98, the earliest reference we have to
_All's Well that Ends Well_ is that in the Stationers' Registers dated
8th November 1623, where it is recorded as a play not previously entered
to other men. There is no record of its presentation during
Shakespeare's lifetime.

Though the old play of _Love's Labour's Won_ mentioned by Meres has been
variously identified by critics, the consensus of judgment of the
majority is in favour of its identification as _All's Well that Ends
Well_. In no other of Shakespeare's plays--even in instances where we
have actual record of revision--can we so plainly recognise by internal
evidence both the work of his "pupil" and of his master pen. As I have
assigned the original composition of this play to the year 1592,
regarding it as a reflection of the Queen's progress to Tichfield House
and of the incidents of the Earl of Southampton's life at, and
following, that period, so I infer and believe I can demonstrate that
its revision reflects the same personal influences under new phases in
later years.

In February 1598 the Earl of Southampton left England for the French
Court with Sir Robert Cecil. He returned secretly in August and was
married privately at Essex House to Elizabeth Vernon, whose condition
had recently caused her dismissal from the Court. Southampton returned
to France as secretly as he had come, but knowledge of his return and of
his unauthorised marriage reaching the Queen, she issued an order for
his immediate recall, and upon his return in November committed him, and
even threatened to commit his wife (who was now a mother), to the Fleet.
It is not unlikely that Florio accompanied Southampton to France upon
this visit, and that much of Shakespeare's irritation at this time arose
from Southampton's neglect or coolness, which he supposed to be due to
Florio's increasing influence, to which Shakespeare also imputed much of
the young Earl's ill-regulated manner of life at this period.

In the happy ending of Helena's troubles, and in Bertram's recognition
of his moral responsibility and marital obligations, and also in the
significant change of the title of this play from _Love's Labour's Won_
to _All's Well that Ends Well_, we have Shakespeare's combined reproof
and approval of Southampton's recent conduct towards Elizabeth Vernon,
as well as a practical reflection of the actual facts in their case.

At about this time, in addition to the revision of _All's Well that Ends
We