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07-SEPTEMBER-2008 03:17:44 - William Shakespeare Redirected from Shakespeare Semi-protected For other persons named William Shakespeare, see William Shakespeare disambiguation. Shakespeare redirects here. For other uses, see Shakespeare disambiguation. William Shakespeare The Chandos portrait, artist and authenticity unconfirmed. National Portrait Gallery, London. Born baptised April 26, 1564 birth date unknown Stratford-upon-Avon, Warwickshire, England Died April 23, 1616 Stratford-upon-Avon, Warwickshire, England Occupation Playwright, poet, actor Signature William Shakespeare baptised 26 April 1564 - died 23 April 1616a was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.1 He is often called England's national poet and the Bard of Avon or simply The Bard. His surviving works consist of 38 plays,b 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright.2 Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others.3 Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in ions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected ion of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called bardolatry.4 In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Contents 1 Life 1.1 Early life 1.2 London and theatrical career 1.3 Later years and death 2 Plays 2.1 Performances 2.2 Textual sources 3 Poems 3.1 Sonnets 4 Style 5 Influence 6 Critical reputation 7 Speculation about Shakespeare 7.1 Authorship 7.2 Religion 7.3 Sexuality 8 List of works 8.1 Classification of the plays 8.2 Works 9 Notes 10 References 11 Further reading 12 External links Life Main article: Shakespeare's life Early life John Shakespeare's house in Stratford-upon-Avon John Shakespeare's house in Stratford-upon-Avon Shakespeare's Coat of Arms Shakespeare's Coat of Arms William Shakespeare was the son of John Shakespeare, a successful glover and alderman originally from Snitterfield, and Mary Arden, the daughter of an affluent landowning farmer.5 He was born in Stratford-upon-Avon and baptised on 26 April 1564. His unknown birthday is traditionally observed on 23 April, St George's Day.6 This date, which can be traced back to an eighteenth-century scholar's mistake, has proved appealing because Shakespeare died on 23 April 1616.7 He was the third child of eight and the eldest surviving son.8 Although no attendance records for the period survive, most biographers agree that Shakespeare was educated at the King's New School in Stratford,9 a free school chartered in 1553,10 about a quarter of a mile from his home. Grammar schools varied in quality during the Elizabethan era, but the curriculum was dictated by law throughout England,11 and the school would have provided an intensive education in Latin grammar and the classics.12 At the age of 18, Shakespeare married the 26-year-old Anne Hathaway. The consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. Two of Hathaway's neighbours posted bonds the next day as surety that there were no impediments to the marriage.13 The couple may have arranged the ceremony in some haste, since the Worcester chancellor allowed the marriage banns to be read once instead of the usual three times.14 Anne's pregnancy could have been the reason for this. Six months after the marriage, she gave birth to a daughter, Susanna, who was baptised on 26 May 1583.15 Twins, son Hamnet and daughter Judith, followed almost two years later and were baptised on 2 February 1585.16 Hamnet died of unknown causes at the age of 11 and was buried on 11 August 1596.17 After the birth of the twins, there are few historical traces of Shakespeare until he is mentioned as part of the London theatre scene in 1592. Because of this gap, scholars refer to the years between 1585 and 1592 as Shakespeare's lost years.18 Biographers attempting to account for this period have reported many apocryphal stories. Nicholas Rowe, Shakespeare's first biographer, recounted a Stratford legend that Shakespeare fled the town for London to escape prosecution for deer poaching.19 Another eighteenth-century story has Shakespeare starting his theatrical career minding the horses of theatre patrons in London.20 John Aubrey reported that Shakespeare had been a country schoolmaster.21 Some twentieth-century scholars have suggested that Shakespeare may have been employed as a schoolmaster by Alexander Hoghton of Lancashire, a Catholic landowner who named a certain William Shakeshafte in his will.22 No evidence substantiates such stories other than hearsay collected after his death.23 London and theatrical career It is not known exactly when Shakespeare began writing, but contemporary allusions and records of performances show that several of his plays were on the London stage by 1592.24 He was well enough known in London by then to be attacked in print by the playwright Robert Greene: ...there is an upstart Crow, beautified with our feathers, that with his Tiger's heart wrapped in a Player's hide, supposes he is as well able to bombast out a blank verse as the best of you: and being an absolute Johannes factotum, is in his own conceit the only Shake-scene in a country.25 Scholars differ on the exact meaning of these words,26 but most agree that Greene is accusing Shakespeare of reaching above his rank in trying to match university-educated writers, such as Christopher Marlowe, Thomas Nashe and Greene himself.27 The italicised phrase parodying the line Oh, tiger's heart wrapped in a woman's hide from Shakespeare's Henry VI, part 3, along with the pun Shake-scene, identifies Shakespeare as Greene's target.28 All the world's a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts... As You Like It, Act II, Scene 7, 139-42.29 Greene's attack is the first recorded mention of Shakespeare's career in the theatre. Biographers suggest that his career may have begun any time from the mid-1580s to just before Greene's remarks.30 From 1594, Shakespeare's plays were performed only by the Lord Chamberlain's Men, a company owned by a group of players, including Shakespeare, that soon became the leading playing company in London.31 After the death of Queen Elizabeth in 1603, the company was awarded a royal patent by the new king, James I, and changed its name to the King's Men.32 In 1599, a partnership of company members built their own theatre on the south bank of the Thames, which they called the Globe. In 1608, the partnership also took over the Blackfriars indoor theatre. Records of Shakespeare's property purchases and investments indicate that the company made him a wealthy man.33 In 1597, he bought the second-largest house in Stratford, New Place, and in 1605, he invested in a share of the parish tithes in Stratford.34 Some of Shakespeare's plays were published in quarto ions from 1594. By 1598, his name had become a selling point and began to appear on the title pages.35 Shakespeare continued to act in his own and other plays after his success as a playwright. The 1616 ion of Ben Jonson's Works names him on the cast lists for Every Man in His Humour 1598 and Sejanus, His Fall 1603.36 The absence of his name from the 1605 cast list for Jonson's Volpone is taken by some scholars as a sign that his acting career was nearing its end.37 The First Folio of 1623, however, lists Shakespeare as one of the Principal Actors in all these Plays, some of which were first staged after Volpone, although we cannot know for certain what roles he played.38 In 1610, John Davies of Hereford wrote that good Will played kingly roles.39 In 1709, Rowe passed down a tradition that Shakespeare played the ghost of Hamlet's father.40 Later traditions maintain that he also played Adam in As You Like It and the Chorus in Henry V,41 though scholars doubt the sources of the information.42 Shakespeare divided his time between London and Stratford during his career. In 1596, the year before he bought New Place as his family home in Stratford, Shakespeare was living in the parish of St. Helen's, Bishopsgate, north of the River Thames.43 He moved across the river to Southwark by 1599, the year his company constructed the Globe Theatre there.44 By 1604, he had moved north of the river again, to an area north of St Paul's Cathedral with many fine houses. There he rented rooms from a French Huguenot called Christopher Mountjoy, a maker of ladies' wigs and other headgear.45 Later years and death Shakespeare's funerary monument in Stratford-upon-Avon Shakespeare's funerary monument in Stratford-upon-Avon After 1606-1607, Shakespeare wrote fewer plays, and none are attributed to him after 1613.46 His last three plays were collaborations, probably with John Fletcher,47 who succeeded him as the house playwright for the King's Men.48 Rowe was the first biographer to pass down the tradition that Shakespeare retired to Stratford some years before his death;49 but retirement from all work was uncommon at that time,50 and Shakespeare continued to visit London.49 In 1612, he was called as a witness in a court case concerning the marriage settlement of Mountjoy's daughter, Mary.51 In March 1613, he bought a gatehouse in the Blackfriars priory;52 and from November 1614, he was in London for several weeks with his son-in-law, John Hall.53 Shakespeare died on 23 April 1616,54 and was survived by his wife and two daughters. Susanna had married a physician, John Hall, in 1607,55 and Judith had married Thomas Quiney, a vintner, two months before Shakespeare's death.56 Good frend for Iesvs sake forbeare, To digg the dvst encloased heare. Blest be ye man yt spares thes stones, And cvrst be he yt moves my bones. Inscription on Shakespeare's grave In his will, Shakespeare left the bulk of his large estate to his elder daughter Susanna.57 The terms instructed that she pass it down intact to the first son of her body.58 The Quineys had three children, all of whom died without marrying.59 The Halls had one child, Elizabeth, who married twice but died without children in 1670, ending Shakespeare's direct line.60 Shakespeare's will scarcely mentions his wife, Anne, who was probably entitled to one third of his estate automatically. He did make a point, however, of leaving her my second best bed, a bequest that has led to much speculation.61 Some scholars see the bequest as an insult to Anne, whereas others believe that the second-best bed would have been the matrimonial bed and therefore rich in significance.62 Shakespeare was buried in the chancel of the Holy Trinity Church two days after his death.63 Sometime before 1623, a monument was erected in his memory on the north wall, with a half-effigy of him in the act of writing. Its plaque compares him to Nestor, Socrates, and Virgil.64 A stone slab covering his grave is inscribed with a curse against moving his bones. Plays Main article: Shakespeare's plays Scholars have often noted four periods in Shakespeare's writing career.65 Until the mid-1590s, he wrote mainly comedies influenced by Roman and Italian models and history plays in the popular chronicle tradition. His second period began in about 1595 with the tragedy Romeo and Juliet and ended with the tragedy of Julius Caesar in 1599. During this time, he wrote what are considered his greatest comedies and histories. From about 1600 to about 1608, his tragic period, Shakespeare wrote mostly tragedies, and from about 1608 to 1613, mainly tragicomedies, also called romances. The first recorded works of Shakespeare are Richard III and the three parts of Henry VI, written in the early 1590s during a vogue for historical drama. Shakespeare's plays are difficult to date, however,66 and studies of the texts suggest that Titus Andronicus, The Comedy of Errors, The Taming of the Shrew and Two Gentlemen of Verona may also belong to Shakespeare's earliest period.67 His first histories, which draw heavily on the 1587 ion of Raphael Holinshed's Chronicles of England, Scotland, and Ireland,68 dramatise the destructive results of weak or corrupt rule and have been interpreted as a justification for the origins of the Tudor dynasty.69 Their composition was influenced by the works of other Elizabethan dramatists, especially Thomas Kyd and Christopher Marlowec, by the traditions of medieval drama, and by the plays of Seneca.70 The Comedy of Errors was also based on classical models; but no source for the The Taming of the Shrew has been found, though it is related to a separate play of the same name and may have derived from a folk story.71 Like Two Gentlemen of Verona, in which two friends appear to approve of rape,72 the Shrew's story of the taming of a woman's independent spirit by a man sometimes troubles modern critics and directors.73 Oberon, Titania and Puck with Fairies Dancing. By William Blake, c. 1786. Tate Britain. Oberon, Titania and Puck with Fairies Dancing. By William Blake, c. 1786. Tate Britain. Shakespeare's early classical and Italianate comedies, containing tight double plots and precise comic sequences, give way in the mid-1590s to the romantic atmosphere of his greatest comedies.74 A Midsummer Night's Dream is a witty mixture of romance, fairy magic, and comic low-life scenes.75 Shakespeare's next comedy, the equally romantic The Merchant of Venice, contains a portrayal of the vengeful Jewish moneylender Shylock which reflected Elizabethan views but may appear prejudiced to modern audiences.76 The wit and wordplay of Much Ado About Nothing,77 the charming rural setting of As You Like It, and the lively merrymaking of Twelfth Night complete Shakespeare's sequence of great comedies.78 After the lyrical Richard II, written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the late 1590s, Henry IV, parts 1 and 2, and Henry V. His characters become more complex and tender as he switches deftly between comic and serious scenes, prose and poetry, and achieves the narrative variety of his mature work.79 This period begins and ends with two tragedies: Romeo and Juliet, the famous romantic tragedy of sexually charged adolescence, love, and death;80 and Julius Caesar-based on Sir Thomas North's 1579 translation of Plutarch's Parallel Lives-which introduced a new kind of drama.81 According to Shakespearean scholar James Shapiro, in Julius Caesar the various strands of politics, character, inwardness, contemporary events, even Shakespeare's own reflections on the act of writing, began to infuse each other.82 Hamlet, Horatio, Marcellus, and the Ghost of Hamlet's Father. Henry Fuseli, 1780-5. Kunsthaus Zürich. Hamlet, Horatio, Marcellus, and the Ghost of Hamlet's Father. Henry Fuseli, 1780-5. Kunsthaus Zürich. Shakespeare's so-called tragic period lasted from about 1600 to 1608, though he also wrote the so-called problem plays Measure for Measure, Troilus and Cressida, and All's Well That Ends Well during this time and had written tragedies before.83 Many critics believe that Shakespeare's greatest tragedies represent the peak of his art. The hero of the first, Hamlet, has probably been more discussed than any other Shakespearean character, especially for his famous soliloquy To be or not to be; that is the question.84 Unlike the introverted Hamlet, whose fatal flaw is hesitation, the heroes of the tragedies that followed, Othello and King Lear, are undone by hasty errors of judgement.85 The plots of Shakespeare's tragedies often hinge on such fatal errors or flaws, which overturn order and destroy the hero and those he loves.86 In Othello, the villain Iago stokes Othello's sexual jealousy to the point where he murders the innocent wife who loves him.87 In King Lear, the old king commits the tragic error of giving up his powers, initiating the events which lead to the murder of his daughter and the torture and blinding of the Earl of Gloucester. According to the critic Frank Kermode, the play offers neither its good characters nor its audience any relief from its cruelty.88 In Macbeth, the shortest and most compressed of Shakespeare's tragedies,89 uncontrollable ambition incites Macbeth and his wife, Lady Macbeth, to murder the rightful king and usurp the throne, until their own guilt destroys them in turn.90 In this play, Shakespeare adds a supernatural element to the tragic structure. His last major tragedies, Antony and Cleopatra and Coriolanus, contain some of Shakespeare's finest poetry and were considered his most successful tragedies by the poet and critic T. S. Eliot.91 In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: Cymbeline, The Winter's Tale and The Tempest, as well as the collaboration, Pericles, Prince of Tyre. Less bleak than the tragedies, these four plays are graver in tone than the comedies of the 1590s, but they end with reconciliation and the forgiveness of potentially tragic errors.92 Some commentators have seen this change in mood as evidence of a more serene view of life on Shakespeare's part, but it may merely reflect the theatrical fashion of the day.93 Shakespeare collaborated on two further surviving plays, Henry VIII and The Two Noble Kinsmen, probably with John Fletcher.94 Performances Main article: Shakespeare in performance It is not clear for which companies Shakespeare wrote his early plays. The title page of the 1594 ion of Titus Andronicus reveals that the play had been acted by three different troupes.95 After the plagues of 1592-3, Shakespeare's plays were performed by his own company at The Theatre and the Curtain in Shorch, north of the Thames.96 Londoners flocked there to see the first part of Henry IV, Leonard Digges recording, Let but Falstaff come, Hal, Poins, the rest...and you scarce shall have a room.97 When the company found themselves in dispute with their landlord, they pulled The Theatre down and used the timbers to construct the Globe Theatre, the first playhouse built by actors for actors, on the south bank of the Thames at Southwark.98 The Globe opened in autumn 1599, with Julius Caesar one of the first plays staged. Most of Shakespeare's greatest post-1599 plays were written for the Globe, including Hamlet, Othello and King Lear.99 Reconstructed Globe Theatre, London. Reconstructed Globe Theatre, London. After the Lord Chamberlain's Men were renamed the King's Men in 1603, they entered a special relationship with the new King James. Although the performance records are patchy, the King's Men performed seven of Shakespeare's plays at court between 1 November 1604 and 31 October 1605, including two performances of The Merchant of Venice.100 After 1608, they performed at the indoor Blackfriars Theatre during the winter and the Globe during the summer.101 The indoor setting, combined with the Jacobean fashion for lavishly staged masques, allowed Shakespeare to introduce more elaborate stage devices. In Cymbeline, for example, Jupiter descends in thunder and lightning, sitting upon an eagle: he throws a thunderbolt. The ghosts fall on their knees.102 The actors in Shakespeare's company included the famous Richard Burbage, William Kempe, Henry Condell and John Heminges. Burbage played the leading role in the first performances of many of Shakespeare's plays, including Richard III, Hamlet, Othello, and King Lear.103 The popular comic actor Will Kempe played the servant Peter in Romeo and Juliet and Dogberry in Much Ado About Nothing, among other characters.104 He was replaced around the turn of the sixteenth century by Robert Armin, who played roles such as Touchstone in As You Like It and the fool in King Lear.105 In 1613, Sir Henry Wotton recorded that Henry VIII was set forth with many extraordinary circumstances of pomp and ceremony.106 On 29 June, however, a cannon set fire to the thatch of the Globe and burned the theatre to the ground, an event which pinpoints the date of a Shakespeare play with rare precision.106 Textual sources Title page of the First Folio, 1623. Copper engraving of Shakespeare by Martin Droeshout. Title page of the First Folio, 1623. Copper engraving of Shakespeare by Martin Droeshout. In 1623, John Heminges and Henry Condell, two of Shakespeare's friends from the King's Men, published the First Folio, a collected ion of Shakespeare's plays. It contained 36 texts, including 18 printed for the first time.107 Many of the plays had already appeared in quarto versions-flimsy books made from sheets of paper folded twice to make four leaves.108 No evidence suggests that Shakespeare approved these ions, which the First Folio describes as stol'n and surreptitious copies.109 Alfred Pollard termed some of them bad quartos because of their adapted, paraphrased or garbled texts, which may in places have been reconstructed from memory.110 Where several versions of a play survive, each differs from the other. The differences may stem from copying or printing errors, from notes by actors or audience members, or from Shakespeare's own papers.111 In some cases, for example Hamlet, Troilus and Cressida and Othello, Shakespeare could have revised texts between the quarto and folio ions. The folio version of King Lear is so different from the 1608 quarto that the Oxford Shakespeare prints them both, since they cannot be conflated without confusion.112 Poems In 1593 and 1594, when the theatres were closed because of plague, Shakespeare published two narrative poems on erotic themes, Venus and Adonis and The Rape of Lucrece. He dedicated them to Henry Wriothesley, earl of Southampton. In Venus and Adonis, an innocent Adonis rejects the sexual advances of Venus; while in The Rape of Lucrece, the virtuous wife Lucrece is raped by the lustful Tarquin.113 Influenced by Ovid's Metamorphoses,114 the poems show the guilt and moral confusion that result from uncontrolled lust.115 Both proved popular and were often reprinted during Shakespeare's lifetime. A third narrative poem, A Lover's Complaint, in which a young woman laments her seduction by a persuasive suitor, was printed in the first ion of the Sonnets in 1609. Most scholars now accept that Shakespeare wrote A Lover's Complaint. Critics consider that its fine qualities are marred by leaden effects.116 The Phoenix and the Turtle, printed in Robert Chester's 1601 Love's Martyr, mourns the deaths of the legendary phoenix and his lover, the faithful turtle dove. In 1599, two early drafts of sonnets 138 and 144 appeared in The Passionate Pilgrim, published under Shakespeare's name but without his permission.117 Sonnets Main article: Shakespeare's sonnets Shall I compare thee to a summer's day? Thou art more lovely and more temperate... Lines from Shakespeare's Sonnet 18.118 Published in 1609, the Sonnets were the last of Shakespeare's non-dramatic works to be printed. Scholars are not certain when each of the 154 sonnets was composed, but evidence suggests that Shakespeare wrote sonnets throughout his career for a private readership.119 Even before the two unauthorised sonnets appeared in The Passionate Pilgrim in 1599, Francis Meres had referred in 1598 to Shakespeare's sugred Sonnets among his private friends.120 Few analysts believe that the published collection follows Shakespeare's intended sequence.121 He seems to have planned two contrasting series: one about uncontrollable lust for a married woman of dark complexion the dark lady, and one about conflicted love for a fair young man the fair youth. It remains unclear if these figures represent real individuals, or if the authorial I who addresses them represents Shakespeare himself, though Wordsworth believed that with the sonnets Shakespeare unlocked his heart.122 The 1609 ion was dedicated to a Mr. W.H., cred as the only begetter of the poems. It is not known whether this was written by Shakespeare himself or by the publisher, Thomas Thorpe, whose initials appear at the foot of the dedication page; nor is it known who Mr. W.H. was, despite numerous theories, or whether Shakespeare even authorised the publication.123 Critics praise the Sonnets as a profound mation on the nature of love, sexual passion, procreation, death, and time.124 Style Main article: Shakespeare's style Shakespeare's first plays were written in the conventional style of the day. He wrote them in a stylised language that does not always spring naturally from the needs of the characters or the drama.125 The poetry depends on extended, sometimes elaborate metaphors and conceits, and the language is often rhetorical-written for actors to declaim rather than speak. The grand speeches in Titus Andronicus, in the view of some critics, often hold up the action, for example; and the verse in Two Gentlemen of Verona has been described as stilted.126 Soon, however, Shakespeare began to adapt the traditional styles to his own purposes. The opening soliloquy of Richard III has its roots in the self-declaration of Vice in medieval drama. At the same time, Richard's vivid self-awareness looks forward to the soliloquies of Shakespeare's mature plays.127 No single play marks a change from the traditional to the freer style. Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles.128 By the time of Romeo and Juliet, Richard II, and A Midsummer Night's Dream in the mid-1590s, Shakespeare had begun to write a more natural poetry. He increasingly tuned his metaphors and images to the needs of the drama itself. Pity by William Blake, 1795, Tate Britain, is an illustration of two similes in Macbeth: And pity, like a naked new-born babe, / Striding the blast, or heaven's cherubim, hors'd / Upon the sightless couriers of the air. Pity by William Blake, 1795, Tate Britain, is an illustration of two similes in Macbeth: And pity, like a naked new-born babe, / Striding the blast, or heaven's cherubim, hors'd / Upon the sightless couriers of the air. Shakespeare's standard poetic form was blank verse, composed in iambic pentameter. In practice, this meant that his verse was usually unrhymed and consisted of ten syllables to a line, spoken with a stress on every second syllable. The blank verse of his early plays is quite different from that of his later ones. It is often beautiful, but its sentences tend to start, pause, and finish at the end of lines, with the risk of monotony.129 Once Shakespeare mastered traditional blank verse, he began to interrupt and vary its flow. This technique releases the new power and flexibility of the poetry in plays such as Julius Caesar and Hamlet. Shakespeare uses it, for example, to convey the turmoil in Hamlet's mind:130 Sir, in my heart there was a kind of fighting That would not let me sleep. Methought I lay Worse than the mutines in the bilboes. Rashly- And prais'd be rashness for it-let us know Our indiscretion sometimes serves us well... After Hamlet, Shakespeare varied his poetic style further, particularly in the more emotional passages of the late tragedies. The literary critic A. C. Bradley described this style as more concentrated, rapid, varied, and, in construction, less regular, not seldom twisted or elliptical.131 In the last phase of his career, Shakespeare adopted many techniques to achieve these effects. These included run-on lines, irregular pauses and stops, and extreme variations in sentence structure and length.132 In Macbeth, for example, the language darts from one unrelated metaphor or simile to another: was the hope drunk/ Wherein you dressed yourself? 1.7.35-38; ...pity, like a naked new-born babe/ Striding the blast, or heaven's cherubim, hors'd/ Upon the sightless couriers of the air... 1.7.21-25. The listener is challenged to complete the sense.132 The late romances, with their shifts in time and surprising turns of plot, inspired a last poetic style in which long and short sentences are set against one another, clauses are piled up, subject and object are reversed, and words are omitted, creating an effect of spontaneity.133 Shakespeare's poetic genius was allied with a practical sense of the theatre.134 Like all playwrights of the time, Shakespeare dramatised stories from sources such as Petrarch and Holinshed.135 He reshaped each plot to create several centres of interest and show as many sides of a narrative to the audience as possible. This strength of design ensures that a Shakespeare play can survive translation, cutting and wide interpretation without loss to its core drama.136 As Shakespeare's mastery grew, he gave his characters clearer and more varied motivations and distinctive patterns of speech. He preserved aspects of his earlier style in the later plays, however. In his late romances, he deliberately returned to a more artificial style, which emphasised the illusion of theatre.137 Influence Main article: Shakespeare's influence Macbeth Consulting the Vision of the Armed Head. By Henry Fuseli, 1793-94. Folger Shakespeare Library, Washington. Macbeth Consulting the Vision of the Armed Head. By Henry Fuseli, 1793-94. Folger Shakespeare Library, Washington. Shakespeare's work has made a lasting impression on later theatre and literature. In particular, he expanded the dramatic potential of characterisation, plot, language, and genre.138 Until Romeo and Juliet, for example, romance had not been viewed as a worthy topic for tragedy.139 Soliloquies had been used mainly to convey information about characters or events; but Shakespeare used them to explore characters' minds.140 His work heavily influenced later poetry. The Romantic poets attempted to revive Shakespearean verse drama, though with little success. Critic George Steiner described all English verse dramas from Coleridge to Tennyson as feeble variations on Shakespearean themes.141 Shakespeare influenced novelists such as Thomas Hardy,142 William Faulkner,143 and Charles Dickens. Dickens often quoted Shakespeare, drawing 25 of his titles from Shakespeare's works.144 The American novelist Herman Melville's soliloquies owe much to Shakespeare; his Captain Ahab in Moby-Dick is a classic tragic hero, inspired by King Lear.145 Scholars have identified 20,000 pieces of music linked to Shakespeare's works. These include two operas by Giuseppe Verdi, Otello and Falstaff, whose critical standing compares with that of the source plays.146 Shakespeare has also inspired many painters, including the Romantics and the Pre-Raphaelites.147 The Swiss Romantic artist Henry Fuseli, a friend of William Blake, even translated Macbeth into German.148 The psychoanalyst Sigmund Freud drew on Shakespearean psychology, in particular that of Hamlet, for his theories of human nature.149 In Shakespeare's day, English grammar and spelling were less standardised than they are now, and his use of language helped shape modern English.150 Samuel Johnson quoted him more often than any other author in his A Dictionary of the English Language, the first serious work of its type.151 Expressions such as with bated breath Merchant of Venice and a foregone conclusion Othello have found their way into everyday English speech.152 Critical reputation Main articles: Shakespeare's reputation and Timeline of Shakespeare criticism He was not of an age, but for all time. Ben Jonson153 Shakespeare was never revered in his lifetime, but he received his share of praise.154 In 1598, the cleric and author Francis Meres singled him out from a group of English writers as the most excellent in both comedy and tragedy.155 And the authors of the Parnassus plays at St John's College, Cambridge, numbered him with Chaucer, Gower and Spenser.156 In the First Folio, Ben Jonson called Shakespeare the Soul of the age, the applause, delight, the wonder of our stage, though he had remarked elsewhere that Shakespeare wanted art.157 Ophelia detail. By John Everett Millais, 1851-52. Tate Britain. Ophelia detail. By John Everett Millais, 1851-52. Tate Britain. Between the Restoration of the monarchy in 1660 and the end of the seventeenth century, classical ideas were in vogue. As a result, critics of the time mostly rated Shakespeare below John Fletcher and Ben Jonson.158 Thomas Rymer, for example, condemned Shakespeare for mixing the comic with the tragic. Nevertheless, poet and critic John Dryden rated Shakespeare highly, saying of Jonson, I admire him, but I love Shakespeare.159 For several decades, Rymer's view held sway; but during the eighteenth century, critics began to respond to Shakespeare on his own terms and acclaim what they termed his natural genius. A series of scholarly ions of his work, notably those of Samuel Johnson in 1765 and Edmond Malone in 1790, added to his growing reputation.160 By 1800, he was firmly enshrined as the national poet.161 In the eighteenth and nineteenth centuries, his reputation also spread abroad. Among those who championed him were the writers Voltaire, Goethe, Stendhal and Victor Hugo.162 During the Romantic era, Shakespeare was praised by the poet and literary philosopher Samuel Taylor Coleridge; and the critic August Wilhelm Schlegel translated his plays in the spirit of German Romanticism.163 In the nineteenth century, critical admiration for Shakespeare's genius often bordered on adulation.164 That King Shakespeare, the essayist Thomas Carlyle wrote in 1840, does not he shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying signs; indestructible.165 The Victorians produced his plays as lavish spectacles on a grand scale.166 The playwright and critic George Bernard Shaw mocked the cult of Shakespeare worship as bardolatry. He claimed that the new naturalism of Ibsen's plays had made Shakespeare obsolete.167 The modernist revolution in the arts during the early twentieth century, far from discarding Shakespeare, eagerly enlisted his work in the service of the avant garde. The Expressionists in Germany and the Futurists in Moscow mounted productions of his plays. Marxist playwright and director Bertolt Brecht devised an epic theatre under the influence of Shakespeare. The poet and critic T. S. Eliot argued against Shaw that Shakespeare's primitiveness in fact made him truly modern.168 Eliot, along with G. Wilson Knight and the school of New Criticism, led a movement towards a closer reading of Shakespeare's imagery. In the 1950s, a wave of new critical approaches replaced modernism and paved the way for post-modern studies of Shakespeare.169 By the eighties, Shakespeare studies were open to movements such as structuralism, feminism, African American studies, and queer studies.170 Speculation about Shakespeare Authorship Main article: Shakespeare authorship question Around 150 years after Shakespeare's death, doubts began to emerge about the authorship of Shakespeare's works.171 Alternative candidates proposed include Francis Bacon, Christopher Marlowe, and Edward de Vere, the Earl of Oxford.172 Although all alternative candidates are almost universally rejected in academic circles, popular interest in the subject, particularly the Oxfordian theory, has continued into the 21st century.173 Religion Main article: Shakespeare's religion Some scholars claim that members of Shakespeare's family were Catholics, at a time when Catholic practice was against the law.174 Shakespeare's mother, Mary Arden, certainly came from a pious Catholic family. The strongest evidence might be a Catholic statement of faith signed by John Shakespeare, found in 1757 in the rafters of his former house in Henley Street. The document is now lost, however, and scholars differ on its authenticity.175 In 1591, the authorities reported that John had missed church for fear of process for debt, a common Catholic excuse.176 In 1606, William's daughter Susanna was listed among those who failed to attend Easter communion in Stratford.176 Scholars find evidence both for and against Shakespeare's Catholicism in his plays, but the truth may be impossible to prove either way.177 Sexuality Main article: Sexuality of William Shakespeare Few details of Shakespeare's sexuality are known. At 18, he married the 26-year-old Anne Hathaway, who was pregnant. Susanna, the first of their three children, was born six months later on 26 May 1583. However, over the centuries readers have pointed to Shakespeare's sonnets as evidence of his love for a young man. Others read the same passages as the expression of intense friendship rather than sexual love.178 At the same time, the twenty-six so-called Dark Lady sonnets, addressed to a married woman, are taken as evidence of heterosexual liaisons.179 List of works Further information: List of Shakespeare's works and Chronology of Shakespeare plays Classification of the plays The Plays of William Shakespeare. By Sir John Gilbert, 1849. The Plays of William Shakespeare. By Sir John Gilbert, 1849. Shakespeare's works include the 36 plays printed in the First Folio of 1623, listed below according to their folio classification as comedies, histories and tragedies.180 Shakespeare did not write every word of the plays attributed to him; and several show signs of collaboration, a common practice at the time.181 Two plays not included in the First Folio, The Two Noble Kinsmen and Pericles, Prince of Tyre, are now accepted as part of the canon, with scholars agreed that Shakespeare made a major contribution to their composition.182 No poems were included in the First Folio. In the late nineteenth century, Edward Dowden classified four of the late comedies as romances, and though many scholars prefer to call them tragicomedies, his term is often used.183 These plays and the associated Two Noble Kinsmen are marked with an asterisk below. In 1896, Frederick S. Boas coined the term problem plays to describe four plays: All's Well That Ends Well, Measure for Measure, Troilus and Cressida and Hamlet.184 Dramas as singular in theme and temper cannot be strictly called comedies or tragedies, he wrote. We may therefore borrow a convenient phrase from the theatre of today and class them together as Shakespeare's problem plays.185 The term, much debated and sometimes applied to other plays, remains in use, though Hamlet is definitively classed as a tragedy.186 The other problem plays are marked below with a double dagger ‡. Plays thought to be only partly written by Shakespeare are marked with a dagger †below. Other works occasionally attributed to him are listed as lost plays or apocrypha. Works Comedies Main article: Shakespearean comedy All's Well That Ends Well‡ As You Like It The Comedy of Errors Love's Labour's Lost Measure for Measure‡ The Merchant of Venice The Merry Wives of Windsor A Midsummer Night's Dream Much Ado About Nothing Pericles, Prince of Tyre†d The Taming of the Shrew The Tempest Twelfth Night, or What You Will The Two Gentlemen of Verona The Two Noble Kinsmen†e The Winter's Tale Histories Main article: Shakespearean history King John Richard II Henry IV, part 1 Henry IV, part 2 Henry V Henry VI, part 1†f Henry VI, part 2 Henry VI, part 3 Richard III Henry VIII†g Tragedies Main article: Shakespearean tragedy Romeo and Juliet Coriolanus Titus Andronicus†h Timon of Athens†i Julius Caesar Macbeth†j Hamlet Troilus and Cressida‡ King Lear Othello Antony and Cleopatra Cymbeline Poems Shakespeare's Sonnets Venus and Adonis The Rape of Lucrece The Passionate Pilgrimk The Phoenix and the Turtle A Lover's Complaint Lost plays Love's Labour's Won Cardenio†l Apocrypha Main article: Shakespeare Apocrypha Arden of Faversham The Birth of Merlin Locrine The London Prodigal The Puritan The Second Maiden's Tragedy Sir John Oldcastle Thomas Lord Cromwell A Yorkshire Tragedy Edward III Sir Thomas More v d e Early ions of William Shakespeare's works Folios and Quartos Foul papers Quarto Folio Bad quarto First Folio Second Folio False Folio Early ors John Heminges Henry Condell Edward Knight John Leason Publishers Robert Allot William Aspley John Benson Edward Blount Cuthbert Burby Nathaniel Butter Philip Chetwinde Richard Hawkins Henry Herringman William Leake Richard Meighen Thomas Millington Thomas Pavier John Smethwick Thomas Thorpe Thomas Walkley John Waterson Andrew Wise Printers Edward Allde Thomas Cotes Thomas Creede George Eld Richard Field William Jaggard Augustine Matthews Nicholas Okes Peter Short Valentine Simmes William Stansby Notes a. ^ Dates use the Julian calendar, used in England throughout Shakespeare's lifespan. Under the Gregorian calendar, which was adopted in Catholic countries in 1582, Shakespeare died on May 3.187 b. ^ The exact figures are unknown. See Shakespeare's collaborations and Shakespeare Apocrypha for further details. c. ^ An essay by Harold Brooks suggests Marlowe's Edward II influenced Shakespeare's Richard III.188 Other scholars discount this, pointing out that the parallels are commonplace.189 d. ^ Many scholars believe that Pericles was co-written with George Wilkins.190 e. ^ The Two Noble Kinsmen was co-written with John Fletcher.191 f. ^ Henry VI, Part 1 is often thought to be the work of a group of collaborators; but some scholars, for example Michael Hattaway, believe the play was wholly written by Shakespeare.192 g. ^ Henry VIII was co-written with John Fletcher.193 h. ^ Brian Vickers suggests that Titus Andronicus was co-written with George Peele, though Jonathan Bate, the play's most recent or for the Arden Shakespeare, believes it to be wholly the work of Shakespeare.194 i. ^ Brian Vickers and others believe that Timon of Athens was co-written with Thomas Middleton, though some commentators disagree.195 j. ^ The text of Macbeth which survives has plainly been altered by later hands. Most notable is the inclusion of two songs from Thomas Middleton's play The Witch 1615.196 k. ^ The Passionate Pilgrim, published under Shakespeare's name in 1599 without his permission, includes early versions of two of his sonnets, three extracts from Love's Labour's Lost, several poems known to be by other poets, and eleven poems of unknown authorship for which the attribution to Shakespeare has not been disproved.197 l. ^ Cardenio was apparently co-written with John Fletcher.198 References ^ Greenblatt, Stephen 2005. Will in the World: How Shakespeare Became Shakespeare. London: Pimlico, 11. ISBN 0712600981. Bevington, David 2002 Shakespeare, 1-3. Oxford: Blackwell. ISBN 0631227199. Wells, Stanley 1997. Shakespeare: A Life in Drama. New York: W. W. Norton, 399. ISBN 0393315622. ^ Craig, Leon Harold 2003. Of Philosophers and Kings: Political Philosophy in Shakespeare's Macbeth and King Lear. Toronto: University of Toronto Press, 3. 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In deGrazia, Margreta, and Wells, Stanley eds., The Cambridge Companion to Shakespeare. Cambridge: Cambridge University Press, 267. ISBN 0521650941. ^ Grady, Shakespeare Criticism, 265. Greer, Germaine 1986. William Shakespeare. Oxford: Oxford University Press, 9. ISBN 0192875388. ^ Grady, Shakespeare Criticism, 266 ^ Grady, Shakespeare Criticism, 266-7 ^ Grady, Shakespeare Criticism, 269. ^ Dryden, John 1668. An Essay of Dramatic Poesy. Cited by Grady in Shakespeare Criticism, 269; For the full quotation, see Levin, Harry 1986. Critical Approaches to Shakespeare from 1660 to 1904. In The Cambridge Companion to Shakespeare Studies. Wells, Stanley ed.. Cambridge: Cambridge University Press, 215. ISBN 0521318416. ^ Grady, Shakespeare Criticism, 270-271. Levin, 217. ^ Dobson, Michael 1992. The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660-1769. Oxford: Clarendon Press. ISBN 0198183232. Cited by Grady, Shakespeare Criticism, 270. ^ Grady cites Voltaire's Philosophical Letters 1733; Goethe's Wilhelm Meister's Apprenticeship 1795; Stendhal's two-part pamphlet Racine et Shakespeare 1823-5; and Victor Hugo's prefaces to Cromwell 1827 and William Shakespeare 1864. Grady, Shakespeare Criticism, 272-274. ^ Levin, 223. ^ Sawyer, Robert 2003. Victorian Appropriations of Shakespeare. New Jersey: Fairleigh Dickinson University Press, 113. ISBN 0838639704. ^ Carlyle, Thomas 1840. On Heroes, Hero Worship the Heroic in History. Quoted in Smith, Emma 2004. Shakespeare's Tragedies. Oxford: Blackwell, 37. ISBN 0631220100. ^ Schoch, Richard 2002. Pictorial Shakespeare. In The Cambridge Companion to Shakespeare on Stage. Wells, Stanley, and Sarah Stanton eds.. Cambridge: Cambridge University Press, 58-59. ISBN 052179711X. ^ Grady, Shakespeare Criticism, 276. ^ Grady, Hugh 2001. Modernity, Modernism and Postmodernism in the Twentieth Century's Shakespeare. In Shakespeare and Modern Theatre: The Performance of Modernity. Bristol, Michael, and Kathleen McLuskie eds.. New York: Routledge, 22-6. ISBN 0415219841. ^ Grady, Modernity, Modernism and Postmodernism, 24. ^ Grady, Modernity, Modernism and Postmodernism, 29. ^ McMichael, George; and Edgar M. Glenn 1962. Shakespeare and his Rivals: A Casebook on the Authorship Controversy. New York: Odyssey Press. OCLC 2113359. ^ Gibson, H.N. 2005. The Shakespeare Claimants: A Critical Survey of the Four Principal Theories Concerning the Authorship of the Shakespearean Plays. London; New York: Routledge, 48, 72, 124. ISBN 0415352908. ^ Kathman, David 2003. The Question of Authorship. In Shakespeare: An Oxford Guide. Wells, Stanley ed.. Oxford: Oxford University Press, 620, 625-626. ISBN 0199245223. Love, Harold 2002. Attributing Authorship: An Introduction. Cambridge: Cambridge University Press, 194-209. ISBN 0521789486. Schoenbaum, Lives, 430-40. Holderness, Graham 1988. The Shakespeare Myth. Manchester: Manchester University Press, 137, 173. ^ Pritchard, Arnold 1979. Catholic Loyalism in Elizabethan England. Chapel Hill: University of North Carolina Press, 3. ISBN 0807813451. ^ Wood, 75-8. Ackroyd, 22-3. ^ a b Wood, 78. Ackroyd, 416. Schoenbaum, Compact, 41-2, 286. ^ Wilson, Richard 2004. Secret Shakespeare: Studies in Theatre, Religion and Resistance. Manchester: Manchester University Press, 34. ISBN 0719070244. Shapiro, 167. ^ Casey, Charles Fall 1998. Was Shakespeare gay? Sonnet 20 and the politics of pedagogy. College Literature. Retrieved 2 April 2007. Pequigney, Joseph 1985. Such Is My Love: A Study of Shakespeare's Sonnets. Chicago: University of Chicago Press. ISBN 0226655636. Shakespeare, William 1996. The Sonnets. G.Blakemore Evans ed.. Cambridge: Cambridge University Press; Commentary, 132. ISBN 0521222257. ^ Fort, J. A. The Story Contained in the Second Series of Shakespeare's Sonnets. The Review of English Studies. Oct 1927 3.12, 406-414. ^ Boyce, Charles 1996. Dictionary of Shakespeare. Ware, Herts, UK: Wordsworth, 91, 193, 513. ISBN 1853263729. ^ Thomson, Peter 2003. Conventions of Playwriting. In Shakespeare: an Oxford Guide. Stanley Wells and Lena Cowen Orlin eds.. Oxford: Oxford University Press, 49. ISBN 0199245223. ^ Kathman, 629. Boyce, 91. ^ Edwards, Phillip 1958. Shakespeare's Romances, 1900-1957. Shakespeare Survey 11: 1-10. Snyder, Susan, and Curren-Aquino, Deborah, T eds. 2007. The Winter's Tale. Cambridge: Cambridge University Press. Introduction. ISBN 0521221587. ^ Schanzer, Ernest 1963. The Problem Plays of Shakespeare. London: Routledge and Kegan Paul, 1-10. ISBN 041535305X. ^ Boas, F.S 1896, Shakspere and his Predecessors, 345. Quoted by Schanzer, 1. ^ Schanzer, 1. Bloom, Harold 1999. Shakespeare: The Invention of the Human. New York: Riverhead Books, 325-380. ISBN 157322751X. Berry, Ralph 2005. Changing Styles in Shakespeare. London; New York: Routledge, 37. ISBN 0415353165. ^ Calendar Conversions. Yahoo! Geocities. Yahoo!. Retrieved on 2007-06-14. ^ Morris, Brian Robert 1968. Christopher Marlowe. New York: Hill and Wang, 65-94. ISBN 0809067803. ^ Taylor, Gary 1988. William Shakespeare: A Textual Companion. Oxford: Oxford University Press, 116. ISBN 0198129149 ^ Bloom, 30. Hoeniger, F.D ed. 1963. Pericles. London: Arden Shakespeare, Thomson. Introduction. ISBN 0174435886l. Jackson, Macdonald P 2003. Defining Shakespeare: Pericles as Test Case. Oxford: Oxford University Press, 83. ISBN 0199260508. ^ Potter, Lois ed. 1997. The Two Noble Kinsmen. William Shakespeare. London: Arden Shakespeare, Thomson. Introduction, 1-6. ISBN 1904271189. ^ Edward Burns ed. 2000. King Henry VI, Part 1. William Shakespeare. London: Arden Shakespeare, Thomson. Introduction, 73-84. ISBN 1903436435. Hattaway ed. 1990. The First Part of King Henry VI. William Shakespeare. Cambridge: Cambridge University Press. Introduction, 43. ISBN 052129634X. ^ Gordon McMullan ed. 2000. King Henry VIII. William Shakespeare. London: Arden Shakespeare, Thomson. Introduction, 198. ISBN 1903436257. ^ Vickers, Brian 2002. Shakespeare, Co-Author: A Historical Study of Five Collaborative Plays. Oxford: Oxford University Press. 8. ISBN 0199256535. Dillon, Janette 2007. The Cambridge Introduction to Shakespeare's Tragedies. Cambridge: Cambridge University Press, 25. ISBN 0521858178. ^ Vickers, 8. Dominik, 16. Farley-Hills, David 1990. Shakespeare and the Rival Playwrights, 1600-06. London; New York: Routledge, 171-172. ISBN 0415040507. ^ Brooke, Nicholas ed. 1998. The Tragedy of Macbeth. William Shakespeare. Oxford: Oxford University Press, 57. ISBN 0192834177. ^ Wells, Oxford Shakespeare, 805. ^ Bradford, Gamaliel Jr. The History of Cardenio by Mr. Fletcher and Shakespeare. Modern Language Notes February 1910 25.2, 51-56. Freehafer, John. 'Cardenio', by Shakespeare and Fletcher. PMLA. May 1969 84.3, 501-513. Further reading Schoenbaum, S. 1991. Shakespeare's Lives. Oxford: Oxford University Press. Greenblatt, Stephen 2005. Will in the World: How Shakespeare Became Shakespeare. London: Pimlico. ISBN 0712600981. Honan, Park 1998. Shakespeare: A Life. Oxford; New York: Oxford University Press. ISBN 0198117922. Wells, Stanley, et al 2005. The Oxford Shakespeare: The Complete Works, 2nd ion. Oxford: Oxford University Press. ISBN 0199267170. Vendler, Helen 1997. The Art of Shakespeare's Sonnets. Harvard University Press. ISBN 0674637127. External links Listen to this article info/dl Play sound Spoken This audio file was created from a revision dated 2008-04-11, and does not reflect subsequent s to the article. Audio help More spoken articles This is a spoken version of the article. Click here to listen. Shakespeare portal Find more about William Shakespeare on 's sister projects: Dictionary definitions Textbooks Quotations Source texts Images and media News stories Learning resources Wikia has a wiki on this subject: Shakespeare Open Source Shakespeare The Internet Shakespeare ions Designing Shakespeare The Royal Shakespeare Company website The American Shakespeare Center website William Shakespeare at Find A Grave Maev Kennedy, Shakespeare's Shorch theatre unearthed, The Guardian, Thursday, August 7, 2008, 1. v d e Relatives of William Shakespeare Richard Shakespeare John Shakespeare Mary Arden Anne Hathaway Hamnet Shakespeare Susanna Hall John Hall Thomas Nash · Elizabeth Barnard Judith Quiney Thomas Quiney v d e William Shakespeare and his works General information Biography · Style · Influence · Reputation · Religion · Sexuality · Shakespeare authorship question Tragedies Antony and Cleopatra · Coriolanus · Cymbeline · Hamlet · Julius Caesar · King Lear · Macbeth · Othello · Romeo and Juliet · Timon of Athens · Titus Andronicus · Troilus and Cressida Comedies All's Well That Ends Well · As You Like It · The Comedy of Errors · Love's Labour's Lost · Measure for Measure · The Merchant of Venice · The Merry Wives of Windsor · A Midsummer Night's Dream · Much Ado About Nothing · Pericles, Prince of Tyre · The Taming of the Shrew · The Tempest · Twelfth Night · The Two Gentlemen of Verona · The Two Noble Kinsmen · The Winter's Tale Histories King John · Richard II · Henry IV, Part 1 · Henry IV, Part 2 · Henry V · Henry VI, part 1 · Henry VI, part 2 · Henry VI, part 3 · Richard III · Henry VIII Poems Sonnets · Venus and Adonis · The Rape of Lucrece · The Passionate Pilgrim · The Phoenix and the Turtle · A Lover's Complaint Apocrypha and lost plays Edward III · Sir Thomas More · Cardenio lost · Love's Labour's Won lost · The Birth of Merlin · Locrine · The London Prodigal · The Puritan · The Second Maiden's Tragedy · Richard II, Part I: Thomas of Woodstock · Sir John Oldcastle · Thomas Lord Cromwell · A Yorkshire Tragedy · Fair Em · Mucedorus · The Merry Devil of Edmonton · Arden of Faversham · Edmund Ironside · Vortigern and Rowena Other play information Shakespeare's plays · Shakespeare in performance · Chronology of Shakespeare's plays · Oxfordian chronology · Shakespeare on screen · BBC Television Shakespeare · Titles based on Shakespeare · Lists of characters A-K, L-Z · Problem plays · List of historical characters · Ghost characters Featured article Persondata NAME Shakespeare, William ALTERNATIVE NAMES SHORT DESCRIPTION English poet and playwright DATE OF BIRTH April, 1564 PLACE OF BIRTH Stratford-upon-Avon, Warwickshire, England DATE OF DEATH April 23, 1616 PLACE OF DEATH Stratford-upon-Avon, Warwickshire, England Retrieved from http://en..org/wiki/William_Shakespeare Categories: Spoken articles | Featured articles | William Shakespeare | English Renaissance dramatists | English dramatists and playwrights | English poets | People from Stratford-upon-Avon | Shakespearean actors | Sonneteers | Tudor people | 1564 births | 1616 deathsHidden category: Semi-protected Views Article Discussion View source History Personal tools Log in / create account Navigation Main page Contents Featured content Current events Random article Search Go Search Interaction Community portal Recent changes Contact Donate to Help Toolbox What links here Related changes Upload file Special pages Printable version Permanent link Cite this page Languages Afrikaans العربية Aragonés Asturianu AzÉ™rbaycan বাংলা Bân-lâm-gú БеларуÑ?каÑ? тарашкевіца Bikol Central Bosanski Brezhoneg БългарÑ?ки Català Česky Cymraeg Dansk Deutsch Eesti Ελληνικά Español Esperanto Estremeñu Euskara Ù?ارسی Føroyskt Français Frysk Furlan Gaeilge 贛語 Galego í•œêµì–´ Hawai`i हिनà¥?दी Hrvatski Ido Ilokano Bahasa Indonesia Interlingua Ã?slenska Italiano עברית Basa Jawa ಕನà³?ನಡ ქáƒ?რთული Kiswahili Kurdî / كوردی Latina LatvieÅ¡u Lëtzebuergesch Lietuvių LÃguru Limburgs Magyar МакедонÑ?ки മലയാളം मराठी Bahasa Melayu Mìng-dĕ̤ng-ngṳ̄ Монгол NÄ?huatl Nederlands 日本語 ‪Norsk bokmÃ¥l‬ ‪Norsk nynorsk‬ Nouormand O'zbek Pangasinan پښتو Piemontèis Plattdüütsch Polski Português Qaraqalpaqsha Română Runa Simi РуÑ?Ñ?кий Sámegiella संसà¥?कृत Shqip Sicilianu Simple English SlovenÄ?ina SlovenÅ¡Ä?ina СрпÑ?ки / Srpski Srpskohrvatski / СрпÑ?кохрватÑ?ки Suomi Svenska Tagalog தமிழà¯? Taqbaylit తెలà±?à°—à±? ไทย Tiếng Việt Тоҷикӣ Türkçe УкраїнÑ?ька Volapük ייִדיש 粵語 Zazaki ŽemaitÄ—Å¡ka ä¸æ–‡ This page was last modified on 27 August 2008, at 20:16
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