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In William Shakespeare's All's Well That Ends Well, functionality is closely intertwined with sex and identity. Because the traditional fairy-tale arrangement is inverted in the play, Bertram, the child of the late night of Roussillon, is forced to portray the traditionally female character, although Helen aptly plays that of the male. Bertram's masculinity is security at Shakespeare's change, as he is barred from claiming his own patriarchal energy, and is thus left to try to make an individuality through defiance. Bertram's unwillingness -- and later, inability -- to perform with a new part in society suggests that signs of sex are basically a kind of operation, and are consequently dependent upon leadership, societal expectations of each gender, and the ability to depict a role that acknowledges that the inversion of the social order. Since the play inverts the conventional positions of female and male characters, Bertram has been made to devise a new type of individuality, and its effectiveness becomes reliant upon his ability to depict a difficult part in an international social and sexual hierarchy. Like a stage actor, Bertram's activities are contingent upon direction from his superiors along with contemporaries. After Helen has chosen Bertram as her husband and prize, yet, he resists, impeding upon the King's authority by requesting "But follows it, my lord, to bring me down / Must answer for your raising?" (2.3.108-109).) By imitating his new character as a form of declension and consequently beating the King, '' Bertram asserts his unwillingness to conform to his new function. He's admonished, however, as the King declares his directive authority by telling Bertram to "check [his] contempt; / mind [the King's] will" (2.3.153-154). Upon the public stage, he appears to p.. .