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The age of Shakespeare was a great time in English history. The reign of Queen Elizabeth I (1558-1603) saw England emerge as the leading naval and commercial power of the Western world. England consolidated its position with the defeat of the Spanish Armada in 1588, and Elizabeth firmly established the Church of England begun by her father, King Henry VIII (following Henry's dispute with the Pope over having his first marriage annulled).

Sir Francis Drake circumnavigated the world and became the most celebrated English sea captain of his generation. Sir Humphrey Gilbert and Sir Walter Raleigh sent colonists eastward in search of profit. European wars brought an influx of continental refugees into England, exposing the Englishman to new cultures. In trade, might, and art, England established an envious preeminence.

At this time, London was the heart of England, reflecting all the vibrant qualities of the Elizabethan Age. This atmosphere made London a leading center of culture as well as commerce. Its dramatists and poets were among the leading literary artists of the day. In this heady environment, Shakespeare lived and wrote.

London in the 16th century underwent a transformation. Its population grew 400% during the 1500s, swelling to nearly 200,000 people in the city proper and outlying region by the time an immigrant from Stratford came to town. A rising merchant middle class carved out a productive livelihood, and the economy boomed.

In the 1580s, the writings of the University Wits (Marlowe, Greene, Lyly, Kyd, and Peele) defined the London theatre. Though grounded in medieval and Jacobean roots, these men produced new dramas and comedies using Marlowe's styling of blank verse. Shakespeare outdid them all; he combined the best traits of Elizabethan drama with classical sources, enriching the admixture with his imagination and wit.

Shakespeare's Peers: English Renaissance Playwrights

Shakespeare was hardly the only working playwright in London back in the day. Here's a quick guide to his competition.

A Very Shakespeare Christmas

It's another holiday season of eating, gift-giving, and festivity. But how would Shakespeare and everyone else in England have celebrated Christmas back in the day?

British History Online

Digital library containing some of the core printed primary and secondary sources for the medieval and modern history of the British Isles. Created by the Institute of Historical Research and the History of Parliament Trust.

Description Of Elizabethan England, 1577

The Modern History Sourcebook presents William Harrison's contribution to Holinshed's Chronicles. Arguably one of the best contemporary accounts of life in Elizabethan England.

Elizabeth I: An Overview

The BBC presents a very good history of Elizabeth I as part of their online "Church and State" series.

Elizabeth I and Elizabethan life in England

An article on architecture, literature, and daily life in Elizabethan England. From the Britain Express site.

Elizabethan Era History

From the website of North Carolina's longest-running outdoor drama, The Lost Colony. Includes background information on the historical figures, food, government, and family life during Elizabeth's reign.

The Elizabethan's Hornbook

The Web version of Walter Nelson's fine handbook, this is a basic primer on the historical background that a participant in an Elizabethan Renaissance Faire should know or have at hand.

The Elizabethan People

The Web version of the 1910 book by Henry Thew Stephenson, available through Wikisource.

Life in Elizabethan England: A Compendium of Common Knowledge:1558-1603

This is just an incredible site by Maggie Secara and Paula Kate Marmor. More information than you could wish for about everyday life in Shakespeare's time.

The Royal Encyclopædia: Elizabeth I

From the official Web site of the British monarchy. This is an excellently presented resource on the kings and queens of Britain, Scotland, and the UK from the original Anglo-Saxon kings to present day.

Sixteenth Century Renaissance English Literature: Background Information

Links to background information sources for studies in Renaissance English literature. Includes a lot of historical sites.

St. Ives Historical Society

This nonprofit California association has a number of good essays on Elizabethan life.

Tudor England

A fine site by Lara E. Eakins that comprehensively covers every conceivable historical aspect of Tudor/Elizabethan England.

United Kingdom National Archives

The official archive of the UK government. The National Archive's vision is to lead and transform information management, guarantee the survival of today's information for tomorrow and bring history to life for everyone.

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The age of Shakespeare was a great time in English history. The reign of Elizabeth (1558 - 1603) saw England emerge as the leading naval and commercial power of the Western world. Elizabeth I's England consolidated its position with the defeat of the Spanish Armada in 1588, and firmly established the Church of England (begun by her father, Henry VIII, after a dispute with the Pope).

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Who Was William Shakespeare?

William Shakespeare was an English poet, playwright and actor of the Renaissance era. He was an important member of the King's Men company of theatrical players from roughly 1594 onward.

Known throughout the world, Shakespeare's writings capture the range of human emotion and conflict and have been celebrated for more than 400 years. And yet, the personal life of William Shakespeare is somewhat a mystery.

There are two primary sources that provide historians with an outline of his life. One is his work - the plays, poems and sonnets - and the other is official documentation such as church and court records. However, these provide only brief sketches of specific events in his life and yield little insight into the man himself.

When Was Shakespeare Born?

No birth records exist, but an old church record indicates that a William Shakespeare was baptized at Holy Trinity Church in Stratford-upon-Avon on April 26, 1564. From this, it is believed he was born on or near April 23, 1564, and this is the date scholars acknowledge as Shakespeare's birthday.

Located about 100 miles northwest of London, during Shakespeare's time Stratford-upon-Avon was a bustling market town along the River Avon and bisected by a country road.

Family

Shakespeare was the third child of John Shakespeare, a leather merchant, and Mary Arden, a local landed heiress. Shakespeare had two older sisters, Joan and Judith, and three younger brothers, Gilbert, Richard and Edmund.

Before Shakespeare's birth, his father became a successful merchant and held official positions as alderman and bailiff, an office resembling a mayor. However, records indicate John's fortunes declined sometime in the late 1570s.

Childhood and Education

Scant records exist of Shakespeare's childhood and virtually none regarding his education. Scholars have surmised that he most likely attended the King's New School, in Stratford, which taught reading, writing and the classics.

Being a public official's child, Shakespeare would have undoubtedly qualified for free tuition. But this uncertainty regarding his education has led some to raise questions about the authorship of his work (and even about whether or not Shakespeare really existed).

Wife and Children

Shakespeare married Anne Hathaway on November 28, 1582, in Worcester, in Canterbury Province. Hathaway was from Shottery, a small village a mile west of Stratford. Shakespeare was 18 and Anne was 26, and, as it turns out, pregnant.

Their first child, a daughter they named Susanna, was born on May 26, 1583. Two years later, on February 2, 1585, twins Hamnet and Judith were born. Hamnet later died of unknown causes at age 11.

Shakespeare's Lost Years

There are seven years of Shakespeare's life where no records exist after the birth of his twins in 1585. Scholars call this period the "lost years," and there is wide speculation on what he was doing during this period.

One theory is that he might have gone into hiding for poaching game from the local landlord, Sir Thomas Lucy. Another possibility is that he might have been working as an assistant schoolmaster in Lancashire.

It's generally believed he arrived in London in the mid- to late 1580s and may have found work as a horse attendant at some of London's finer theaters, a scenario updated centuries later by the countless aspiring actors and playwrights in Hollywood and Broadway.

The King's Men

By the early 1590s, documents show Shakespeare was a managing partner in the Lord Chamberlain's Men, an acting company in London with which he was connected for most of his career.

Considered the most important troupe of its time, the company changed its name to the King's Men following the crowning of King James I in 1603. From all accounts, the King's Men company was very popular. Records show that Shakespeare had works published and sold as popular literature.

Although the theater culture in 16th century England was not highly admired by people of high rank, some of the nobility were good patrons of the performing arts and friends of the actors.

DOWNLOAD BIOGRAPHY'S WILLIAM SHAKESPEARE FACT CARD

Actor and Playwright

By 1592, there is evidence Shakespeare earned a living as an actor and a playwright in London and possibly had several plays produced.

The September 20, 1592 edition of the Stationers' Register (a guild publication) includes an article by London playwright Robert Greene that takes a few jabs at Shakespeare: "...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," Greene wrote of Shakespeare.

Scholars differ on the interpretation of this criticism, but most agree that it was Greene's way of saying Shakespeare was reaching above his rank, trying to match better known and educated playwrights like Christopher Marlowe, Thomas Nashe or Greene himself.

Early in his career, Shakespeare was able to attract the attention of Henry Wriothesley, the Earl of Southampton, to whom he dedicated his first and second published poems: "Venus and Adonis" (1593) and "The Rape of Lucrece" (1594).

By 1597, Shakespeare had already written and published 15 of his 37 plays. Civil records show that at this time he purchased the second-largest house in Stratford, called New House, for his family.

It was a four-day ride by horse from Stratford to London, so it's believed that Shakespeare spent most of his time in the city writing and acting and came home once a year during the 40-day Lenten period, when the theaters were closed.

Globe Theater

By 1599, Shakespeare and his business partners built their own theater on the south bank of the Thames River, which they called the Globe Theater.

In 1605, Shakespeare purchased leases of real estate near Stratford for 440 pounds, which doubled in value and earned him 60 pounds a year. This made him an entrepreneur as well as an artist, and scholars believe these investments gave him the time to write his plays uninterrupted.

Shakespeare's Writing Style

Shakespeare's early plays were written in the conventional style of the day, with elaborate metaphors and rhetorical phrases that didn't always align naturally with the story's plot or characters.

However, Shakespeare was very innovative, adapting the traditional style to his own purposes and creating a freer flow of words.

With only small degrees of variation, Shakespeare primarily used a metrical pattern consisting of lines of unrhymed iambic pentameter, or blank verse, to compose his plays. At the same time, there are passages in all the plays that deviate from this and use forms of poetry or simple prose.

William Shakespeare's Plays

While it's difficult to determine the exact chronology of Shakespeare's plays, over the course of two decades, from about 1590 to 1613, he wrote a total of 37 plays revolving around several main themes: histories, tragedies, comedies and tragicomedies.

Early Works: Histories and Comedies

With the exception of the tragic love story Romeo and Juliet, Shakespeare's first plays were mostly histories. Henry VI (Parts I, II and III), Richard II and Henry V dramatize the destructive results of weak or corrupt rulers and have been interpreted by drama historians as Shakespeare's way of justifying the origins of the Tudor Dynasty.

Julius Caesar portrays upheaval in Roman politics that may have resonated with viewers at a time when England's aging monarch, Queen Elizabeth I, had no legitimate heir, thus creating the potential for future power struggles.

Shakespeare also wrote several comedies during his early period: the whimsical A Midsummer Night's Dream, the romantic Merchant of Venice, the wit and wordplay of Much Ado About Nothing and the charming As You Like It and Twelfth Night.

Other plays written before 1600 include Titus Andronicus, The Comedy of Errors, The Two Gentlemen of Verona, The Taming of the Shrew, Love's Labour's Lost, King John, The Merry Wives of Windsor and Henry V.

Works after 1600: Tragedies and Tragicomedies

It was in Shakespeare's later period, after 1600, that he wrote the tragedies Hamlet, Othello, King Lear and Macbeth. In these, Shakespeare's characters present vivid impressions of human temperament that are timeless and universal.

Possibly the best known of these plays is Hamlet, which explores betrayal, retribution, incest and moral failure. These moral failures often drive the twists and turns of Shakespeare's plots, destroying the hero and those he loves.

In Shakespeare's final period, he wrote several tragicomedies. Among these are Cymbeline, The Winter's Tale and The Tempest. Though graver in tone than the comedies, they are not the dark tragedies of King Lear or Macbeth because they end with reconciliation and forgiveness.

Other plays written during this period include All's Well That Ends Well, Measure for Measure, Timon of Athens, Coriolanus, Pericles and Henry VIII.

When Did Shakespeare Die?

Tradition holds that Shakespeare died on his 52nd birthday, April 23, 1616, but some scholars believe this is a myth. Church records show he was interred at Trinity Church on April 25, 1616.

The exact cause of Shakespeare's death is unknown, though many believe he died following a brief illness.

In his will, he left the bulk of his possessions to his eldest daughter, Susanna. Though entitled to a third of his estate, little seems to have gone to his wife, Anne, whom he bequeathed his "second-best bed." This has drawn speculation that she had fallen out of favor, or that the couple was not close.

However, there is very little evidence the two had a difficult marriage. Other scholars note that the term "second-best bed" often refers to the bed belonging to the household's master and mistress - the marital bed - and the "first-best bed" was reserved for guests.

Did Shakespeare Write His Own Plays?

About 150 years after his death, questions arose about the authorship of Shakespeare's plays. Scholars and literary critics began to float names like Christopher Marlowe, Edward de Vere and Francis Bacon - men of more known backgrounds, literary accreditation, or inspiration - as the true authors of the plays.

Much of this stemmed from the sketchy details of Shakespeare's life and the dearth of contemporary primary sources. Official records from the Holy Trinity Church and the Stratford government record the existence of a Shakespeare, but none of these attest to him being an actor or playwright.

Skeptics also questioned how anyone of such modest education could write with the intellectual perceptiveness and poetic power that is displayed in Shakespeare's works. Over the centuries, several groups have emerged that question the authorship of Shakespeare's plays.

The most serious and intense skepticism began in the 19th century when adoration for Shakespeare was at its highest. The detractors believed that the only hard evidence surrounding Shakespeare from Stratford-upon-Avon described a man from modest beginnings who married young and became successful in real estate.

Members of the Shakespeare Oxford Society (founded in 1957) put forth arguments that English aristocrat and poet Edward de Vere, the 17th Earl of Oxford, was the true author of the poems and plays of "William Shakespeare."

The Oxfordians cite de Vere's extensive knowledge of aristocratic society, his education, and the structural similarities between his poetry and that found in the works attributed to Shakespeare. They contend that Shakespeare had neither the education nor the literary training to write such eloquent prose and create such rich characters.

However, the vast majority of Shakespearean scholars contend that Shakespeare wrote all his own plays. They point out that other playwrights of the time also had sketchy histories and came from modest backgrounds.

They contend that Stratford's New Grammar School curriculum of Latin and the classics could have provided a good foundation for literary writers. Supporters of Shakespeare's authorship argue that the lack of evidence about Shakespeare's life doesn't mean his life didn't exist. They point to evidence that displays his name on the title pages of published poems and plays.

Examples exist of authors and critics of the time acknowledging Shakespeare as the author of plays such as The Two Gentlemen of Verona, The Comedy of Errors and King John.

Royal records from 1601 show that Shakespeare was recognized as a member of the King's Men theater company and a Groom of the Chamber by the court of King James I, where the company performed seven of Shakespeare's plays.

There is also strong circumstantial evidence of personal relationships by contemporaries who interacted with Shakespeare as an actor and a playwright.

Literary Legacy

What seems to be true is that Shakespeare was a respected man of the dramatic arts who wrote plays and acted in some in the late 16th and early 17th centuries. But his reputation as a dramatic genius wasn't recognized until the 19th century.

Beginning with the Romantic period of the early 1800s and continuing through the Victorian period, acclaim and reverence for Shakespeare and his work reached its height. In the 20th century, new movements in scholarship and performance have rediscovered and adopted his works.

Today, his plays are highly popular and constantly studied and reinterpreted in performances with diverse cultural and political contexts. The genius of Shakespeare's characters and plots are that they present real human beings in a wide range of emotions and conflicts that transcend their origins in Elizabethan England.

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William Shakespeare was an English poet, playwright and actor of the Renaissance era. He was an important member of the King's Men company of theatrical players from roughly 1594 onward. Known throughout the world, Shakespeare's writings capture the range of human emotion and conflict and have been celebrated for more than 400 years.

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William Shakespeare (Tooltip baptised 26 April 1564 - 23 April 1616) was an English playwright, poet and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the " Bard of Avon" (or simply "the Bard"). His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted.

Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner ( sharer) of a playing company called the Lord Chamberlain's Men, later known as the King's Men. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Few records of Shakespeare's private life survive; this has stimulated considerable speculation about such matters as his physical appearance, his sexuality, his religious beliefs and whether the works attributed to him were written by others.

Shakespeare produced most of his known works between 1589 and 1613. His early plays were primarily comedies and histories and are regarded as some of the best works produced in these genres. He then wrote mainly tragedies until 1608, among them , Romeo and Juliet, , , and , all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights.

Many of Shakespeare's plays were published in editions of varying quality and accuracy during his lifetime. However, in 1623, John Heminges and Henry Condell, two fellow actors and friends of Shakespeare's, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that includes 36 of his plays. Its Preface was a prescient poem by Ben Jonson, a former rival of Shakespeare, that hailed Shakespeare with the now famous epithet: "not of an age, but for all time".

John Shakespeare's house, believed to be Shakespeare's birthplace, in Stratford-upon-Avon

Shakespeare was the son of John Shakespeare, an alderman and a successful glover (glove-maker) originally from Snitterfield in Warwickshire, and Mary Arden, the daughter of an affluent landowning family. He was born in Stratford-upon-Avon, where he was baptised on 26 April 1564. His date of birth is unknown, but is traditionally observed on 23 April, Saint George's Day. This date, which can be traced to William Oldys and George Steevens, has proved appealing to biographers because Shakespeare died on the same date in 1616. He was the third of eight children, and the eldest surviving son.

Although no attendance records for the period survive, most biographers agree that Shakespeare was probably educated at the King's New School in Stratford, a free school chartered in 1553, about a quarter-mile (400 m) from his home. Grammar schools varied in quality during the Elizabethan era, but grammar school curricula were largely similar: the basic Latin text was standardised by royal decree, and the school would have provided an intensive education in grammar based upon Latin classical authors.

At the age of 18, Shakespeare married 26-year-old Anne Hathaway. The consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. The next day, two of Hathaway's neighbours posted bonds guaranteeing that no lawful claims impeded the marriage. The ceremony may have been arranged in some haste since the Worcester chancellor allowed the marriage banns to be read once instead of the usual three times, and six months after the marriage Anne gave birth to a daughter, Susanna, baptised 26 May 1583. Twins, son Hamnet and daughter Judith, followed almost two years later and were baptised 2 February 1585. Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596.

Shakespeare's coat of arms, from the 1602 book The book of coates and creasts. Promptuarium armorum. It features spears as a pun on the family name.[c]

After the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592. The exception is the appearance of his name in the "complaints bill" of a law case before the Queen's Bench court at Westminster dated Michaelmas Term 1588 and 9 October 1589. Scholars refer to the years between 1585 and 1592 as Shakespeare's "lost years". 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 in the estate of local squire Thomas Lucy. Shakespeare is also supposed to have taken his revenge on Lucy by writing a scurrilous ballad about him. Another 18th-century story has Shakespeare starting his theatrical career minding the horses of theatre patrons in London. John Aubrey reported that Shakespeare had been a country schoolmaster. Some 20th-century scholars 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. Little evidence substantiates such stories other than hearsay collected after his death, and Shakeshafte was a common name in the Lancashire area.

London and theatrical career

It is not known definitively when Shakespeare began writing, but contemporary allusions and records of performances show that several of his plays were on the London stage by 1592. By then, he was sufficiently known in London to be attacked in print by the playwright Robert Greene in his Groats-Worth of Wit from that year:

... 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.

Scholars differ on the exact meaning of Greene's words, but most agree that Greene was accusing Shakespeare of reaching above his rank in trying to match such university-educated writers as Christopher Marlowe, Thomas Nashe, and Greene himself (the so-called " University Wits"). 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", clearly identify Shakespeare as Greene's target. As used here, Johannes Factotum ("Jack of all trades") refers to a second-rate tinkerer with the work of others, rather than the more common "universal genius".

Greene's attack is the earliest surviving mention of Shakespeare's work in the theatre. Biographers suggest that his career may have begun any time from the mid-1580s to just before Greene's remarks. After 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. 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.

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, 139-142

In 1599, a partnership of members of the company built their own theatre on the south bank of the River Thames, which they named the Globe. In 1608, the partnership also took over the Blackfriars indoor theatre. Extant records of Shakespeare's property purchases and investments indicate that his association with the company made him a wealthy man, and in 1597, he bought the second-largest house in Stratford, New Place, and in 1605, invested in a share of the parish tithes in Stratford.

Some of Shakespeare's plays were published in quarto editions, beginning in 1594, and by 1598, his name had become a selling point and began to appear on the title pages. Shakespeare continued to act in his own and other plays after his success as a playwright. The 1616 edition of Ben Jonson's Works names him on the cast lists for Every Man in His Humour (1598) and Sejanus His Fall (1603). The absence of his name from the 1605 cast list for Jonson's is taken by some scholars as a sign that his acting career was nearing its end. 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 one cannot know for certain which roles he played. In 1610, John Davies of Hereford wrote that "good Will" played "kingly" roles. In 1709, Rowe passed down a tradition that Shakespeare played the ghost of Hamlet's father. Later traditions maintain that he also played Adam in As You Like It, and the Chorus in , though scholars doubt the sources of that information.

Throughout his career, Shakespeare divided his time between London and Stratford. 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. He moved across the river to Southwark by 1599, the same year his company constructed the Globe Theatre there. 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 named Christopher Mountjoy, a maker of women's wigs and other headgear.

Later years and death

Shakespeare's funerary monument in Stratford-upon-Avon

Nicholas Rowe was the first biographer to record the tradition, repeated by Samuel Johnson, that Shakespeare retired to Stratford "some years before his death". He was still working as an actor in London in 1608; in an answer to the sharers' petition in 1635, Cuthbert Burbage stated that after purchasing the lease of the Blackfriars Theatre in 1608 from Henry Evans, the King's Men "placed men players" there, "which were Heminges, Condell, Shakespeare, etc.". However, it is perhaps relevant that the bubonic plague raged in London throughout 1609. The London public playhouses were repeatedly closed during extended outbreaks of the plague (a total of over 60 months closure between May 1603 and February 1610), which meant there was often no acting work. Retirement from all work was uncommon at that time. Shakespeare continued to visit London during the years 1611-1614. In 1612, he was called as a witness in Bellott v Mountjoy, a court case concerning the marriage settlement of Mountjoy's daughter, Mary. In March 1613, he bought a gatehouse in the former Blackfriars priory; and from November 1614, he was in London for several weeks with his son-in-law, John Hall. After 1610, Shakespeare wrote fewer plays, and none are attributed to him after 1613. His last three plays were collaborations, probably with John Fletcher, who succeeded him as the house playwright of the King's Men. He retired in 1613, before the Globe Theatre burned down during the performance of on 29 June.

Shakespeare died on 23 April 1616, at the age of 52. He died within a month of signing his will, a document which he begins by describing himself as being in "perfect health". No extant contemporary source explains how or why he died. Half a century later, John Ward, the vicar of Stratford, wrote in his notebook: "Shakespeare, Drayton, and Ben Jonson had a merry meeting and, it seems, drank too hard, for Shakespeare died of a fever there contracted", not an impossible scenario since Shakespeare knew Jonson and Drayton. Of the tributes from fellow authors, one refers to his relatively sudden death: "We wondered, Shakespeare, that thou went'st so soon / From the world's stage to the grave's tiring room."

Holy Trinity Church, Stratford-upon-Avon, where Shakespeare was baptised and is buried

He was survived by his wife and two daughters. Susanna had married a physician, John Hall, in 1607, and Judith had married Thomas Quiney, a vintner, two months before Shakespeare's death. Shakespeare signed his last will and testament on 25 March 1616; the following day, his new son-in-law, Thomas Quiney was found guilty of fathering an illegitimate son by Margaret Wheeler, who had died during childbirth. Thomas was ordered by the church court to do public penance, which would have caused much shame and embarrassment for the Shakespeare family.

Shakespeare bequeathed the bulk of his large estate to his elder daughter Susanna under stipulations that she pass it down intact to "the first son of her body". The Quineys had three children, all of whom died without marrying. The Halls had one child, Elizabeth, who married twice but died without children in 1670, ending Shakespeare's direct line. 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. 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.

Shakespeare's grave, next to those of Anne Shakespeare, his wife, and Thomas Nash, the husband of his granddaughter

Shakespeare was buried in the chancel of the Holy Trinity Church two days after his death. The epitaph carved into the stone slab covering his grave includes a curse against moving his bones, which was carefully avoided during restoration of the church in 2008:

Good frend for Iesvs sake forbeare,
To digg the dvst encloased heare.
Bleste be yͤ man yͭ spares thes stones,
And cvrst be he yͭ moves my bones.

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

Some time before 1623, a funerary 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. In 1623, in conjunction with the publication of the First Folio, the Droeshout engraving was published. Shakespeare has been commemorated in many statues and memorials around the world, including funeral monuments in Southwark Cathedral and Poets' Corner in Westminster Abbey.

Procession of Characters from Shakespeare's Plays by an unknown 19th-century artist

Most playwrights of the period typically collaborated with others at some point, as critics agree Shakespeare did, mostly early and late in his career.

The first recorded works of Shakespeare are Richard III and the three parts of , written in the early 1590s during a vogue for historical drama. Shakespeare's plays are difficult to date precisely, however, and studies of the texts suggest that Titus Andronicus, The Comedy of Errors, The Taming of the Shrew, and The Two Gentlemen of Verona may also belong to Shakespeare's earliest period. His first histories, which draw heavily on the 1587 edition of Raphael Holinshed's Chronicles of England, Scotland, and Ireland, dramatise the destructive results of weak or corrupt rule and have been interpreted as a justification for the origins of the Tudor dynasty. The early plays were influenced by the works of other Elizabethan dramatists, especially Thomas Kyd and Christopher Marlowe, by the traditions of medieval drama, and by the plays of Seneca. The Comedy of Errors was also based on classical models, but no source for 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. Like The Two Gentlemen of Verona, in which two friends appear to approve of rape, the Shrew's story of the taming of a woman's independent spirit by a man sometimes troubles modern critics, directors, and audiences.

Oberon, Titania and Puck with Fairies Dancing. By William Blake, c. 1786.

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 most acclaimed comedies. A Midsummer Night's Dream is a witty mixture of romance, fairy magic, and comic lowlife scenes. Shakespeare's next comedy, the equally romantic Merchant of Venice, contains a portrayal of the vengeful Jewish moneylender Shylock, which reflects dominant Elizabethan views but may appear derogatory to modern audiences. The wit and wordplay of Much Ado About Nothing, the charming rural setting of As You Like It, and the lively merrymaking of Twelfth Night complete Shakespeare's sequence of great comedies. After the lyrical , written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the late 1590s, Henry IV, parts 1 and , and . 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. This period begins and ends with two tragedies: Romeo and Juliet, the famous romantic tragedy of sexually charged adolescence, love, and death; and Julius Caesar-based on Sir Thomas North's 1579 translation of Plutarch's Parallel Lives-which introduced a new kind of drama. 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".

Hamlet, Horatio, Marcellus, and the Ghost of Hamlet's Father. Henry Fuseli, 1780-1785.

In the early 17th century, Shakespeare wrote the so-called " problem plays" Measure for Measure, Troilus and Cressida, and All's Well That Ends Well and a number of his best known tragedies. Many critics believe that Shakespeare's greatest tragedies represent the peak of his art. The titular hero of one of Shakespeare's greatest tragedies, , has probably been discussed more than any other Shakespearean character, especially for his famous soliloquy which begins " To be or not to be; that is the question". 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. 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. In , the villain Iago stokes Othello's sexual jealousy to the point where he murders the innocent wife who loves him. In , the old king commits the tragic error of giving up his powers, initiating the events which lead to the torture and blinding of the Earl of Gloucester and the murder of Lear's youngest daughter Cordelia. According to the critic Frank Kermode, "the play...offers neither its good characters nor its audience any relief from its cruelty". In , the shortest and most compressed of Shakespeare's tragedies, 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. 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.

In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: , 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. 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. Shakespeare collaborated on two further surviving plays, and The Two Noble Kinsmen, probably with John Fletcher.

Classification

The Plays of William Shakespeare, a painting containing scenes and characters from several plays of Shakespeare; by Sir John Gilbert, c. 1849

Shakespeare's works include the 36 plays printed in the First Folio of 1623, listed according to their folio classification as comedies, histories, and tragedies. 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 today's scholars agreeing that Shakespeare made major contributions to the writing of both. No Shakespearean poems were included in the First Folio.

In the late 19th century, Edward Dowden classified four of the late comedies as romances, and though many scholars prefer to call them tragicomedies, Dowden's term is often used. 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 . "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." The term, much debated and sometimes applied to other plays, remains in use, though Hamlet is definitively classed as a tragedy.

Performances

It is not clear for which companies Shakespeare wrote his early plays. The title page of the 1594 edition of Titus Andronicus reveals that the play had been acted by three different troupes. After the plagues of 1592-93, Shakespeare's plays were performed by his own company at The Theatre and the Curtain in Shoreditch, north of the Thames. 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". 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. 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.

The reconstructed Globe Theatre on the south bank of the River Thames in 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. After 1608, they performed at the indoor Blackfriars Theatre during the winter and the Globe during the summer. 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."

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. The popular comic actor Will Kempe played the servant Peter in Romeo and Juliet and Dogberry in Much Ado About Nothing, among other characters. He was replaced around 1600 by Robert Armin, who played roles such as Touchstone in As You Like It and the fool in King Lear. In 1613, Sir Henry Wotton recorded that Henry VIII "was set forth with many extraordinary circumstances of pomp and ceremony". 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.

Textual sources

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 edition of Shakespeare's plays. It contained 36 texts, including 18 printed for the first time. The others had already appeared in quarto versions-flimsy books made from sheets of paper folded twice to make four leaves. No evidence suggests that Shakespeare approved these editions, which the First Folio describes as "stol'n and surreptitious copies".

Alfred Pollard termed some of the pre-1623 versions as " bad quartos" because of their adapted, paraphrased or garbled texts, which may in places have been reconstructed from memory. 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. In some cases, for example, Hamlet, Troilus and Cressida, and Othello, Shakespeare could have revised the texts between the quarto and folio editions. In the case of , however, while most modern editions do conflate them, the 1623 folio version is so different from the 1608 quarto that the Oxford Shakespeare prints them both, arguing that they cannot be conflated without confusion.

In 1593 and 1594, when the theatres were closed because of plague, Shakespeare published two narrative poems on sexual 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. Influenced by Ovid's Metamorphoses, the poems show the guilt and moral confusion that result from uncontrolled lust. 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 edition 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. 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.

Title page from 1609 edition of Shake-Speares Sonnets

Published in 1609, the 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. 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". Few analysts believe that the published collection follows Shakespeare's intended sequence. 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".

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate ...

-Opening lines from Shakespeare's Sonnet 18.

The 1609 edition was dedicated to a "Mr. W.H.", credited 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. Critics praise the Sonnets as a profound meditation on the nature of love, sexual passion, procreation, death, and time.

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. 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 The Two Gentlemen of Verona has been described as stilted.

Pity by William Blake, 1795, 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."

However, Shakespeare soon 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. 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. By the time of Romeo and Juliet, , 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.

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. 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 . Shakespeare uses it, for example, to convey the turmoil in Hamlet's mind:

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". 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. In , 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. 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.

Shakespeare combined poetic genius with a practical sense of the theatre. Like all playwrights of the time, he dramatised stories from sources such as Plutarch and Holinshed. He reshaped each plot to create several centres of interest and to 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. 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 Shakespeare's late romances, he deliberately returned to a more artificial style, which emphasised the illusion of theatre.

Macbeth Consulting the Vision of the Armed Head. By Henry Fuseli, 1793-1794.

Shakespeare's work has made a significant and lasting impression on later theatre and literature. In particular, he expanded the dramatic potential of characterisation, plot, language, and genre. Until Romeo and Juliet, for example, romance had not been viewed as a worthy topic for tragedy. Soliloquies had been used mainly to convey information about characters or events, but Shakespeare used them to explore characters' minds. 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." John Milton, considered by many to be the most important English poet after Shakespeare, wrote in tribute: "Thou in our wonder and astonishment/ Has built thyself a live-long monument."

Shakespeare influenced novelists such as Thomas Hardy, William Faulkner, and Charles Dickens. The American novelist Herman Melville's soliloquies owe much to Shakespeare; his Captain Ahab in is a classic tragic hero, inspired by King Lear. Scholars have identified 20,000 pieces of music linked to Shakespeare's works. These include three operas by Giuseppe Verdi, , and , whose critical standing compares with that of the source plays. Shakespeare has also inspired many painters, including the Romantics and the Pre-Raphaelites, while William Hogarth's 1745 painting of actor David Garrick playing Richard III was decisive in establishing the genre of theatrical portraiture in Britain. The Swiss Romantic artist Henry Fuseli, a friend of William Blake, even translated Macbeth into German. The psychoanalyst Sigmund Freud drew on Shakespearean psychology, in particular, that of Hamlet, for his theories of human nature. Shakespeare has been a rich source for filmmakers; Akira Kurosawa adapted Macbeth and King Lear as Throne of Blood and , respectively. Other examples of Shakespeare on film include Max Reinhardt's A Midsummer Night's Dream, Laurence Olivier's and Al Pacino's documentary Looking For Richard. Orson Welles, a lifelong lover of Shakespeare, directed and starred in films of Macbeth and Othello, and Chimes at Midnight, in which he plays John Falstaff, which Welles himself called his best work.

In Shakespeare's day, English grammar, spelling, and pronunciation were less standardised than they are now, and his use of language helped shape modern English. 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. Expressions such as "with bated breath" ( Merchant of Venice) and "a foregone conclusion" ( Othello) have found their way into everyday English speech.

Shakespeare's influence extends far beyond his native England and the English language. His reception in Germany was particularly significant; as early as the 18th century Shakespeare was widely translated and popularised in Germany, and gradually became a "classic of the German Weimar era;" Christoph Martin Wieland was the first to produce complete translations of Shakespeare's plays in any language. Actor and theatre director Simon Callow writes, "this master, this titan, this genius, so profoundly British and so effortlessly universal, each different culture - German, Italian, Russian - was obliged to respond to the Shakespearean example; for the most part, they embraced it, and him, with joyous abandon, as the possibilities of language and character in action that he celebrated liberated writers across the continent. Some of the most deeply affecting productions of Shakespeare have been non-English, and non-European. He is that unique writer: he has something for everyone."

According to Guinness World Records, Shakespeare remains the world's best-selling playwright, with sales of his plays and poetry believed to have achieved in excess of four billion copies in the almost 400 years since his death. He is also the third most translated author in history.

Critical reputation

He was not of an age, but for all time.

Shakespeare was not revered in his lifetime, but he received a large amount of praise. In 1598, the cleric and author Francis Meres singled him out from a group of English playwrights as "the most excellent" in both comedy and tragedy. The authors of the Parnassus plays at St John's College, Cambridge, numbered him with Chaucer, Gower, and Spenser. In the First Folio, Ben Jonson called Shakespeare the "Soul of the age, the applause, delight, the wonder of our stage", although he had remarked elsewhere that "Shakespeare wanted art" (lacked skill).

Between the Restoration of the monarchy in 1660 and the end of the 17th century, classical ideas were in vogue. As a result, critics of the time mostly rated Shakespeare below John Fletcher and Ben Jonson. 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". He also famously remarked that Shakespeare "was naturally learned; he needed not the spectacles of books to read nature; he looked inwards, and found her there." For several decades, Rymer's view held sway. But during the 18th century, critics began to respond to Shakespeare on his own terms and, like Dryden, to acclaim what they termed his natural genius. A series of scholarly editions of his work, notably those of Samuel Johnson in 1765 and Edmond Malone in 1790, added to his growing reputation. By 1800, he was firmly enshrined as the national poet, and described as the " Bard of Avon" (or simply "the Bard"). In the 18th and 19th centuries, his reputation also spread abroad. Among those who championed him were the writers Voltaire, Goethe, Stendhal, and Victor Hugo.

William Ordway Partridge's garlanded statue of William Shakespeare in Lincoln Park, Chicago, typical of many created in the 19th and early 20th centuries

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. In the 19th century, critical admiration for Shakespeare's genius often bordered on adulation. "This 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". The Victorians produced his plays as lavish spectacles on a grand scale. The playwright and critic George Bernard Shaw mocked the cult of Shakespeare worship as " bardolatry", claiming that the new naturalism of Ibsen's plays had made Shakespeare obsolete.

The modernist revolution in the arts during the early 20th 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. 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. By the 1980s, Shakespeare studies were open to movements such as structuralism, feminism, New Historicism, African-American studies, and queer studies. Comparing Shakespeare's accomplishments to those of leading figures in philosophy and theology, Harold Bloom wrote, "Shakespeare was larger than Plato and than St. Augustine. He encloses us because we see with his fundamental perceptions."

Speculation

Authorship

Around 230 years after Shakespeare's death, doubts began to be expressed about the authorship of the works attributed to him. Proposed alternative candidates include Francis Bacon, Christopher Marlowe, and Edward de Vere, 17th Earl of Oxford. Several "group theories" have also been proposed. All but a few Shakespeare scholars and literary historians consider it a fringe theory, with only a small minority of academics who believe that there is reason to question the traditional attribution, but interest in the subject, particularly the Oxfordian theory of Shakespeare authorship, continues into the 21st century.

Shakespeare conformed to the official state religion, but his private views on religion have been the subject of debate. Shakespeare's will uses a Protestant formula, and he was a confirmed member of the Church of England, where he was married, his children were baptised, and where he is buried. Some scholars claim that members of Shakespeare's family were Catholics, at a time when practising Catholicism in England was against the law. Shakespeare's mother, Mary Arden, certainly came from a pious Catholic family. The strongest evidence might be a Catholic statement of faith signed by his father, John Shakespeare, found in 1757 in the rafters of his former house in Henley Street. However, the document is now lost and scholars differ as to its authenticity. In 1591, the authorities reported that John Shakespeare had missed church "for fear of process for debt", a common Catholic excuse. In 1606, the name of William's daughter Susanna appears on a list of those who failed to attend Easter communion in Stratford. Other authors argue that there is a lack of evidence about Shakespeare's religious beliefs. Scholars find evidence both for and against Shakespeare's Catholicism, Protestantism, or lack of belief in his plays, but the truth may be impossible to prove.

Few details of Shakespeare's sexuality are known. At 18, he married 26-year-old Anne Hathaway, who was pregnant. Susanna, the first of their three children, was born six months later on 26 May 1583. Over the centuries, some readers have posited that Shakespeare's sonnets are autobiographical, and point to them as evidence of his love for a young man. Others read the same passages as the expression of intense friendship rather than romantic love. The 26 so-called "Dark Lady" sonnets, addressed to a married woman, are taken as evidence of heterosexual liaisons.

Portraiture

No written contemporary description of Shakespeare's physical appearance survives, and no evidence suggests that he ever commissioned a portrait, so the Droeshout engraving, which Ben Jonson approved of as a good likeness, and his Stratford monument provide perhaps the best evidence of his appearance. From the 18th century, the desire for authentic Shakespeare portraits fuelled claims that various surviving pictures depicted Shakespeare. That demand also led to the production of several fake portraits, as well as misattributions, repaintings, and relabelling of portraits of other people.

References

1. The concept that Shakespeare was born on 23 April, contrary to belief, is a tradition, and not a fact; see ^ § Early life below.

2. Dates follow the ^ Julian calendar, used in England throughout Shakespeare's lifespan, but with the start of the year adjusted to 1 January (see Old Style and New Style dates). Under the Gregorian calendar, adopted in Catholic countries in 1582, Shakespeare died on 3 May.

3. The ^ crest is a silver falcon supporting a spear, while the motto is Non Sanz Droict (French for "not without right"). This motto is still used by Warwickshire County Council, in reference to Shakespeare.

4. Inscribed in Latin on his ^ funerary monument: AETATIS 53 DIE 23 APR (In his 53rd year he died 23 April).

5. The "national cult" of Shakespeare, and the "bard" identification, dates from September 1769, when the actor ^ David Garrick organised a week-long carnival at Stratford to mark the town council awarding him the freedom of the town. In addition to presenting the town with a statue of Shakespeare, Garrick composed a doggerel verse, lampooned in the London newspapers, naming the banks of the Avon as the birthplace of the "matchless Bard".

6. Grady cites ^ Voltaire's Philosophical Letters (1733); Goethe's Wilhelm Meister's Apprenticeship (1795); Stendhal's two-part pamphlet Racine et Shakespeare (1823-25); and Victor Hugo's prefaces to (1827) and William Shakespeare (1864).

7. For example, ^ A.L. Rowse, the 20th-century Shakespeare scholar, was emphatic: "He died, as he had lived, a conforming member of the Church of England. His will made that perfectly clear-in facts, puts it beyond dispute, for it uses the Protestant formula."

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William Shakespeare (Tooltip baptised 26 April 1564 - 23 April 1616) was an English playwright, poet and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the " Bard of Avon" (or simply "the Bard").

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Elizabeth I (7 September 1533 - 24 March 1603) was Queen of England and Ireland from 17 November 1558 until her death in 1603. Sometimes referred to as the Virgin Queen, Elizabeth was the last of the five monarchs of the House of Tudor.

Elizabeth was the daughter of Henry VIII and Anne Boleyn, his second wife, who was executed when Elizabeth was two years old. Anne's marriage to Henry was annulled, and Elizabeth was declared illegitimate. Her half-brother Edward VI ruled until his death in 1553, bequeathing the crown to Lady Jane Grey and ignoring the claims of his two half-sisters, the Catholic Mary and the younger Elizabeth, in spite of statute law to the contrary. Edward's will was set aside and Mary became queen, deposing Lady Jane Grey. During Mary's reign, Elizabeth was imprisoned for nearly a year on suspicion of supporting Protestant rebels.

Upon her half-sister's death in 1558, Elizabeth succeeded to the throne and set out to rule by good counsel. She depended heavily on a group of trusted advisers led by William Cecil, whom she created 1st Baron Burghley. One of her first actions as queen was the establishment of an English Protestant church, of which she became the supreme governor. This Elizabethan Religious Settlement was to evolve into the Church of England. It was expected that Elizabeth would marry and produce an heir; however, despite numerous courtships, she never did. She was eventually succeeded by her first cousin twice removed, James VI of Scotland; this laid the foundation for the Kingdom of Great Britain. She had earlier been reluctantly responsible for the imprisonment and execution of James's mother, Mary, Queen of Scots.

In government, Elizabeth was more moderate than her father and half-siblings had been. One of her mottoes was "video et taceo" ("I see and keep silent"). In religion, she was relatively tolerant and avoided systematic persecution. After the pope declared her illegitimate in 1570 and released her subjects from obedience to her, several conspiracies threatened her life, all of which were defeated with the help of her ministers' secret service, run by Francis Walsingham. Elizabeth was cautious in foreign affairs, manoeuvring between the major powers of France and Spain. She only half-heartedly supported a number of ineffective, poorly resourced military campaigns in the Netherlands, France, and Ireland. By the mid-1580s, England could no longer avoid war with Spain.

As she grew older, Elizabeth became celebrated for her virginity. A cult of personality grew around her which was celebrated in the portraits, pageants, and literature of the day. Elizabeth's reign became known as the Elizabethan era. The period is famous for the flourishing of English drama, led by playwrights such as William Shakespeare and Christopher Marlowe, and for the prowess of English maritime adventurers such as Francis Drake and Walter Raleigh. Some historians depict Elizabeth as a short-tempered, sometimes indecisive ruler, who enjoyed more than her fair share of luck. Towards the end of her reign, a series of economic and military problems weakened her popularity. Elizabeth is acknowledged as a charismatic performer ("Gloriana") and a dogged survivor ("Good Queen Bess") in an era when government was ramshackle and limited, and when monarchs in neighbouring countries faced internal problems that jeopardised their thrones. After the short reigns of her half-siblings, her 44 years on the throne provided welcome stability for the kingdom and helped to forge a sense of national identity.

Elizabeth was born at Greenwich Palace on 7 September 1533 and was named after her grandmothers, Elizabeth of York and Lady Elizabeth Howard. She was the second child of Henry VIII of England born in wedlock to survive infancy. Her mother was Henry's second wife, Anne Boleyn. At birth, Elizabeth was the heir presumptive to the English throne. Her elder half-sister Mary had lost her position as a legitimate heir when Henry annulled his marriage to Mary's mother, Catherine of Aragon, to marry Anne, with the intent to sire a male heir and ensure the Tudor succession. She was baptised on 10 September 1533, and her godparents were Thomas Cranmer, Archbishop of Canterbury; Henry Courtenay, 1st Marquess of Exeter; Elizabeth Stafford, Duchess of Norfolk; and Margaret Wotton, Dowager Marchioness of Dorset. A canopy was carried at the ceremony over the infant by her uncle George Boleyn, Viscount Rochford; John Hussey, 1st Baron Hussey of Sleaford; Lord Thomas Howard; and William Howard, 1st Baron Howard of Effingham.

Elizabeth was two years and eight months old when her mother was beheaded on 19 May 1536, four months after Catherine of Aragon's death from natural causes. Elizabeth was declared illegitimate and deprived of her place in the royal succession. Eleven days after Anne Boleyn's execution, Henry married Jane Seymour. Queen Jane died the next year shortly after the birth of their son, Edward, who was undisputed heir apparent to the throne. Elizabeth was placed in her half-brother's household and carried the chrisom, or baptismal cloth, at his christening.

Elizabeth's first governess, Margaret Bryan, wrote that she was "as toward a child and as gentle of conditions as ever I knew any in my life". Catherine Champernowne, better known by her later, married name of Catherine "Kat" Ashley, was appointed as Elizabeth's governess in 1537, and she remained Elizabeth's friend until her death in 1565. Champernowne taught Elizabeth four languages: French, Dutch, Italian and Spanish. By the time William Grindal became her tutor in 1544, Elizabeth could write English, Latin, and Italian. Under Grindal, a talented and skilful tutor, she also progressed in French and Greek. By the age of 12 she was able to translate her stepmother Catherine Parr's religious work Prayers or Meditations from English into Italian, Latin, and French, which she presented to her father as a New Year's gift. From her teenage years and throughout her life she translated works in Latin and Greek by numerous classical authors, including the Pro Marcello of Cicero, the De consolatione philosophiae of Boethius, a treatise by Plutarch, and the of Tacitus. A translation of Tacitus from Lambeth Palace Library, one of only four surviving English translations from the early modern era, was confirmed as Elizabeth's own in 2019, after a detailed analysis of the handwriting and paper was undertaken.

After Grindal died in 1548, Elizabeth received her education under her brother Edward's tutor, Roger Ascham, a sympathetic teacher who believed that learning should be engaging. Current knowledge of Elizabeth's schooling and precocity comes largely from Ascham's memoirs. By the time her formal education ended in 1550, Elizabeth was one of the best educated women of her generation. At the end of her life, she was believed to speak the Welsh, Cornish, Scottish and Irish languages in addition to those mentioned above. The Venetian ambassador stated in 1603 that she "possessed [these] languages so thoroughly that each appeared to be her native tongue". Historian Mark Stoyle suggests that she was probably taught Cornish by William Killigrew, Groom of the Privy Chamber and later Chamberlain of the Exchequer.

Thomas Seymour

Henry VIII died in 1547 and Elizabeth's half-brother, Edward VI, became king at the age of nine. Catherine Parr, Henry's widow, soon married Thomas Seymour, 1st Baron Seymour of Sudeley, Edward VI's uncle and the brother of Lord Protector Edward Seymour, 1st Duke of Somerset. The couple took Elizabeth into their household at Chelsea. There Elizabeth experienced an emotional crisis that some historians believe affected her for the rest of her life. Thomas Seymour engaged in romps and horseplay with the 14-year-old Elizabeth, including entering her bedroom in his nightgown, tickling her, and slapping her on the buttocks. Elizabeth rose early and surrounded herself with maids to avoid his unwelcome morning visits. Parr, rather than confront her husband over his inappropriate activities, joined in. Twice she accompanied him in tickling Elizabeth, and once held her while he cut her black gown "into a thousand pieces". However, after Parr discovered the pair in an embrace, she ended this state of affairs. In May 1548, Elizabeth was sent away.

Thomas Seymour nevertheless continued scheming to control the royal family and tried to have himself appointed the governor of the King's person. When Parr died after childbirth on 5 September 1548, he renewed his attentions towards Elizabeth, intent on marrying her. Her governess Kat Ashley, who was fond of Seymour, sought to convince Elizabeth to take him as her husband. She tried to convince Elizabeth to write to Seymour and "comfort him in his sorrow", but Elizabeth claimed that Thomas was not so saddened by her stepmother's death as to need comfort.

In January 1549, Seymour was arrested and imprisoned in the Tower on suspicion of conspiring to depose his brother Somerset as Protector, marry Lady Jane Grey to King Edward VI, and take Elizabeth as his own wife. Elizabeth, living at Hatfield House, would admit nothing. Her stubbornness exasperated her interrogator, Sir Robert Tyrwhitt, who reported, "I do see it in her face that she is guilty". Seymour was beheaded on 20 March 1549.

Mary I's reign

Edward VI died on 6 July 1553, aged 15. His will ignored the Succession to the Crown Act 1543, excluded both Mary and Elizabeth from the succession, and instead declared as his heir Lady Jane Grey, granddaughter of Henry VIII's younger sister Mary. Jane was proclaimed queen by the privy council, but her support quickly crumbled, and she was deposed after nine days. On 3 August 1553, Mary rode triumphantly into London, with Elizabeth at her side.

The show of solidarity between the sisters did not last long. Mary, a devout Catholic, was determined to crush the Protestant faith in which Elizabeth had been educated, and she ordered that everyone attend Catholic Mass; Elizabeth had to outwardly conform. Mary's initial popularity ebbed away in 1554 when she announced plans to marry Philip of Spain, the son of Holy Roman Emperor Charles V and an active Catholic. Discontent spread rapidly through the country, and many looked to Elizabeth as a focus for their opposition to Mary's religious policies.

In January and February 1554, Wyatt's rebellion broke out; it was soon suppressed. Elizabeth was brought to court and interrogated regarding her role, and on 18 March, she was imprisoned in the Tower of London. Elizabeth fervently protested her innocence. Though it is unlikely that she had plotted with the rebels, some of them were known to have approached her. Mary's closest confidant, Charles V's ambassador Simon Renard, argued that her throne would never be safe while Elizabeth lived; and Lord Chancellor Stephen Gardiner, worked to have Elizabeth put on trial. Elizabeth's supporters in the government, including William Paget, 1st Baron Paget, convinced Mary to spare her sister in the absence of hard evidence against her. Instead, on 22 May, Elizabeth was moved from the Tower to Woodstock, where she was to spend almost a year under house arrest in the charge of Sir Henry Bedingfeld. Crowds cheered her all along the way.

On 17 April 1555, Elizabeth was recalled to court to attend the final stages of Mary's apparent pregnancy. If Mary and her child died, Elizabeth would become queen, but if Mary gave birth to a healthy child, Elizabeth's chances of becoming queen would recede sharply. When it became clear that Mary was not pregnant, no one believed any longer that she could have a child. Elizabeth's succession seemed assured.

King Philip, who ascended the Spanish throne in 1556, acknowledged the new political reality and cultivated his sister-in-law. She was a better ally than the chief alternative, Mary, Queen of Scots, who had grown up in France and was betrothed to the Dauphin of France. When his wife fell ill in 1558, King Philip sent the Count of Feria to consult with Elizabeth. This interview was conducted at Hatfield House, where she had returned to live in October 1555. By October 1558, Elizabeth was already making plans for her government. Mary recognised Elizabeth as her heir on 6 November 1558, and Elizabeth became queen when Mary died on 17 November.

Elizabeth became queen at the age of 25, and declared her intentions to her council and other peers who had come to Hatfield to swear allegiance. The speech contains the first record of her adoption of the medieval political theology of the sovereign's "two bodies": the body natural and the body politic:

As her triumphal progress wound through the city on the eve of the coronation ceremony, she was welcomed wholeheartedly by the citizens and greeted by orations and pageants, most with a strong Protestant flavour. Elizabeth's open and gracious responses endeared her to the spectators, who were "wonderfully ravished". The following day, 15 January 1559, a date chosen by her astrologer John Dee, Elizabeth was crowned and anointed by Owen Oglethorpe, the Catholic bishop of Carlisle, in Westminster Abbey. She was then presented for the people's acceptance, amidst a deafening noise of organs, fifes, trumpets, drums, and bells. Although Elizabeth was welcomed as queen in England, the country was still in a state of anxiety over the perceived Catholic threat at home and overseas, as well as the choice of whom she would marry.

Church settlement

Elizabeth's personal religious convictions have been much debated by scholars. She was a Protestant, but kept Catholic symbols (such as the crucifix), and downplayed the role of sermons in defiance of a key Protestant belief.

Elizabeth and her advisers perceived the threat of a Catholic crusade against heretical England. The queen therefore sought a Protestant solution that would not offend Catholics too greatly while addressing the desires of English Protestants, but she would not tolerate the Puritans, who were pushing for far-reaching reforms. As a result, the Parliament of 1559 started to legislate for a church based on the Protestant settlement of Edward VI, with the monarch as its head, but with many Catholic elements, such as vestments.

The House of Commons backed the proposals strongly, but the bill of supremacy met opposition in the House of Lords, particularly from the bishops. Elizabeth was fortunate that many bishoprics were vacant at the time, including the Archbishopric of Canterbury. This enabled supporters amongst peers to outvote the bishops and conservative peers. Nevertheless, Elizabeth was forced to accept the title of Supreme Governor of the Church of England rather than the more contentious title of Supreme Head, which many thought unacceptable for a woman to bear. The new Act of Supremacy became law on 8 May 1559. All public officials were to swear an oath of loyalty to the monarch as the supreme governor or risk disqualification from office; the heresy laws were repealed, to avoid a repeat of the persecution of dissenters practised by Mary. At the same time, a new Act of Uniformity was passed, which made attendance at church and the use of an adapted version of the 1552 Book of Common Prayer compulsory, though the penalties for recusancy, or failure to attend and conform, were not extreme.

Marriage question

From the start of Elizabeth's reign it was expected that she would marry, and the question arose to whom. Although she received many offers, she never married and remained childless; the reasons for this are not clear. Historians have speculated that Thomas Seymour had put her off sexual relationships. She considered several suitors until she was about fifty. Her last courtship was with Francis, Duke of Anjou, 22 years her junior. While risking possible loss of power like her sister, who played into the hands of King Philip II of Spain, marriage offered the chance of an heir. However, the choice of a husband might also provoke political instability or even insurrection.

Robert Dudley

In the spring of 1559, it became evident that Elizabeth was in love with her childhood friend Robert Dudley. It was said that his wife Amy was suffering from a "malady in one of her breasts" and that the queen would like to marry Robert if his wife should die. By the autumn of 1559, several foreign suitors were vying for Elizabeth's hand; their impatient envoys engaged in ever more scandalous talk and reported that a marriage with her favourite was not welcome in England: "There is not a man who does not cry out on him and her with indignation ... she will marry none but the favoured Robert." Amy Dudley died in September 1560, from a fall from a flight of stairs and, despite the coroner's inquest finding of accident, many people suspected her husband of having arranged her death so that he could marry the queen. Elizabeth seriously considered marrying Dudley for some time. However, William Cecil, Nicholas Throckmorton, and some conservative peers made their disapproval unmistakably clear. There were even rumours that the nobility would rise if the marriage took place.

Among other marriage candidates being considered for the queen, Robert Dudley continued to be regarded as a possible candidate for nearly another decade. Elizabeth was extremely jealous of his affections, even when she no longer meant to marry him herself. She raised Dudley to the peerage as Earl of Leicester in 1564. In 1578, he finally married Lettice Knollys, to whom the queen reacted with repeated scenes of displeasure and lifelong hatred. Still, Dudley always "remained at the centre of [Elizabeth's] emotional life", as historian Susan Doran has described the situation. He died shortly after the defeat of the Spanish Armada in 1588. After Elizabeth's own death, a note from him was found among her most personal belongings, marked "his last letter" in her handwriting.

Marriage negotiations constituted a key element in Elizabeth's foreign policy. She turned down the hand of Philip, her half-sister's widower, early in 1559 but for several years entertained the proposal of King Eric XIV of Sweden. Earlier in Elizabeth's life a Danish match for her had been discussed; Henry VIII had proposed one with the Danish prince Adolf, Duke of Holstein-Gottorp, in 1545, and Edward Seymour, Duke of Somerset, suggested a marriage with Prince Frederick (later Frederick II) several years later, but the negotiations had abated in 1551. In the years around 1559 a Dano-English Protestant alliance was considered, and to counter Sweden's proposal, King Frederick II proposed to Elizabeth in late 1559.

For several years she also seriously negotiated to marry Philip's cousin Charles II, Archduke of Austria. By 1569, relations with the Habsburgs had deteriorated. Elizabeth considered marriage to two French Valois princes in turn, first Henry, Duke of Anjou, and then from 1572 to 1581 his brother Francis, Duke of Anjou, formerly Duke of Alençon. This last proposal was tied to a planned alliance against Spanish control of the Southern Netherlands. Elizabeth seems to have taken the courtship seriously for a time, and wore a frog-shaped earring that Francis had sent her.

In 1563, Elizabeth told an imperial envoy: "If I follow the inclination of my nature, it is this: beggar-woman and single, far rather than queen and married". Later in the year, following Elizabeth's illness with smallpox, the succession question became a heated issue in Parliament. Members urged the queen to marry or nominate an heir, to prevent a civil war upon her death. She refused to do either. In April she prorogued the Parliament, which did not reconvene until she needed its support to raise taxes in 1566.

Having previously promised to marry, she told an unruly House:

By 1570, senior figures in the government privately accepted that Elizabeth would never marry or name a successor. William Cecil was already seeking solutions to the succession problem. For her failure to marry, Elizabeth was often accused of irresponsibility. Her silence, however, strengthened her own political security: she knew that if she named an heir, her throne would be vulnerable to a coup; she remembered the way that "a second person, as I have been" had been used as the focus of plots against her predecessor.

Elizabeth's unmarried status inspired a cult of virginity related to that of the Virgin Mary. In poetry and portraiture, she was depicted as a virgin, a goddess, or both, not as a normal woman. At first, only Elizabeth made a virtue of her ostensible virginity: in 1559, she told the Commons, "And, in the end, this shall be for me sufficient, that a marble stone shall declare that a queen, having reigned such a time, lived and died a virgin". Later on, poets and writers took up the theme and developed an iconography that exalted Elizabeth. Public tributes to the Virgin by 1578 acted as a coded assertion of opposition to the queen's marriage negotiations with the Duke of Alençon. Ultimately, Elizabeth would insist she was married to her kingdom and subjects, under divine protection. In 1599, she spoke of "all my husbands, my good people".

This claim of virginity was not universally accepted. Catholics accused Elizabeth of engaging in "filthy lust" that symbolically defiled the nation along with her body. Henry IV of France said that one of the great questions of Europe was "whether Queen Elizabeth was a maid or no".

A central issue, when it comes to the question of Elizabeth's virginity, was whether the queen ever consummated her love affair with Robert Dudley. In 1559, she had Dudley's bedchambers moved next to her own apartments. In 1561, she was mysteriously bedridden with an illness that caused her body to swell.

In 1587, a young man calling himself Arthur Dudley was arrested on the coast of Spain under suspicion of being a spy. The man claimed to be the illegitimate son of Elizabeth and Robert Dudley, with his age being consistent with birth during the 1561 illness. He was taken to Madrid for investigation, where he was examined by Francis Englefield, a Catholic aristocrat exiled to Spain and secretary to King Philip II. Three letters exist today describing the interview, detailing what Arthur proclaimed to be the story of his life, from birth in the royal palace to the time of his arrival in Spain. However, this failed to convince the Spanish: Englefield admitted to King Philip that Arthur's "claim at present amounts to nothing", but suggested that "he should not be allowed to get away, but [...] kept very secure." The king agreed, and Arthur was never heard from again. Modern scholarship dismisses the story's basic premise as "impossible", and asserts that Elizabeth's life was so closely observed by contemporaries that she could not have hidden a pregnancy.

Mary, Queen of Scots

Elizabeth's first policy toward Scotland was to oppose the French presence there. She feared that the French planned to invade England and put her Catholic cousin Mary, Queen of Scots, on the throne. Mary was considered by many to be the heir to the English crown, being the granddaughter of Henry VIII's elder sister, Margaret. Mary boasted being "the nearest kinswoman she hath". Elizabeth was persuaded to send a force into Scotland to aid the Protestant rebels, and though the campaign was inept, the resulting Treaty of Edinburgh of July 1560 removed the French threat in the north. When Mary returned to Scotland in 1561 to take up the reins of power, the country had an established Protestant church and was run by a council of Protestant nobles supported by Elizabeth. Mary refused to ratify the treaty.

In 1563 Elizabeth proposed her own suitor, Robert Dudley, as a husband for Mary, without asking either of the two people concerned. Both proved unenthusiastic, and in 1565 Mary married Henry Stuart, Lord Darnley, who carried his own claim to the English throne. The marriage was the first of a series of errors of judgement by Mary that handed the victory to the Scottish Protestants and to Elizabeth. Darnley quickly became unpopular and was murdered in February 1567 by conspirators almost certainly led by James Hepburn, 4th Earl of Bothwell. Shortly afterwards, on 15 May 1567, Mary married Bothwell, arousing suspicions that she had been party to the murder of her husband. Elizabeth confronted Mary about the marriage, writing to her:

These events led rapidly to Mary's defeat and imprisonment in Loch Leven Castle. The Scottish lords forced her to abdicate in favour of her son James VI, who had been born in June 1566. James was taken to Stirling Castle to be raised as a Protestant. Mary escaped from Loch Leven in 1568 but after another defeat fled across the border into England, where she had once been assured of support from Elizabeth. Elizabeth's first instinct was to restore her fellow monarch; but she and her council instead chose to play safe. Rather than risk returning Mary to Scotland with an English army or sending her to France and the Catholic enemies of England, they detained her in England, where she was imprisoned for the next nineteen years.

Catholic cause

Mary was soon the focus for rebellion. In 1569 there was a major Catholic rising in the North; the goal was to free Mary, marry her to Thomas Howard, 4th Duke of Norfolk, and put her on the English throne. After the rebels' defeat, over 750 of them were executed on Elizabeth's orders. In the belief that the revolt had been successful, Pope Pius V issued a bull in 1570, titled Regnans in Excelsis, which declared "Elizabeth, the pretended Queen of England and the servant of crime" to be excommunicated and a heretic, releasing all her subjects from any allegiance to her. Catholics who obeyed her orders were threatened with excommunication. The papal bull provoked legislative initiatives against Catholics by Parliament, which were, however, mitigated by Elizabeth's intervention. In 1581, to convert English subjects to Catholicism with "the intent" to withdraw them from their allegiance to Elizabeth was made a treasonable offence, carrying the death penalty. From the 1570s missionary priests from continental seminaries went to England secretly in the cause of the "reconversion of England". Many suffered execution, engendering a cult of martyrdom.

Regnans in Excelsis gave English Catholics a strong incentive to look to Mary as the legitimate sovereign of England. Mary may not have been told of every Catholic plot to put her on the English throne, but from the Ridolfi Plot of 1571 (which caused Mary's suitor, the Duke of Norfolk, to lose his head) to the Babington Plot of 1586, Elizabeth's spymaster Sir Francis Walsingham and the royal council keenly assembled a case against her. At first, Elizabeth resisted calls for Mary's death. By late 1586, she had been persuaded to sanction Mary's trial and execution on the evidence of letters written during the Babington Plot. Elizabeth's proclamation of the sentence announced that "the said Mary, pretending title to the same Crown, had compassed and imagined within the same realm divers things tending to the hurt, death and destruction of our royal person." On 8 February 1587, Mary was beheaded at Fotheringhay Castle, Northamptonshire. After the execution, Elizabeth claimed that she had not intended for the signed execution warrant to be dispatched, and blamed her secretary, William Davison, for implementing it without her knowledge. The sincerity of Elizabeth's remorse and whether or not she wanted to delay the warrant have been called into question both by her contemporaries and later historians.

Wars and overseas trade

Elizabeth's foreign policy was largely defensive. The exception was the English occupation of Le Havre from October 1562 to June 1563, which ended in failure when Elizabeth's Huguenot allies joined with the Catholics to retake the port. Elizabeth's intention had been to exchange Le Havre for Calais, lost to France in January 1558. Only through the activities of her fleets did Elizabeth pursue an aggressive policy. This paid off in the war against Spain, 80% of which was fought at sea. She knighted Francis Drake after his circumnavigation of the globe from 1577 to 1580, and he won fame for his raids on Spanish ports and fleets. An element of piracy and self-enrichment drove Elizabethan seafarers, over whom the queen had little control.

Netherlands

After the occupation and loss of Le Havre in 1562-1563, Elizabeth avoided military expeditions on the continent until 1585, when she sent an English army to aid the Protestant Dutch rebels against Philip II. This followed the deaths in 1584 of the queen's allies William the Silent, Prince of Orange, and the Duke of Anjou, and the surrender of a series of Dutch towns to Alexander Farnese, Duke of Parma, Philip's governor of the Spanish Netherlands. In December 1584, an alliance between Philip II and the French Catholic League at Joinville undermined the ability of Anjou's brother, Henry III of France, to counter Spanish domination of the Netherlands. It also extended Spanish influence along the channel coast of France, where the Catholic League was strong, and exposed England to invasion. The siege of Antwerp in the summer of 1585 by the Duke of Parma necessitated some reaction on the part of the English and the Dutch. The outcome was the Treaty of Nonsuch of August 1585, in which Elizabeth promised military support to the Dutch. The treaty marked the beginning of the Anglo-Spanish War, which lasted until the Treaty of London in 1604.

The expedition was led by Elizabeth's former suitor, the Earl of Leicester. Elizabeth from the start did not really back this course of action. Her strategy, to support the Dutch on the surface with an English army, while beginning secret peace talks with Spain within days of Leicester's arrival in Holland, had necessarily to be at odds with Leicester's, who wanted and was expected by the Dutch to fight an active campaign. Elizabeth, on the other hand, wanted him "to avoid at all costs any decisive action with the enemy". He enraged Elizabeth by accepting the post of Governor-General from the Dutch States General. Elizabeth saw this as a Dutch ploy to force her to accept sovereignty over the Netherlands, which so far she had always declined. She wrote to Leicester:

Elizabeth's "commandment" was that her emissary read out her letters of disapproval publicly before the Dutch Council of State, Leicester having to stand nearby. This public humiliation of her "Lieutenant-General" combined with her continued talks for a separate peace with Spain irreversibly undermined Leicester's standing among the Dutch. The military campaign was severely hampered by Elizabeth's repeated refusals to send promised funds for her starving soldiers. Her unwillingness to commit herself to the cause, Leicester's own shortcomings as a political and military leader, and the faction-ridden and chaotic situation of Dutch politics led to the failure of the campaign. Leicester finally resigned his command in December 1587.

Spanish Armada

Meanwhile, Sir Francis Drake had undertaken a major voyage against Spanish ports and ships in the Caribbean in 1585 and 1586. In 1587 he made a successful raid on Cádiz, destroying the Spanish fleet of war ships intended for the Enterprise of England, as Philip II had decided to take the war to England.

On 12 July 1588, the Spanish Armada, a great fleet of ships, set sail for the channel, planning to ferry a Spanish invasion force under the Duke of Parma to the coast of southeast England from the Netherlands. A combination of miscalculation, misfortune, and an attack of English fire ships on 29 July off Gravelines, which dispersed the Spanish ships to the northeast, defeated the Armada. The Armada straggled home to Spain in shattered remnants, after disastrous losses on the coast of Ireland (after some ships had tried to struggle back to Spain via the North Sea, and then back south past the west coast of Ireland). Unaware of the Armada's fate, English militias mustered to defend the country under the Earl of Leicester's command. Leicester invited Elizabeth to inspect her troops at Tilbury in Essex on 8 August. Wearing a silver breastplate over a white velvet dress, she addressed them in one of her most famous speeches:

When no invasion came, the nation rejoiced. Elizabeth's procession to a thanksgiving service at St Paul's Cathedral rivalled that of her coronation as a spectacle. The defeat of the armada was a potent propaganda victory, both for Elizabeth and for Protestant England. The English took their delivery as a symbol of God's favour and of the nation's inviolability under a virgin queen. However, the victory was not a turning point in the war, which continued and often favoured Spain. The Spanish still controlled the southern provinces of the Netherlands, and the threat of invasion remained. Sir Walter Raleigh claimed after her death that Elizabeth's caution had impeded the war against Spain:

Though some historians have criticised Elizabeth on similar grounds, Raleigh's verdict has more often been judged unfair. Elizabeth had good reason not to place too much trust in her commanders, who once in action tended, as she put it herself, "to be transported with an haviour of vainglory".

In 1589, the year after the Spanish Armada, Elizabeth sent to Spain the English Armada or Counter Armada with 23,375 men and 150 ships, led by Sir Francis Drake as admiral and Sir John Norreys as general. The English fleet suffered a catastrophic defeat with 11,000-15,000 killed, wounded or died of disease and 40 ships sunk or captured. The advantage England had won upon the destruction of the Spanish Armada was lost, and the Spanish victory marked a revival of Philip II's naval power through the next decade.

When the Protestant Henry IV inherited the French throne in 1589, Elizabeth sent him military support. It was her first venture into France since the retreat from Le Havre in 1563. Henry's succession was strongly contested by the Catholic League and by Philip II, and Elizabeth feared a Spanish takeover of the channel ports. The subsequent English campaigns in France, however, were disorganised and ineffective. Peregrine Bertie, 13th Baron Willoughby de Eresby, largely ignoring Elizabeth's orders, roamed northern France to little effect, with an army of 4,000 men. He withdrew in disarray in December 1589, having lost half his troops. In 1591, the campaign of John Norreys, who led 3,000 men to Brittany, was even more of a disaster. As for all such expeditions, Elizabeth was unwilling to invest in the supplies and reinforcements requested by the commanders. Norreys left for London to plead in person for more support. In his absence, a Catholic League army almost destroyed the remains of his army at Craon, north-west France, in May 1591. In July, Elizabeth sent out another force under Robert Devereux, 2nd Earl of Essex, to help Henry IV in besieging Rouen. The result was just as dismal. Essex accomplished nothing and returned home in January 1592. Henry abandoned the siege in April. As usual, Elizabeth lacked control over her commanders once they were abroad. "Where he is, or what he doth, or what he is to do," she wrote of Essex, "we are ignorant".

Although Ireland was one of her two kingdoms, Elizabeth faced a hostile, and in places virtually autonomous, Irish population that adhered to Catholicism and was willing to defy her authority and plot with her enemies. Her policy there was to grant land to her courtiers and prevent the rebels from giving Spain a base from which to attack England. In the course of a series of uprisings, Crown forces pursued scorched-earth tactics, burning the land and slaughtering man, woman and child. During a revolt in Munster led by Gerald FitzGerald, 14th Earl of Desmond, in 1582, an estimated 30,000 Irish people starved to death. The poet and colonist Edmund Spenser wrote that the victims "were brought to such wretchedness as that any stony heart would have rued the same". Elizabeth advised her commanders that the Irish, "that rude and barbarous nation", be well treated, but she or her commanders showed no remorse when force and bloodshed served their authoritarian purpose.

Between 1594 and 1603, Elizabeth faced her most severe test in Ireland during the Nine Years' War, a revolt that took place at the height of hostilities with Spain, who backed the rebel leader, Hugh O'Neill, Earl of Tyrone. In spring 1599, Elizabeth sent Robert Devereux, 2nd Earl of Essex, to put the revolt down. To her frustration, he made little progress and returned to England in defiance of her orders. He was replaced by Charles Blount, 8th Baron Mountjoy, who took three years to defeat the rebels. O'Neill finally surrendered in 1603, a few days after Elizabeth's death. Soon afterwards, a peace treaty was signed between England and Spain.

Elizabeth continued to maintain the diplomatic relations with the Tsardom of Russia that were originally established by her half-brother, Edward VI. She often wrote to Tsar Ivan the Terrible on amicable terms, though the Tsar was often annoyed by her focus on commerce rather than on the possibility of a military alliance. Ivan even proposed to her once, and during his later reign, asked for a guarantee to be granted asylum in England should his rule be jeopardised. English merchant and explorer Anthony Jenkinson, who began his career as a representative of the Muscovy Company, became the queen's special ambassador to the court of Tsar Ivan. Upon his death in 1584, Ivan was succeeded by his son Feodor I. Unlike his father, Feodor had no enthusiasm in maintaining exclusive trading rights with England. He declared his kingdom open to all foreigners, and dismissed the English ambassador Sir Jerome Bowes, whose pomposity had been tolerated by Ivan. Elizabeth sent a new ambassador, Dr. Giles Fletcher, to demand from the regent Boris Godunov that he convince the Tsar to reconsider. The negotiations failed, due to Fletcher addressing Feodor with two of his many titles omitted. Elizabeth continued to appeal to Feodor in half appealing, half reproachful letters. She proposed an alliance, something which she had refused to do when offered one by Feodor's father, but was turned down.

Muslim states

Trade and diplomatic relations developed between England and the Barbary states during the rule of Elizabeth. England established a trading relationship with Morocco in opposition to Spain, selling armour, ammunition, timber, and metal in exchange for Moroccan sugar, in spite of a papal ban. In 1600, Abd el-Ouahed ben Messaoud, the principal secretary to the Moroccan ruler Mulai Ahmad al-Mansur, visited England as an ambassador to the English court, to negotiate an Anglo-Moroccan alliance against Spain. Elizabeth "agreed to sell munitions supplies to Morocco, and she and Mulai Ahmad al-Mansur talked on and off about mounting a joint operation against the Spanish". Discussions, however, remained inconclusive, and both rulers died within two years of the embassy.

Diplomatic relations were also established with the Ottoman Empire with the chartering of the Levant Company and the dispatch of the first English ambassador to the Sublime Porte, William Harborne, in 1578. For the first time, a Treaty of Commerce was signed in 1580. Numerous envoys were dispatched in both directions and epistolar exchanges occurred between Elizabeth and Sultan Murad III. In one correspondence, Murad entertained the notion that Islam and Protestantism had "much more in common than either did with Roman Catholicism, as both rejected the worship of idols", and argued for an alliance between England and the Ottoman Empire. To the dismay of Catholic Europe, England exported tin and lead (for cannon-casting) and ammunitions to the Ottoman Empire, and Elizabeth seriously discussed joint military operations with Murad III during the outbreak of war with Spain in 1585, as Francis Walsingham was lobbying for a direct Ottoman military involvement against the common Spanish enemy.

In 1583, Sir Humphrey Gilbert sailed west to establish a colony in Newfoundland. He never returned to England. Gilbert's half-brother Sir Walter Raleigh explored the Atlantic Coast and claimed the territory of Virginia, perhaps named in honour of Elizabeth, the "Virgin Queen". This territory was much larger than the present-day state of Virginia, extending from New England to the Carolinas. In 1585, Raleigh returned to Virginia with a small group of people. They landed on Roanoke Island, off present-day North Carolina. After the failure of the first colony, Raleigh recruited another group and put John White in command. When Raleigh returned in 1590, there was no trace of the Roanoke Colony he had left, but it was the first English settlement in North America.

East India Company

The East India Company was formed to trade in the Indian Ocean region and China, and received its charter from Queen Elizabeth on 31 December 1600. For a period of 15 years, the company was awarded a monopoly on English trade with all countries east of the Cape of Good Hope and west of the Straits of Magellan. Sir James Lancaster commanded the first expedition in 1601. The Company eventually controlled half of world trade and substantial territory in India in the 18th and 19th centuries.

Later years

The period after the defeat of the Spanish Armada in 1588 brought new difficulties for Elizabeth that lasted until the end of her reign. The conflicts with Spain and in Ireland dragged on, the tax burden grew heavier, and the economy was hit by poor harvests and the cost of war. Prices rose and the standard of living fell. During this time, repression of Catholics intensified, and Elizabeth authorised commissions in 1591 to interrogate and monitor Catholic householders. To maintain the illusion of peace and prosperity, she increasingly relied on internal spies and propaganda. In her last years, mounting criticism reflected a decline in the public's affection for her.

One of the causes for this "second reign" of Elizabeth, as it is sometimes called, was the changed character of Elizabeth's governing body, the privy council in the 1590s. A new generation was in power. With the exception of William Cecil, Baron Burghley, the most important politicians had died around 1590: the Earl of Leicester in 1588; Sir Francis Walsingham in 1590; and Sir Christopher Hatton in 1591. Factional strife in the government, which had not existed in a noteworthy form before the 1590s, now became its hallmark. A bitter rivalry arose between Robert Devereux, 2nd Earl of Essex, and Robert Cecil, son of Lord Burghley, with both being supported by their respective adherents. The struggle for the most powerful positions in the state marred the kingdom's politics. The queen's personal authority was lessening, as is shown in the 1594 affair of Dr. Lopez, her trusted physician. When he was wrongly accused by the Earl of Essex of treason out of personal pique, she could not prevent the doctor's execution, although she had been angry about his arrest and seems not to have believed in his guilt.

During the last years of her reign, Elizabeth came to rely on the granting of monopolies as a cost-free system of patronage, rather than asking Parliament for more subsidies in a time of war. The practice soon led to price-fixing, the enrichment of courtiers at the public's expense, and widespread resentment. This culminated in agitation in the House of Commons during the parliament of 1601. In her famous " Golden Speech" of 30 November 1601 at Whitehall Palace to a deputation of 140 members, Elizabeth professed ignorance of the abuses, and won the members over with promises and her usual appeal to the emotions:

This same period of economic and political uncertainty, however, produced an unsurpassed literary flowering in England. The first signs of a new literary movement had appeared at the end of the second decade of Elizabeth's reign, with John Lyly's Euphues and Edmund Spenser's The Shepheardes Calender in 1578. During the 1590s, some of the great names of English literature entered their maturity, including William Shakespeare and Christopher Marlowe. Continuing into the Jacobean era, the English theatre would reach its peak. The notion of a great Elizabethan era depends largely on the builders, dramatists, poets, and musicians who were active during Elizabeth's reign. They owed little directly to the queen, who was never a major patron of the arts.

As Elizabeth aged her image gradually changed. She was portrayed as Belphoebe or Astraea, and after the Armada, as Gloriana, the eternally youthful Faerie Queene of Edmund Spenser's poem. Elizabeth gave Edmund Spenser a pension; as this was unusual for her, it indicates that she liked his work. Her painted portraits became less realistic and more a set of enigmatic icons that made her look much younger than she was. In fact, her skin had been scarred by smallpox in 1562, leaving her half bald and dependent on wigs and cosmetics. Her love of sweets and fear of dentists contributed to severe tooth decay and loss to such an extent that foreign ambassadors had a hard time understanding her speech. André Hurault de Maisse, Ambassador Extraordinary from Henry IV of France, reported an audience with the queen, during which he noticed, "her teeth are very yellow and unequal ... and on the left side less than on the right. Many of them are missing, so that one cannot understand her easily when she speaks quickly." Yet he added, "her figure is fair and tall and graceful in whatever she does; so far as may be she keeps her dignity, yet humbly and graciously withal." Sir Walter Raleigh called her "a lady whom time had surprised".

The more Elizabeth's beauty faded, the more her courtiers praised it. Elizabeth was happy to play the part, but it is possible that in the last decade of her life she began to believe her own performance. She became fond and indulgent of the charming but petulant young Earl of Essex, who was Leicester's stepson and took liberties with her for which she forgave him. She repeatedly appointed him to military posts despite his growing record of irresponsibility. After Essex's desertion of his command in Ireland in 1599, Elizabeth had him placed under house arrest and the following year deprived him of his monopolies. In February 1601, Essex tried to raise a rebellion in London. He intended to seize the queen but few rallied to his support, and he was beheaded on 25 February. Elizabeth knew that her own misjudgements were partly to blame for this turn of events. An observer wrote in 1602: "Her delight is to sit in the dark, and sometimes with shedding tears to bewail Essex."

Elizabeth's senior adviser, Lord Burghley, died on 4 August 1598. His political mantle passed to his son Robert, who soon became the leader of the government. One task he addressed was to prepare the way for a smooth succession. Since Elizabeth would never name her successor, Robert Cecil was obliged to proceed in secret. He therefore entered into a coded negotiation with James VI of Scotland, who had a strong but unrecognised claim. Cecil coached the impatient James to humour Elizabeth and "secure the heart of the highest, to whose sex and quality nothing is so improper as either needless expostulations or over much curiosity in her own actions". The advice worked. James's tone delighted Elizabeth, who responded: "So trust I that you will not doubt but that your last letters are so acceptably taken as my thanks cannot be lacking for the same, but yield them to you in grateful sort". In historian J. E. Neale's view, Elizabeth may not have declared her wishes openly to James, but she made them known with "unmistakable if veiled phrases".

The queen's health remained fair until the autumn of 1602, when a series of deaths among her friends plunged her into a severe depression. In February 1603, the death of Catherine Carey, Countess of Nottingham, the niece of her cousin and close friend Lady Knollys, came as a particular blow. In March, Elizabeth fell sick and remained in a "settled and unremovable melancholy", and sat motionless on a cushion for hours on end. When Robert Cecil told her that she must go to bed, she snapped: "Must is not a word to use to princes, little man." She died on 24 March 1603 at Richmond Palace, between two and three in the morning. A few hours later, Cecil and the council set their plans in motion and proclaimed James King of England.

While it has become normative to record Elizabeth's death as occurring in 1603, following English calendar reform in the 1750s, at the time England observed New Year's Day on 25 March, commonly known as Lady Day. Thus Elizabeth died on the last day of the year 1602 in the old calendar. The modern convention is to use the old style calendar for the day and month while using the new style calendar for the year.

Elizabeth's coffin was carried downriver at night to Whitehall, on a barge lit with torches. At her funeral on 28 April, the coffin was taken to Westminster Abbey on a hearse drawn by four horses hung with black velvet. In the words of the chronicler John Stow:

Westminster was surcharged with multitudes of all sorts of people in their streets, houses, windows, leads and gutters, that came out to see the obsequy, and when they beheld her statue lying upon the coffin, there was such a general sighing, groaning and weeping as the like hath not been seen or known in the memory of man.

Elizabeth was interred in Westminster Abbey, in a tomb shared with her half-sister, Mary I. The Latin inscription on their tomb, "Regno consortes & urna, hic obdormimus Elizabetha et Maria sorores, in spe resurrectionis", translates to "Consorts in realm and tomb, here we sleep, Elizabeth and Mary, sisters, in hope of resurrection".

Elizabeth was lamented by many of her subjects, but others were relieved at her death. Expectations of King James started high but then declined. By the 1620s, there was a nostalgic revival of the cult of Elizabeth. Elizabeth was praised as a heroine of the Protestant cause and the ruler of a golden age. James was depicted as a Catholic sympathiser, presiding over a corrupt court. The triumphalist image that Elizabeth had cultivated towards the end of her reign, against a background of factionalism and military and economic difficulties, was taken at face value and her reputation inflated. Godfrey Goodman, Bishop of Gloucester, recalled: "When we had experience of a Scottish government, the Queen did seem to revive. Then was her memory much magnified." Elizabeth's reign became idealised as a time when crown, church and parliament had worked in constitutional balance.

The picture of Elizabeth painted by her Protestant admirers of the early 17th century has proved lasting and influential. Her memory was also revived during the Napoleonic Wars, when the nation again found itself on the brink of invasion. In the Victorian era, the Elizabethan legend was adapted to the imperial ideology of the day, and in the mid-20th century, Elizabeth was a romantic symbol of the national resistance to foreign threat. Historians of that period, such as J. E. Neale (1934) and A. L. Rowse (1950), interpreted Elizabeth's reign as a golden age of progress. Neale and Rowse also idealised the Queen personally: she always did everything right; her more unpleasant traits were ignored or explained as signs of stress.

Recent historians, however, have taken a more complicated view of Elizabeth. Her reign is famous for the defeat of the Armada, and for successful raids against the Spanish, such as those on Cádiz in 1587 and 1596, but some historians point to military failures on land and at sea. In Ireland, Elizabeth's forces ultimately prevailed, but their tactics stain her record. Rather than as a brave defender of the Protestant nations against Spain and the Habsburgs, she is more often regarded as cautious in her foreign policies. She offered very limited aid to foreign Protestants and failed to provide her commanders with the funds to make a difference abroad.

Elizabeth established an English church that helped shape a national identity and remains in place today. Those who praised her later as a Protestant heroine overlooked her refusal to drop all practices of Catholic origin from the Church of England. Historians note that in her day, strict Protestants regarded the Acts of Settlement and Uniformity of 1559 as a compromise. In fact, Elizabeth believed that faith was personal and did not wish, as Francis Bacon put it, to "make windows into men's hearts and secret thoughts".

Though Elizabeth followed a largely defensive foreign policy, her reign raised England's status abroad. "She is only a woman, only mistress of half an island," marvelled Pope Sixtus V, "and yet she makes herself feared by Spain, by France, by the Empire, by all". Under Elizabeth, the nation gained a new self-confidence and sense of sovereignty, as Christendom fragmented. Elizabeth was the first Tudor to recognise that a monarch ruled by popular consent. She therefore always worked with parliament and advisers she could trust to tell her the truth-a style of government that her Stuart successors failed to follow. Some historians have called her lucky; she believed that God was protecting her. Priding herself on being "mere English", Elizabeth trusted in God, honest advice, and the love of her subjects for the success of her rule. In a prayer, she offered thanks to God that:

Family tree

1. Starkey Elizabeth: Woman, 5.

2. ^ Stanley, Earl of Derby, Edward (1890). Correspondence of Edward, Third Earl of Derby, During the Years 24 to 31 Henry VIII.: Preserved in a Ms. in the Possession of Miss Pfarington, of Worden Hall. Vol. 19. Chetham Society. p. 89.

3. ^ "Venice: April 1603" Archived 13 April 2014 at the Wayback Machine, Calendar of State Papers Relating to English Affairs in the Archives of Venice, Volume 9: 1592-1603 (1897), 562-570. Retrieved 22 March 2012.

4. ^ Stoyle, Mark. West Britons, Cornish Identities and the Early Modern British State, University of Exeter Press, 2002, p. 220.

5. Somerset, 89-90. ^ The "Festival Book" account, from the British Library Archived 16 April 2016 at the Wayback Machine

6. ^ Szönyi, György E. (2004). "John Dee and Early Modern Occult Philosophy". Literature Compass. 1 (1): 1-12. doi:10.1111/j.1741-4113.2004.00110.x.

7. ^ "'Queen Elizabeth I: The Pelican Portrait', called Nicholas Hilliard (c. 1573)", Walker Art Gallery, Liverpool, United Kingdom: National Museums Liverpool, 1998, archived from the original on 16 April 2014

8. Collinson, Patrick, "Elizabeth I (1533-1603)" Archived 19 August 2021 at the Wayback Machine, Oxford Dictionary of National Biography (2008). Retrieved 23 August 2011.

9. ^ Warnicke, Retha (September 2010). "Why Elizabeth I Never Married". History Review (67): 15-20.

10. Adams, S.; Gehring, D. S. (2013). "Elizabeth I's Former Tutor Reports on the Parliament of 1559: Johannes Spithovius to the Chancellor of Denmark, 27 February 1559". The English Historical Review. 128 (530): 43. doi:10.1093/ehr/ces310. ISSN 0013-8266.

11. ^ Lockhart, Paul Douglas (2011). Denmark, 1513-1660: the rise and decline of a Renaissance monarchy. Oxford University Press. p. 111. ISBN 978-0-19-927121-4. OCLC 844083309.

12. ^ King, John N. (1990). "Queen Elizabeth I: Representations of the Virgin Queen". Renaissance Quarterly. 43 (1): 30-74. doi:10.2307/2861792. JSTOR 2861792.

13. ^ Doran, Susan (1995). "Juno versus Diana: The Treatment of Elizabeth I's Marriage in Plays and Entertainments, 1561-1581". The Historical Journal. 38 (2): 257-274. doi:10.1017/S0018246X00019427. JSTOR 2639984.

14. ^ Famous Past Lives Archived 25 January 2021 at the Wayback Machine
"Could it be that when Elizabeth was confined to bed in 1561 (at the time when her love affair with Dudley was at its height) with a mysterious illness she was in fact pregnant?[...] The Spanish ambassador reported that she had a swelling of the abdomen..."

15. Levin, Carole (2 December 2004). "All the Queen's Children: Elizabeth I and the Meanings of Motherhood". Explorations in Renaissance Culture. 30 (1): 57-76. doi:10.1163/23526963-90000274. ISSN 2352-6963. Archived from the original on 19 August 2021.

16. Simon Adams: ^ "Dudley, Robert, earl of Leicester (1532/3-1588)" Archived 24 September 2015 at the Wayback Machine Oxford Dictionary of National Biography online edn. May 2008 (subscription required). Retrieved 3 April 2010.

17. R. O. Bucholz, Newton Key ^ Early modern England 1485-1714: a narrative history (John Wiley and Sons, 2009). ISBN 978-1-4051-6275-3, 145.

18. John Hampden ^ Francis Drake, privateer: contemporary narratives and documents (Taylor & Francis, 1972). ISBN 978-0-8173-5703-0, 254.

19. Fernández Duro, Cesáreo (1972). Armada Española desde la Unión de los Reinos de Castilla y Aragón. Museo Naval de Madrid, Instituto de Historia y Cultura Naval, Tomo III, Capítulo III. Madrid, p. 51.

20. J. H. Elliott ^ La Europa dividida (1559-1598) (Editorial Critica, 2002). ISBN 978-84-8432-669-4, 333.

21. Crankshaw, Edward, Russia and Britain, Collins, The Nations and Britain series.

22. ^ University of Birmingham Collections Mimsy.bham.ac.uk Archived 28 February 2009 at the Wayback Machine

23. ^ Tate Gallery exhibition "East-West: Objects between cultures", Tate.org.uk Archived 26 December 2013 at the Wayback Machine

24. ^ "The Tudors had bad teeth? What rot!", The Daily Telegraph, 18 January 2015. Retrieved 28 May 2016.

25. ^ Lee, Christopher (2004). 1603: The Death of Queen Elizabeth, the Return of the Black Plague, the Rise of Shakespeare, Piracy, Witchcraft and the Birth of the Stuart Era. St. Martin's Press. p. viii. ISBN 978-0-312-32139-0.

References

Black, J. B. (1945) [1936], The Reign of Elizabeth: 1558-1603, Oxford: Clarendon, OCLC 5077207.

Chamberlin, Frederick (1939), Elizabeth and Leycester, Dodd, Mead & Co..

Collinson, Patrick. "Elizabeth I (1533-1603)" in Oxford Dictionary of National Biography (2008) Retrieved 23 Aug 2011 Archived 19 August 2021 at the Wayback Machine

Davenport, Cyril (1899), Pollard, Alfred (ed.), English Embroidered Bookbindings, London: Kegan Paul, Trench, Trübner and Co., OCLC 705685.

Kenyon, John P. (1983), The History Men: The Historical Profession in England since the Renaissance, London: Weidenfeld & Nicolson, ISBN 978-0-297-78254-4 .

Kupperman, Karen Ordahl (2007), The Jamestown Project, Harvard University Press, ISBN 978-0-674-02474-8 .

Lacey, Robert (1971), Robert Earl of Essex: An Elizabethan Icarus, London: Weidenfeld & Nicolson, ISBN 978-0-297-00320-5 .

Loades, David (2003), Elizabeth I: The Golden Reign of Gloriana, London: The National Archives, ISBN 978-1-903365-43-4 .

McGrath, Patrick (1967), Papists and Puritans under Elizabeth I, London: Blandford Press.

Neale, J. E. (1954) [1934], Queen Elizabeth I: A Biography (reprint ed.), London: Jonathan Cape, OCLC 220518.

Rowse, A. L. (1950), The England of Elizabeth, London: Macmillan, OCLC 181656553.

Starkey, David (2001), Elizabeth: Apprenticeship, London: Vintage, ISBN 978-0-09-928657-8 .

Strong, Roy C. & van Dorsten, J. A. (1964), Leicester's Triumph, Oxford University Press.

Williams, Neville (1964), Thomas Howard, Fourth Duke of Norfolk, London: Barrie & Rockliff.

Williams, Neville (1972), The Life and Times of Elizabeth I, London: Weidenfeld & Nicolson, ISBN 978-0-297-83168-6 .

Further reading

Beem, Charles. The Foreign Relations of Elizabeth I (2011) excerpt and text search Archived 26 January 2017 at the Wayback Machine

Bridgen, Susan (2001). New Worlds, Lost Worlds: The Rule of the Tudors, 1485-1603. New York: Viking Penguin. ISBN 978-0-670-89985-2.

Hodges, J. P. The Nature of the Lion: Elizabeth I and Our Anglican Heritage (London: Faith Press, 1962).

Jones, Norman. The Birth of the Elizabethan Age: England in the 1560s (Blackwell, 1993)

MacCaffrey Wallace T. Elizabeth I (1993), political biography summarising his multivolume study:

MacCaffrey Wallace T. The Shaping of the Elizabethan Regime: Elizabethan Politics, 1558-1572 (1969)

MacCaffrey Wallace T. Queen Elizabeth and the Making of Policy, 1572-1588 (1988)

MacCaffrey Wallace T. Elizabeth I: War and Politics, 1588-1603 (1994)

McLaren, A. N. Political Culture in the Reign of Elizabeth I: Queen and Commonwealth, 1558-1585 (Cambridge University Press, 1999) excerpt and text search Archived 8 March 2016 at the Wayback Machine

Palliser, D. M. The Age of Elizabeth: England Under the Later Tudors, 1547-1603 (1983) survey of social and economic history

Pollard, Albert Frederick (1911). "Elizabeth of England" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 11 (11th ed.). Cambridge University Press. pp. 282-283.

Wernham, R. B. Before the Armada: the growth of English foreign policy, 1485-1588 (1966), a standard history of foreign policy

Primary sources and early histories

Susan M. Felch, ed. Elizabeth I and Her Age (Norton Critical Editions) (2009); primary and secondary sources, with an emphasis on literature

William Camden. History of the Most Renowned and Victorious Princess Elizabeth. Wallace T. MacCaffrey (ed). Chicago: University of Chicago Press, selected chapters, 1970 edition. OCLC 59210072.

William Camden. Annales Rerum Gestarum Angliae et Hiberniae Regnante Elizabetha. Archived 18 December 2020 at the Wayback Machine (1615 and 1625.) Hypertext edition, with English translation. Dana F. Sutton (ed.), 2000. Retrieved 7 December 2007.

Clapham, John. Elizabeth of England. E. P. Read and Conyers Read (eds). Philadelphia: University of Pennsylvania Press, 1951. OCLC 1350639.

Historiography and memory

Carlson, Eric Josef. "Teaching Elizabeth Tudor with Movies: Film, Historical Thinking, and the Classroom," Sixteenth Century Journal, Summer 2007, Vol. 38 Issue 2, pp. 419-440

Collinson, Patrick. "Elizabeth I and the verdicts of history," Historical Research, Nov 2003, Vol. 76 Issue 194, pp. 469-491

Doran, Susan, and Thomas S. Freeman, eds. The Myth of Elizabeth.(2003).

Greaves, Richard L., ed. Elizabeth I, Queen of England (1974), excerpts from historians

Haigh, Christopher, ed. The Reign of Elizabeth I (1984), essays by scholars

Howard, Maurice. "Elizabeth I: A Sense Of Place In Stone, Print And Paint," Transactions of the Royal Historical Society, Dec 2004, Vol. 14 Issue 1, pp. 261-268

Hulme, Harold (1958). "Elizabeth I and Her Parliaments: The Work of Sir John Neale". Journal of Modern History. 30 (3): 236-240. doi:10.1086/238230. JSTOR 1872838. S2CID 144764596.

Montrose, Louis. The Subject of Elizabeth: Authority, Gender, and Representation. (2006).

Rowse, A. L. "Queen Elizabeth and the Historians." History Today (Sept 1953) 3#9 pp 630-641.

Watkins, John. Representing Elizabeth in Stuart England: Literature, History, Sovereignty (2002)

Woolf, D. R. "Two Elizabeths? James I and the Late Queen's Famous Memory," Canadian Journal of History, August 1985, Vol. 20 Issue 2, pp. 167-191

External links

# data[].attributes.attachment_link.description
Elizabeth I (7 September 1533 - 24 March 1603) was Queen of England and Ireland from 17 November 1558 until her death in 1603. Sometimes referred to as the Virgin Queen, Elizabeth was the last of the five monarchs of the House of Tudor.