the value and significance that Diana places on her “virtue.” Women in this period lost a great deal of their value on the marriage market if they had premarital sex. It’s part of the reason Bertram’s request that Helen have his child before he’ll marry her is so shocking to everyone involved. Diana's words in this scene reflect a common attitude of the time: that virginity is not just important, it’s like a precious heirloom passed down through generations.

Diana also uses personification, portraying honor as a “champion” that stands against Bertram’s advances. This gives agency to the concept of honor, depicting it as a guardian or protector against Bertram’s “assault.” By doing this, Diana represents her honor as an active force in opposition to Bertram’s intentions.

The combination of metaphor and personification in this scene serves to show the audience Diana’s intelligence. Bertram thinks that he has the upper hand in this situation, but as the audience knows, Diana and Helen are actually the ones with all the information.

The First Lord says that he is the "grave" of the words spoken to him, meaning that his ears will be the final resting place of the information. In this metaphor, he implies that when words are spoken to him they become “dead.” By claiming to be the “grave” of the secret, the First Lord claims that once spoken, the words will be buried with him and go no further. This is a vivid way to express the concept of keeping a secret, as the reference to death makes the audience feel a chilling finality.

However, this assurance takes on a layer of dramatic irony as the audience is aware of Bertram’s actual misdeeds. Given previous events, they know that it’s highly likely that the conversation will be repeated or come to light. The metaphor, in this case, underscores the gravity of the secrets being shared, and the dramatic irony works to heighten the tension for the audience, who have access to more information than the characters do.

Lafew and the Fool employ metaphor and imagery here to compare women to leaves of salad or herbs. While most women are implied to be unremarkable lettuce leaves, Helen is far more than that: she is “sweet marjoram” or “the herb of grace.” The men imply that Helen is the rarest and most gracious of women. The sensory language of smell is also present through the mention of these herbs, evoking the freshness and grace associated with Helen’s character. 

The visual imagery here also involves a dirty joke, as “salad” leaves refer to women’s labia. By saying that Helen isn’t a herb for eating (she is a “nose-herb,” or one only for smelling), Lafew implies her purity and virginity.

The Fool also makes an allusion to Nebuchadnezzar in this passage, an ancient Babylonian king. This figure, according to biblical accounts, spent a period living like an animal and eating grass. This allusion humorously ties into the metaphor and imagery of herbs and salads, as well as the sex jokes. It also implies that the Fool doesn’t have much success with women’s “salads.”

In this passage Helen tells the audience that the “fine” is the “crown,” which operates as a metaphor in two ways. Firstly, she is implying that the results of other people’s actions can be both their reward and their punishment. The word “fine” holds a double meaning here, representing both “end” and “penalty.” She’s also implying that if everything turns out well, the way in which the objective was achieved is irrelevant. If the “end is the renown”—what is remembered—then the steps to get there don’t matter nearly as much.

Shakespeare uses alliteration, particularly the repetition of the "w" sound here, to evoke a sense of consistency and rhythm in the passage. The eponymous phrase "All's well that ends well" becomes especially poignant in this context. The “well” is the same in both places it appears, mirroring the point of Helen’s comment.

By referencing “briers” (blackberry bushes), Shakespeare invokes the sweetness of fruit and the sharpness of thorns. Picking blackberries means you might get scratched, but you do end up with blackberries. With this in mind, it becomes doubly clear from this passage that “all’s well that ends well” is just another way of saying “the ends justify the means.”