William Shakespeare

William Shakespeare

The Chandos portrait, artist and authenticity unconfirmed (National Portrait Gallery, London).
Born: April 1564
Stratford-upon-Avon, Warwickshire, England
Died: April 23, 1616
Stratford-upon-Avon, Warwickshire, England
Occupation(s): Playwright, poet, actor

William Shakespeare (baptised April 26 1564 – died April 23 1616)[1] was an English poet and playwright widely regarded as the greatest writer of the English language, and the world's preeminent dramatist.[2] He wrote approximately 38 plays and 154 sonnets, as well as a variety of other poems.[3] Already a popular writer in his own lifetime, Shakespeare became increasingly celebrated after his death and his work adulated by numerous prominent cultural figures through the centuries.[4] He is often considered to be England's national poet[5] and is sometimes referred to as the "Bard of Avon" (or simply "The Bard")[6] or the "Swan of Avon".[7]

Orthodox scholars believe Shakespeare produced most of his work between 1586 and 1612, although the exact dates and chronology of the plays attributed to him are under considerable debate, as is the authorship of the works attributed to him. He is counted among the very few playwrights who have excelled in both tragedy and comedy, and his plays combine popular appeal with complex characterisation, poetic grandeur and philosophical depth.

Shakespeare's works have been translated into every major living language, and his plays are continually performed all around the world. In addition, Shakespeare is the most quoted writer in the literature and history of the English-speaking world[8], and many of his quotations and neologisms have passed into everyday usage in English and other languages. Over the years, many people have speculated about Shakespeare's life, raising questions about his sexuality and religious affiliation.





Early life

William Shakespeare (also spelled Shakspere, Shakspear, Shakespere, Shakspere, Shaksper, Shaxper, and Shake-speare, since in Elizabethan times spelling was not fixed and absolute[9]) was born in Stratford-upon-Avon in April 1564, the son of John Shakespeare, a successful glover and alderman from Snitterfield, and of Mary Arden, a daughter of the gentry and was the third of eight children. His birth is assumed to have occurred at the family house on Henley Street. Shakespeare's christening record dates to April 26 of that year. Because christenings were performed within a few days of birth, tradition has settled on April 23 as his birthday. This date provides a convenient symmetry because Shakespeare died on the same day, April 23 (May 3 on the Gregorian calendar), in 1616.

Shakespeare is believed to have attended King Edward VI Grammar School in central Stratford;[10] as the son of a prominent town official, he would have been entitled to do so for free.[11] However, no documentary evidence to confirm this exists.[10]

By 1596, Shakespeare had moved to the parish of St. Helen's, Bishopsgate, and by 1598 he appeared at the top of a list of actors in Every Man in His Humour written by Ben Jonson. Also by 1598, his name began to appear on the title pages of his plays, presumably as a selling point.

There is a tradition that Shakespeare, in addition to writing many of the plays his company enacted, and being concerned as part-owner of the company with business and financial details, continued to act in various parts, such as the ghost of Hamlet's father, Adam in As You Like It, and the Chorus in Henry V.[citation needed]

He appears to have moved across the River Thames to Southwark sometime around 1599. By 1604, he had moved again, north of the river, where he lodged just north of St Paul's Cathedral with a Huguenot family named Mountjoy. His residence there is worth noting because he helped arrange a marriage between the Mountjoys' daughter and their apprentice Stephen Bellott. Bellott later sued his father-in-law for defaulting on part of the promised dowry, and Shakespeare was called as a witness.

Various documents recording legal affairs and commercial transactions show that Shakespeare grew rich enough during his stay in London to buy a property in Blackfriars, London and own the second-largest house in Stratford, New Place.


Later years

Shakespeare's funerary monument
Shakespeare's funerary monument
Shakespeare's House in Stratford-Upon-Avon. Now home of the Shakespeare's Birthplace Trust
Shakespeare's House in Stratford-Upon-Avon. Now home of the Shakespeare's Birthplace Trust

Shakespeare appears to have retired to Stratford in 1613. He died on April 23 1616 at the age of 52. Curiously, his death occurred on the same date as the preeminent Spanish novelist, playwright and poet Miguel de Cervantes, who is considered Shakespeare's equivalent in Spanish literature. Nevertheless, Shakespeare actually died ten days after Cervantes, since England was still functioning under the Julian calendar while Spain used the Gregorian calendar. To add to coincidence, Shakespeare also died on his birthday, if the tradition that he was born on April 23 is correct. He was married to Anne Hathaway until his death and was survived by his two daughters, Susanna and Judith. His son Hamnet had died in 1596. Susanna married Dr John Hall, but there are no direct descendants of the poet and playwright alive today.

Shakespeare is buried in the chancel of Holy Trinity Church in Stratford-upon-Avon. He was granted the honour of burial in the chancel not on account of his fame as a playwright but for purchasing a share of the tithe of the church for £440 (a considerable sum of money at the time). A monument placed by his family [citation needed] on the wall nearest his grave features a bust of him posed in the act of writing. Each year on his claimed birthday, a new quill pen is placed in the writing hand of the bust. He is believed to have written the epitaph on his tombstone:

William Shakespeare
Good friend, for Jesus' sake forbear,
To dig the dust enclosèd here.
Blest be the man that spares these stones,
And cursed be he that moves my bones.
William Shakespeare




A number of Shakespeare's plays are widely regarded as among the greatest in the English language and in Western literature. He wrote tragedies, histories, comedies and romances, which have been translated into every major living language,[citation needed] in addition to being continually performed around the world.

As was often done in the period, Shakespeare based many of his plays on the work of other playwrights and reworked earlier stories and historical material. For example, Hamlet (c. 1601) is probably a reworking of an older, lost play (the so-called Ur-Hamlet), and King Lear is an adaptation of an earlier play, also called King Lear. For plays on historical subjects, Shakespeare relied heavily on two principal texts. Most of the Roman and Greek plays are based on Plutarch's Parallel Lives (from the 1579 English translation by Sir Thomas North[12]), and the English history plays are indebted to Raphael Holinshed's 1587 Chronicles.

Shakespeare's plays tend to be placed into three main stylistic groups:

The earlier plays range from broad comedy to historical nostalgia, while the middle-period plays tend to be grander in terms of theme, addressing such issues as betrayal, murder, lust, power, and ambition. By contrast, his late romances feature redemptive plotlines with ambiguous endings and the use of magic and other fantastical elements. However, the borders between these genres are never clear.

Image of Shakespeare from the First Folio (1623), the first collected edition of his plays
Image of Shakespeare from the First Folio (1623), the first collected edition of his plays

Some of Shakespeare's plays first appeared in print as a series of quartos, but most remained unpublished until 1623 when the posthumous First Folio was published by two actors who had been in Shakespeare's company: John Heminges and Henry Condell. The traditional division of his plays into tragedies, comedies, and histories follows the logic of the First Folio. It is at this point that stage directions, punctuation and act divisions enter his plays, setting the trend for further future editorial decisions. Modern criticism has also labelled some of his plays "problem plays" or tragi-comedies, as they elude easy categorisation, or perhaps purposefully break generic conventions. The term "romances" has also been preferred for the later comedies.

There are many controversies about the exact chronology of Shakespeare's plays. In addition, the fact that Shakespeare did not produce an authoritative print version of his plays during his life accounts for part of the textual problem often noted with his plays, which means that for several of the plays there are different textual versions. As a result, the problem of identifying what Shakespeare actually wrote became a major concern for most modern editions. Textual corruptions also stem from printers' errors, compositors' misreadings, or wrongly scanned lines from the source material. Additionally, in an age before standardised spelling, Shakespeare often wrote a word several times in a different spelling, contributing further to the transcribers' confusions. Modern scholars also believe Shakespeare revised his plays throughout the years, sometimes leading to perhaps two or more existing versions of one play.



Shakespeare's sonnets are a collection of 154 poems that deal with such themes as love, beauty, and mortality. All but two first appeared in the 1609 publication entitled Shakespeare's Sonnets; numbers 138 ("When my love swears that she is made of truth") and 144 ("Two loves have I, of comfort and despair") had previously been published in a 1599 miscellany entitled The Passionate Pilgrim. The Sonnets were written over a number of years, probably beginning in the early 1590s.

The conditions under which the sonnets were published are unclear. The 1609 text is dedicated to one "Mr. W.H.", who is described as "the only begetter" of the poems in the dedication. It is unknown if the dedication was written by Shakespeare or Thomas Thorpe, the publisher. It is also unknown who this man was, although there are many theories, including those who believe him to be the young man featured in the sonnets.[13] In addition, it is not known whether the publication of the sonnets was even authorised by Shakespeare.


Other poems

In addition to his sonnets, Shakespeare also wrote three known longer poems: Venus and Adonis, The Rape of Lucrece and A Lover's Complaint. These poems appear to have been written either in an attempt to win the patronage of a rich benefactor (as was common at the time) or as the result of such patronage. For example, The Rape of Lucrece and Venus and Adonis were both dedicated to Shakespeare's patron, Henry Wriothesley, 3rd Earl of Southampton.

In addition, Shakespeare wrote the short poem The Phoenix and the Turtle. The anthology The Passionate Pilgrim was attributed to him upon its first publication in 1599, but in fact only five of its poems are by Shakespeare and the attribution was withdrawn in the second edition.



Detail from statue of Shakespeare in Leicester Square, London.
Detail from statue of Shakespeare in Leicester Square, London.

Shakespeare's works have been a major influence on subsequent theatre. Not only did Shakespeare create some of the most admired plays in Western literature, he also transformed English theatre by expanding expectations about what could be accomplished through characterisation, plot, action, language, and genre.[14] His poetic artistry helped raise the status of popular theatre, permitting it to be admired by intellectuals as well as by those seeking pure entertainment.

Theatre was changing when Shakespeare first arrived in London in the late 1580s or early 1590s. Previously, the most common forms of popular English theatre were the Tudor morality plays. These plays, which blend piety with farce and slapstick, were allegories in which the characters are personified moral attributes who validate the virtues of Godly life by prompting the protagonist to choose such a life over evil. The characters and plot situations are symbolic rather than realistic. As a child, Shakespeare would likely have been exposed to this type of play (along with mystery plays and miracle plays).[15] Meanwhile, at the universities, academic plays were being staged based on Roman closet dramas. These plays, often performed in Latin, used a more exact and academically respectable poetic style than the morality plays, but they were also more static, valuing lengthy speeches over physical action.

By the late 16th century, the popularity of morality and academic plays waned as the English Renaissance took hold, and playwrights like Thomas Kyd and Christopher Marlowe began to revolutionise theatre. Their plays blended the old morality drama with academic theatre to produce a new secular form. The new drama had the poetic grandeur and philosophical depth of the academic play and the bawdy populism of the moralities. However, it was more ambiguous and complex in its meanings, and less concerned with simple moral allegories. Inspired by this new style, Shakespeare took these changes to a new level, creating plays that not only resonated on an emotional level with audiences but also explored and debated the basic elements of what it means to be human.



Shakespeare's reputation has grown considerably since his own time. During his lifetime and shortly after his death, Shakespeare was well-regarded but not considered the supreme poet of his age. He was included in some contemporary lists of leading poets, but he lacked the stature of Edmund Spenser or Philip Sidney. After the Interregnum stage ban of 1642–1660, the new Restoration theatre companies had the previous generation of playwrights as the mainstay of their repertory, most of all the phenomenally popular Beaumont and Fletcher team, but also Ben Jonson and Shakespeare. As with other older playwrights, Shakespeare's plays were mercilessly adapted by later dramatists for the Restoration stage with little of the reverence that would later develop.

Beginning in the late 17th century, Shakespeare began to be considered the supreme English-language playwright (and, to a lesser extent, poet). Initially this reputation focused on Shakespeare as a dramatic poet, to be studied on the printed page rather than in the theatre. By the early 19th century, though, Shakespeare began hitting peaks of fame and popularity. During this time, theatrical productions of Shakespeare provided spectacle and melodrama for the masses and were extremely popular. Romantic critics such as Samuel Taylor Coleridge then raised admiration for Shakespeare to adulation or bardolatry (from bard + idolatry), in line with the Romantic reverence for the poet as prophet and genius. In the middle to late 19th century, Shakespeare also became an emblem of English pride and a "rallying-sign", as Thomas Carlyle wrote in 1841, for the whole British Empire.

This reverence has provoked an unforeseen negative reaction in the youth. In the 21st century most people in the English-speaking world encounter Shakespeare at school at a young age, and there is an association by some students of his work with boredom beyond comprehension and of "high art" not easily appreciated by popular culture; an ironic fate considering the social mix of Shakespeare's audience. Nonetheless, Shakespeare's plays remain more frequently staged than the works of any other playwright and are frequently adapted into film—including Hollywood movies specifically marketed to broad teenage audiences, though many simply take credit for his plots rather than his narrative. Famously, Shakespeare's plays are often transferred to a different environment even when retaining his dialogue.

On another level, many modern English words and phrases that are taken for granted were introduced by Shakespeare.


Speculations about Shakespeare



Around one hundred and fifty years after Shakespeare's death in 1616, doubts began to be expressed by some researchers about the authorship of the plays and poetry attributed to him. The terms Shakespearean authorship, and the Shakespeare Authorship Question normally refer to the debates inspired by these researchers, who consider the works to have been written by another playwright using either William Shakespeare, or the hyphenated "Shake-speare", as a pen-name.

Admirers of Shakespeare's works are often disappointed by the lack of available information about the author. In "Who Wrote Shakespeare" (1996), John Mitchell notes "The known facts about Shakespeare's life ... can be written down on one side of a sheet of notepaper." He cites Mark Twain's satirical expression of the same point in the section "Facts" in "Is Shakespeare Dead" (1909).

Edward de Vere, the 17th Earl of Oxford, an English nobleman and intimate of Queen Elizabeth, remains the most prominent alternative candidate for authorship of the Shakespeare canon, having been identified in the 1920s and further researched in the 1980's. Oxford partisans note his literary reputation, education and travels, as well as striking similarities between the Earl's life, and events depicted in the plays and sonnets. The principal hurdle for the Oxfordian theory is the conventional theory that many of the Shakespeare plays were written after Oxford's death (1604), but well within the lifespan of William Shakespeare. Oxfordians counter this argument by citing research that suggests "Shakespeare" actually stopped writing in 1604, the same year that regular publication of Shakespeare's plays stopped. Christopher Marlowe is considered by some to be the most highly qualified to have written the works of Shakespeare. It has been speculated that Marlowe's recorded death in 1593 was faked for various reasons and that Marlowe went into hiding, subsequently writing under the name of William Shakespeare; this is called the Marlovian theory. Sir Francis Bacon is another proposed author for the Shakespeare works. Besides having travelled to some of the countries in which the plays are set, he could also have read the Shakespeare sources in their original Greek, Italian, Hebrew, or French. He described himself as a "Concealed Poet" and was alive at the time of the publication of the First Folio in 1623. Arguments against Bacon include the suggestion that he had no time to write so many plays, and that his style is different from Shakespeare's.

A question in mainstream academia addresses whether Shakespeare himself wrote every word of his commonly accepted plays, given that collaboration between dramatists routinely occurred in the Elizabethan theatre. Serious academic work continues to attempt to ascertain the authorship of plays and poems of the time, both those attributed to Shakespeare and others.



In 1559, five years before Shakespeare's birth, the Elizabethan Religious Settlement finally severed the Church of England from the Roman Catholic Church after decades of uncertainty. In the ensuing years, extreme pressure was placed on England's Catholics to convert to the Protestant Church of England, and recusancy laws made Catholicism illegal. Some historians maintain that in Shakespeare's lifetime there was a substantial and widespread quiet resistance to the newly imposed faith.[16] Some scholars, using both historical and literary evidence, have argued that Shakespeare was one of these recusants, but this cannot be proven absolutely.

There is evidence that members of Shakespeare's family were recusant Catholics. The strongest evidence is a tract professing secret Catholicism signed by John Shakespeare, father of the poet. The tract was found in the rafters of Shakespeare's birthplace in the 18th century, and was seen and described by the reputable scholar Edmond Malone. However, the tract has since been lost, and its authenticity cannot therefore be proven. John Shakespeare was also listed as one who did not attend church services, but this was "for feare of processe for Debtte", according to the commissioners, not because he was a recusant.[17] Then again, avoiding creditors may have merely been a convenient pretext for a recusant's avoidance of the established church's services.

Shakespeare's mother, Mary Arden, was a member of a conspicuous and determinedly Catholic family in Warwickshire.[18] In 1606, William's daughter Susanna was listed as one of the residents of Stratford refusing to take Holy Communion, which may suggest Catholic sympathies.[19] Archdeacon Richard Davies, an 18th century Anglican cleric, allegedly wrote of Shakespeare: "He dyed a Papyst".[20] Four of the six schoolmasters at the grammar school during Shakespeare's youth were Catholic sympathisers,[21] and Simon Hunt, likely one of Shakespeare’s teachers, later became a Jesuit.[22]

While none of this evidence proves Shakespeare's own Catholic sympathies, one historian, Clare Asquith, has claimed that those sympathies are detectable in his writing. Asquith claims that Shakespeare uses terms such as "high" when referring to Catholic characters and "low" when referring to Protestants (the terms refer to their altars) and "light" or "fair" to refer to Catholic and "dark" to refer to Protestant, a reference to certain clerical garbs. Asquith also detects in Shakespeare's work the use of a simple code used by the Jesuit underground in England which took the form of a mercantile terminology wherein priests were 'merchants' and souls were 'jewels', the people pursuing them were 'creditors', and the Tyburn gallows where the members of the underground died was called 'the place of much trading'.[23] The Jesuit underground used this code so their correspondences looked like innocuous commercial letters, and Asquith claims that Shakespeare also used this code.[24]

Needless to say, Shakespeare’s Catholicism is by no means universally accepted. The Catholic Encyclopedia questions not only his Catholicism, but whether "Shakespeare was not infected with the atheism, which... was rampant in the more cultured society of the Elizabethan age."[25] Stephen Greenblatt, of Harvard, suspects Catholic sympathies of some kind or another in Shakespeare and his family but considers the writer to be a less than pious person with essentially worldly motives.[citation needed] An increasing number of scholars do look to matters biographical and evidence from Shakespeare’s work such as the placement of young Hamlet as a student at Wittenberg while old Hamlet’s ghost is in purgatory, the sympathetic view of religious life ("thrice blessed"), scholastic theology in The Phoenix and the Turtle, and sympathetic allusions to martyred English Jesuit St. Edmund Campion in Twelfth Night[26] and many other matters as suggestive of a Catholic worldview. However, these may have been continuations of old literary conventions rather than determined Catholicism just as the Robin Hood ballads continued to have friars in them after the Reformation.

On the other hand, the Porter's speech in Macbeth has been read by some as a criticism of the equivocation of Father Henry Garnet after it became topical in 1606 due to his execution.[27]



Henry Wriothesley, 3rd Earl of Southampton:Shakespeare's patron at 21 years of age, one candidate for the "Fair Lord" of the sonnets.
Henry Wriothesley, 3rd Earl of Southampton:
Shakespeare's patron at 21 years of age, one candidate for the "Fair Lord" of the sonnets.

While 26 of the Sonnets are love poems addressed to a married woman (the "Dark Lady"), 126 are addressed to a young man (known as the "Fair Lord"). The amorous tone of the latter group, which focuses on the young man's beauty and the writer's devotion, has long been interpreted as suggestive evidence for Shakespeare being bisexual. For example, in 1954, C.S. Lewis wrote that the sonnets are "too lover-like for ordinary male friendship" (although he added that they are not the poetry of "full-blown pederasty") and that he "found no real parallel to such language between friends in the sixteenth-century literature."[28] Nonetheless, others interpret them as referring to intense friendship rather than sexual love.


See also



Shakespeare's plays are traditionally organised into three groups: Tragedies, Comedies, and Histories. The following list separates the plays according to their classification in the First Folio, the first published edition of Shakespeare's plays. Today, some of the comedies are usually considered as a separate subgenre, the 'romances' or tragicomedies; these plays are highlighted with an asterisk (*).


  • The Tempest*
  • The Two Gentlemen of Verona
  • The Merry Wives of Windsor
  • Measure for Measure
  • The Comedy of Errors
  • Much Ado About Nothing
  • Love's Labour's Lost
  • A Midsummer Night's Dream
  • The Merchant of Venice
  • As You Like It
  • Taming of the Shrew
  • All's Well That Ends Well
  • Twelfth Night, or What You Will
  • The Winter's Tale*
  • Pericles, Prince of Tyre* (not included in the First Folio)
  • The Two Noble Kinsmen* (not included in the First Folio)
  • Cymbeline*


  • 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


  • Romeo and Juliet
  • Coriolanus
  • Titus Andronicus
  • Timon of Athens
  • Julius Caesar
  • Macbeth
  • Hamlet
  • Troilus and Cressida
  • King Lear
  • Othello
  • Antony and Cleopatra


  • Shakespeare's Sonnets
  • Venus and Adonis
  • The Rape of Lucrece
  • The Passionate Pilgrim
  • The Phoenix and the Turtle
  • A Lover's Complaint

Lost plays

  • Love's Labour's Won
  • Cardenio


  • Edmund Ironside (play)
  • Edward III
  • Sir Thomas More
  • Arden of Faversham

Shakespeare on screen

  • BBC Television Shakespeare
  • Shakespeare in Love

Early editions of Shakespeare

  • bad quarto
  • first quarto
  • second quarto
  • first folio
  • second folio
  • false folio


  1. Dates use the Julian Calendar. Under the Gregorian calendar, Shakespeare died on May 3.
  2. Encyclopedia Britannica article on Shakespeare, MSN Encarta Encyclopedia article on Shakespeare, Columbia Electronic Encyclopedia article on Shakespeare. Accessed Feb. 26, 2006.
  3. The exact figures are unknowable. See Shakespearean authorship, Shakespeare's collaborations and Shakespeare Apocrypha for further details.
  4. Wikiquote information on Shakespeare. Accessed Feb. 26, 2006.
  5. The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660-1769 by Michael Dobson, Oxford University Press, 1995. Accessed Feb 26, 2006.
  6. Webster's Dictionary entry on "The Bard". Accessed Feb. 26, 2006.
  7. "To The Memory Of My Beloved, The Author, Mr William Shakespeare, And What He Hath Left Us", a poem by Ben Jonson. Accessed Feb. 26, 2006.
  8. The Literary Encyclopedia entry on William Shakespeare by Lois Potter, University of Delaware, accessed June 22, 2006, and The Columbia Dictionary of Shakespeare Quotations, edited by Mary Foakes and Reginald Foakes, June 1998.
  9. The Spelling and Pronunciation of Shakespeare's Name by David Kathman. Accessed 10/22/05.
  10. 10.0 10.1 David Kaufmann, "Critically Examining Oxfordian Claims Part 11: Stratford Grammar School"
  11. Introduction to Tom Reedy and David Kathman's "How we know Shakespeare wrote shakepeare"
  12. Plutarch's Parallel Lives. Accessed 10/23/05.
  13. Hallet Smith, "Sonnets," The Riverside Shakespeare, pp 1745-8. Houghton Mifflin 1974
  14. Shakespeare's Reading by Robert S. Miola, Oxford University Press, 2000.
  15. Shakespeare's Reading by Robert S. Miola, Oxford University Press, 2000.
  16. The Shakespeares and ‘the Old Faith’ (1946) by John Henry de Groot; Die Verborgene Existenz Des William Shakespeare: Dichter Und Rebell Im Katholischen Untergrund (2001) by Hildegard Hammerschmidt-Hummel; Shadowplay: The Hidden Beliefs and Coded Politics of William Shakespeare (2005) by Clare Asquith.
  17. Mutschmann, H. and Wentersdorf, K., Shakespeare and Catholicism, Sheed and Ward: New York, 1952, p. 401.
  18. Peter Ackroyd, Shakespeare: The Biography. Doubleday, 2005. p. 29
  19. Peter Ackroyd, Shakespeare: The Biography. Doubleday, 2005. p. 451
  20. The Religion of Shakespeare Catholic Encyclopedia on CD-ROM. (Accessed Dec. 23, 2005.)
  21. Peter Ackroyd, Shakespeare: The Biography. Doubleday, 2005. pp. 63–64
  22. Hammmerschmidt-Hummel, H., "The most important subject that can possibly be": A Reply to E. A. J. Honigmann, Connotations, 2002-3
  23. Shadowplay: The Hidden Beliefs and Coded Politics of William Shakespeare (2005) by Clare Asquith.
  24. Shadowplay: The Hidden Beliefs and Coded Politics of William Shakespeare (2005) by Clare Asquith.
  25. The Religion of Shakespeare Catholic Encyclopedia on CD-ROM. (Accessed Dec. 23, 2005.)
  26. "Allusions to Edmund Campion in Twelfth Night" by C. Richard Desper, Elizabethan Review, Spring/Summer 1995.
  27. http://www.eastdonsc.vic.edu.au/home/pgardner/teaching/Macbeth_notes.html Elloway, D.R., An Introduction to Macbeth
  28. Was Shakespeare gay? Sonnet 20 and the politics of pedagogy.

Further reading

  • Anthony Burgess, Nothing Like The Sun (1964). Fictionalised biography
  • Anthony Burgess, Shakespeare (1970). Biography
  • Stephen Greenblatt, Will in the World (2004). Biography
  • Bertram Fields, Players: The Mysterious Identity of William Shakespeare (2005)
  • John Pemble, Shakespeare Goes to Paris: How the Bard Conquered France (2005)
  • Shakespeare on Film Bibliography (via UC Berkeley)
  • Harold Bloom, Shakespeare: The Invention of the Human (1999). Literary Criticism
  • Michael Wood, In Search of Shakespeare (2003) Historical background, BBC Books, ISBN 0-563-52141-4 (paperback). This work is a companion to the television series of the same title.
  • Peter Ackroyd, Shakespeare: The Biography *(2005). Biography
  • A. L. Rowse, Shakespeare the Man (St. Martin’s Press, revised ed. 1988). Biography
  • S. Schoenbaum, William Shakespeare, A Compact Documentary Life (Oxford U. Press, 1977). Biography
  • Cleanth Brooks, The Well-Wrought Urn (Harvest, 1947). This collection of criticism contains a classic essay on Macbeth.
  • J. Dover Wilson, What Happens in Hamlet (Cambridge U. Press, 1970). Literary Criticism
  • P. Crittwell, The Shakespearean Moment and Its Place in the Poetry of the 17th century (Vintage, 1960).

External links

The complete works of William Shakespeare
Tragedies: Romeo and Juliet | Macbeth | King Lear | Hamlet | Othello | Titus Andronicus | Julius Caesar | Antony and Cleopatra | Coriolanus | Troilus and Cressida | Timon of Athens
Comedies: A Midsummer Night's Dream | All's Well That Ends Well | As You Like It | Cymbeline | Love's Labour's Lost | Measure for Measure | The Merchant of Venice | The Merry Wives of Windsor | Much Ado About Nothing | Pericles, Prince of Tyre | Taming of the Shrew | The Comedy of Errors | The Tempest | Twelfth Night, or What You Will | 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 and Sonnets: 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
See also: Shakespeare on screen | Titles of Works based on Shakespeare | Characters | Problem Plays | Ghost character | Reputation | Authorship

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