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1.Elizabethan drama, sometimes called English Renaissance drama, refers to the performance drama that was popular during the reign of Elizabeth I of England.

2.The arts generally flourished during the Elizabethan era, but perhaps the most lasting contribution to British and world culture was the performing arts.

3.Elizabeth often sponsored theatrical performances

4.The most popular type of drama in the Elizabethan era was tragedy

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A 1596 sketch of a rehearsal in progress on the thrust stage of The Swan, a typical circular Elizabethan open-roof playhouse

English Renaissance theatre, also known as Renaissance English theatre and Elizabethan theatre, refers to the theatre of England between 1558 and 1642.

This is the style of the plays of William Shakespeare, Christopher Marlowe and Ben Jonson.

The term English Renaissance theatre encompasses the period between 1562-following a performance of Gorboduc, the first English play using blank verse, at the Inner Temple during the Christmas season of 1561-and the ban on theatrical plays enacted by the English Parliament in 1642. In a strict sense "Elizabethan" only refers to the period of Queen Elizabeth's reign (1558-1603). English Renaissance theatre may be said to encompass Elizabethan theatre from 1562 to 1603, Jacobean theatre from 1603 to 1625, and Caroline theatre from 1625 to 1642.

Along with the economics of the profession, the character of the drama changed towards the end of the period. Under Elizabeth, the drama was a unified expression as far as social class was concerned: the Court watched the same plays the commoners saw in the public playhouses. With the development of the private theatres, drama became more oriented towards the tastes and values of an upper-class audience. By the later part of the reign of Charles I, few new plays were being written for the public theatres, which sustained themselves on the accumulated works of the previous decades.

The English grammar schools, like those on the continent, placed special emphasis on the : grammar, logic, and rhetoric. Though rhetorical instruction was intended as preparation for careers in civil service such as law, the rhetorical canons of memory () and delivery (pronuntiatio), gesture and voice, as well as exercises from the progymnasmata, such as the prosopopoeia, taught theatrical skills. Students would typically analyse Latin and Greek texts, write their own compositions, memorise them, and then perform them in front of their instructor and their peers. Records show that in addition to this weekly performance, students would perform plays on holidays, and in both Latin and English.

Nathan Field, who began his acting career as a boy player

Choir schools connected with the Elizabethan court included St. George's Chapel, the Chapel Royal, and St. Paul's. These schools performed plays and other court entertainments for the Queen. Between the 1560s and 1570s these schools had begun to perform for general audiences as well. Playing companies of boy actors were derived from choir schools. John Lyly is an earlier example of a playwright contracted to write for the children's companies; Lyly wrote , , and for Paul's Boys. Another example is Ben Jonson, who wrote Cynthia's Revels.

Academic drama stems from late medieval and early modern practices of miracles and morality plays as well as the Feast of Fools and the election of a Lord of Misrule. The Feast of Fools includes mummer plays. The universities, particularly Oxford and Cambridge, were attended by students studying for bachelor's degrees and master's degrees, followed by doctorates in Law, Medicine, and Theology. In the 1400s, dramas were often restricted to mummer plays with someone who read out all the parts in Latin. With the rediscovery and redistribution of classical materials during the English Renaissance, Latin and Greek plays began to be restaged. These plays were often accompanied by feasts. Queen Elizabeth I viewed dramas during her visits to Oxford and Cambridge. A well-known play cycle which was written and performed in the universities was the Parnassus Plays.

Gorboduc TP 1565

Upon graduation, many university students, especially those going into law, would reside and participate in the Inns of Court. The Inns of Court were communities of working lawyers and university alumni. Notable literary figures and playwrights who resided in the Inns of Court include John Donne, Francis Beaumont, John Marston, Thomas Lodge, Thomas Campion, Abraham Fraunce, Sir Philip Sidney, Sir Thomas More, Sir Francis Bacon, and George Gascoigne. Like the university, the Inns of Court elected their own Lord of Misrule. Other activities included participation in moot court, disputation, and masques. Plays written and performed in the Inns of Court include , Gismund of Salerne, and The Misfortunes of Arthur. An example of a famous masque put on by the Inns was James Shirley's The Triumph of Peace. Shakespeare's The Comedy of Errors and Twelfth Night were also performed here, although written for commercial theater.

The first permanent English theatre, the Red Lion, opened in 1567 but it was a short-lived failure. The first successful theatres, such as The Theatre, opened in 1576.

The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama. Once they were in operation, drama could become a fixed and permanent, rather than transitory, phenomenon. Their construction was prompted when the Mayor and Corporation of London first banned plays in 1572 as a measure against the plague, and then formally expelled all players from the city in 1575. This prompted the construction of permanent playhouses outside the jurisdiction of London, in the liberties of Halliwell/Holywell in Shoreditch and later the Clink, and at Newington Butts near the established entertainment district of St. George's Fields in rural Surrey. The Theatre was constructed in Shoreditch in 1576 by James Burbage with his brother-in-law John Brayne (the owner of the unsuccessful Red Lion playhouse of 1567) and the Newington Butts playhouse was set up, probably by Jerome Savage, some time between 1575 and 1577. The Theatre was rapidly followed by the nearby Curtain Theatre (1577), the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and the Red Bull (1604).

Archaeological excavations on the foundations of the Rose and the Globe in the late 20th century showed that all the London theatres had individual differences, but their common function necessitated a similar general plan. The public theatres were three stories high and built around an open space at the centre. Usually polygonal in plan to give an overall rounded effect, although the Red Bull and the first Fortune were square. The three levels of inward-facing galleries overlooked the open centre, into which jutted the stage: essentially a platform surrounded on three sides by the audience. The rear side was restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony, as in Romeo and Juliet and Antony and Cleopatra, or as a position from which an actor could harangue a crowd, as in Julius Caesar. The pit was the place where the poorest audience members could view the show. Around the 1600s a new area was introduced into the theaters, a 'gullet'. A gullet was an invisible corridor that the actors used to go to the wings of the stage where people usually changed clothes quickly[citation needed ].

The playhouses were generally built with timber and plaster. Individual theatre descriptions give additional information about their construction, such as flint stones being used to build the Swan. Theatres were also constructed to be able to hold a large number of people.

A different model was developed with the Blackfriars Theatre, which came into regular use on a long-term basis in 1599. The Blackfriars was small in comparison to the earlier theatres and roofed rather than open to the sky. It resembled a modern theatre in ways that its predecessors did not. Other small enclosed theatres followed, notably the Whitefriars (1608) and the Cockpit (1617). With the building of the Salisbury Court Theatre in 1629 near the site of the defunct Whitefriars, the London audience had six theatres to choose from: three surviving large open-air public theatres-the Globe, the Fortune, and the Red Bull-and three smaller enclosed private theatres: the Blackfriars, the Cockpit, and the Salisbury Court. Audiences of the 1630s benefited from a half-century of vigorous dramaturgical development; the plays of Marlowe and Shakespeare and their contemporaries were still being performed on a regular basis, mostly at the public theatres, while the newest works of the newest playwrights were abundant as well, mainly at the private theatres.[citation needed ]

Around 1580, when both the Theater and the Curtain were full on summer days, the total theater capacity of London was about 5000 spectators. With the building of new theater facilities and the formation of new companies, London's total theater capacity exceeded 10,000 after 1610.

Ticket prices in general varied during this time period. The cost of admission was based on where in the theatre a person wished to be situated, or based on what a person could afford. If people wanted a better view of the stage or to be more separate from the crowd, they would pay more for their entrance. Due to inflation that occurred during this time period, admission increased in some theaters from a penny to a sixpence or even higher.

Commercial theaters were largely located just outside the boundaries of the City of London, since City authorities tended to be wary of the adult playing companies, but plays were performed by touring companies all over England. English companies even toured and performed English plays abroad, especially in Germany and in Denmark.

Upper class spectators would pay for seats in the galleries, using cushions for comfort. In the Globe Theatre, nobles could sit directly by the side on the stage.

The acting companies functioned on a repertory system: unlike modern productions that can run for months or years on end, the troupes of this era rarely acted the same play two days in a row. Thomas Middleton's A Game at Chess ran for nine straight performances in August 1624 before it was closed by the authorities; but this was due to the political content of the play and was a unique, unprecedented and unrepeatable phenomenon. The 1592 season of Lord Strange's Men at the Rose Theatre was far more representative: between 19 February and 23 June the company played six days a week, minus Good Friday and two other days. They performed 23 different plays, some only once, and their most popular play of the season, The First Part of Hieronimo, based on Kyd's The Spanish Tragedy, 15 times. They never played the same play two days in a row, and rarely the same play twice in a week. The workload on the actors, especially the leading performers like Richard Burbage or Edward Alleyn, must have been tremendous.

One distinctive feature of the companies was that they included only males. Female parts were played by adolescent boy players in women's costume. Some companies were composed entirely of boy players. Performances in the public theatres (like the Globe) took place in the afternoon with no artificial lighting, but when, in the course of a play, the light began to fade, candles were lit. In the enclosed private theatres (like the Blackfriars) artificial lighting was used throughout. Plays contained little to no scenery as the scenery was described by the actors or indicated by costume through the course of the play.

In the Elizabethan era, research has been conclusive about how many actors and troupes there were in the 16th century, but little research delves into the roles of the actors on the English renaissance stage. The first point is that during the Elizabethan era, women were not allowed to act on stage. The actors were all male; in fact, most were boys. For plays written that had male and female parts, the female parts were played by the youngest boy players. Stronger female roles in tragedies were acted by older boy players because they had more experience. As a boy player, many skills had to be implemented such as voice and athleticism (fencing was one).

In Elizabethan entertainment, troupes were created and they were considered the actor companies. They travelled around England as drama was the most entertaining art at the time.

Elizabethan actors never played the same show on successive days and added a new play to their repertoire every other week. These actors were getting paid within these troupes so for their job, they would constantly learn new plays as they toured different cities in England. In these plays, there were bookkeepers that acted as the narrators of these plays and they would introduce the actors and the different roles they played. At some points, the bookkeeper would not state the narrative of the scene, so the audience could find out for themselves. In Elizabethan and Jacobean plays, the plays often exceeded the number of characters/roles and did not have enough actors to fulfil them, thus the idea of doubling roles came to be. Doubling roles is used to reinforce a plays theme by having the actor act out the different roles simultaneously. The reason for this was for the acting companies to control salary costs, or to be able to perform under conditions where resources such as other actor companies lending actors were not present.

There were two acting styles implemented: formal and natural. Formal acting is objective and traditional, while natural acting attempts to create an illusion for the audience by remaining in character and imitating the fictional circumstances. The formal actor symbolises while the natural actor interprets. The natural actor impersonates while the formal actor represents the role. Natural and formal are opposites of each other, where natural acting is subjective. Overall, the use of these acting styles and the doubled roles dramatic device made Elizabethan plays very popular.

Costumes of the Elizabethan era; sketch by William Hickman Smith Aubrey, c. 1867

One of the main uses of costume during the Elizabethan era was to make up for the lack of scenery, set, and props on stage. It created a visual effect for the audience, and it was an integral part of the overall performance. Since the main visual appeal on stage were the costumes, they were often bright in colour and visually entrancing. Colours symbolized social hierarchy, and costumes were made to reflect that. For example, if a character was royalty, their costume would include purple. The colours, as well as the different fabrics of the costumes, allowed the audience to know the status of each character when they first appeared on stage.

Costumes were collected in inventory. More often than not, costumes wouldn't be made individually to fit the actor. Instead, they would be selected out of the stock that theatre companies would keep. A theatre company reused costumes when possible and would rarely get new costumes made. Costumes themselves were expensive, so usually players wore contemporary clothing regardless of the time period of the play. The most expensive pieces were given to higher class characters because costuming was used to identify social status on stage. The fabrics within a playhouse would indicate the wealth of the company itself. The fabrics used the most were: velvet, satin, silk, cloth-of-gold, lace and ermine. For less significant characters, actors would use their own clothes.

Actors also left clothes in their will for following actors to use. Masters would also leave clothes for servants in their will, but servants weren't allowed to wear fancy clothing, instead, they sold the clothes back to theatre companies. In the Tudor and Elizabethan eras, there were laws stating that certain classes could only wear clothing fitting of their status in society. There was a discrimination of status within the classes. Higher classes flaunted their wealth and power through the appearance of clothing, however, courtesans and actors were the only exceptions - as clothing represented their 'working capital', as it were, but they were only permitted to dress so while working. If actors belonged to a licensed acting company, they were allowed to dress above their standing in society for specific roles in a production.

The growing population of London, the growing wealth of its people, and their fondness for spectacle produced a dramatic literature of remarkable variety, quality and extent. About 3,000 plays were written for the Elizabethan stage, and although most of them have been lost, at least 543 remain.

The people who wrote these plays were primarily self-made men from modest backgrounds. Some of them were educated at either Oxford or Cambridge, but many were not. Although William Shakespeare and Ben Jonson were actors, the majority do not seem to have been performers, and no major author who came on to the scene after 1600 is known to have supplemented his income by acting. Their lives were subject to the same levels of danger and earlier mortality as all who lived during the early modern period: Christopher Marlowe was killed in an apparent tavern brawl, while Ben Jonson killed an actor in a duel. Several were probably soldiers.

Playwrights were normally paid in increments during the writing process, and if their play was accepted, they would also receive the proceeds from one day's performance. However, they had no ownership of the plays they wrote. Once a play was sold to a company, the company owned it, and the playwright had no control over casting, performance, revision or publication.

The profession of dramatist was challenging and far from lucrative. Entries in Philip Henslowe's Diary show that in the years around 1600 Henslowe paid as little as £6 or £7 per play. This was probably at the low end of the range, though even the best writers could not demand too much more. A playwright, working alone, could generally produce two plays a year at most. In the 1630s Richard Brome signed a contract with the Salisbury Court Theatre to supply three plays a year, but found himself unable to meet the workload. Shakespeare produced fewer than 40 solo plays in a career that spanned more than two decades: he was financially successful because he was an actor and, most importantly, a shareholder in the company for which he acted and in the theatres they used. Ben Jonson achieved success as a purveyor of Court masques, and was talented at playing the patronage game that was an important part of the social and economic life of the era. Those who were purely playwrights fared far less well: the biographies of early figures like George Peele and Robert Greene, and later ones like Brome and Philip Massinger, are marked by financial uncertainty, struggle and poverty.

Playwrights dealt with the natural limitation on their productivity by combining into teams of two, three, four, and even five to generate play texts. The majority of plays written in this era were collaborations, and the solo artists who generally eschewed collaborative efforts, like Jonson and Shakespeare, were the exceptions to the rule. Dividing the work, of course, meant dividing the income; but the arrangement seems to have functioned well enough to have made it worthwhile. Of the 70-plus known works in the canon of Thomas Dekker, roughly 50 are collaborations. In a single year (1598) Dekker worked on 16 collaborations for impresario Philip Henslowe, and earned £30, or a little under 12 shillings per week-roughly twice as much as the average artisan's income of 1 s. per day. At the end of his career, Thomas Heywood would famously claim to have had "an entire hand, or at least a main finger" in the authorship of some 220 plays. A solo artist usually needed months to write a play (though Jonson is said to have done in five weeks); Henslowe's Diary indicates that a team of four or five writers could produce a play in as little as two weeks. Admittedly, though, the Diary also shows that teams of Henslowe's house dramatists- Anthony Munday, Robert Wilson, Richard Hathwaye, Henry Chettle, and the others, even including a young John Webster -could start a project, and accept advances on it, yet fail to produce anything stageworthy.

Short yellow lines indicate 27 years-the average age these authors began their playwrighting careers

Genres of the period included the history play, which depicted English or European history. Shakespeare's plays about the lives of kings, such as Richard III and , belong to this category, as do Christopher Marlowe's and George Peele's Famous Chronicle of King Edward the First. History plays also dealt with more recent events, like A Larum for London which dramatizes the sack of Antwerp in 1576. A better known play, Peele's The Battle of Alcazar (c. 1591), depicts the battle of Alcácer Quibir in 1578.

Tragedy was a very popular genre. Marlowe's tragedies were exceptionally successful, such as and The Jew of Malta. The audiences particularly liked revenge dramas, such as Thomas Kyd's The Spanish Tragedy. The four tragedies considered to be Shakespeare's greatest (, , and ) were composed during this period.

Comedies were common, too. A subgenre developed in this period was the city comedy, which deals satirically with life in London after the fashion of Roman New Comedy. Examples are Thomas Dekker's The Shoemaker's Holiday and Thomas Middleton's A Chaste Maid in Cheapside.

Though marginalised, the older genres like pastoral (The Faithful Shepherdess, 1608), and even the morality play (Four Plays in One, ca. 1608-13) could exert influences. After about 1610, the new hybrid subgenre of the tragicomedy enjoyed an efflorescence, as did the masque throughout the reigns of the first two Stuart kings, James I and Charles I.

Plays on biblical themes were common, Peele's David and Bethsabe being one of the few surviving examples.

Only a minority of the plays of English Renaissance theatre were ever printed. Of Heywood's 220 plays, only about 20 were published in book form. A little over 600 plays were published in the period as a whole, most commonly in individual quarto editions. (Larger collected editions, like those of Shakespeare's, Ben Jonson's, and Beaumont and Fletcher's plays, were a late and limited development.) Through much of the modern era, it was thought that play texts were popular items among Renaissance readers that provided healthy profits for the stationers who printed and sold them. By the turn of the 21st century, the climate of scholarly opinion shifted somewhat on this belief: some contemporary researchers argue that publishing plays was a risky and marginal business-though this conclusion has been disputed by others. Some of the most successful publishers of the English Renaissance, like William Ponsonby or Edward Blount, rarely published plays.

A small number of plays from the era survived not in printed texts but in manuscript form.

The rising Puritan movement was hostile toward theatre, as they felt that "entertainment" was sinful. Politically, playwrights and actors were clients of the monarchy and aristocracy, and most supported the Royalist cause. The Puritan faction, long powerful in London, gained control of the city early in the First English Civil War, and on 2 September 1642, the Long Parliament, pushed by the Parliamentarian party, under Puritan influence, banned the staging of plays in the London theatres though it did not, contrary to what is commonly stated, order the closure, let alone the destruction, of the theatres themselves:

Whereas the distressed Estate of Ireland, steeped in her own Blood, and the distracted Estate of England, threatened with a Cloud of Blood by a Civil War, call for all possible Means to appease and avert the Wrath of God, appearing in these Judgements; among which, Fasting and Prayer, having been often tried to be very effectual, having been lately and are still enjoined; and whereas Public Sports do not well agree with Public Calamities, nor Public Stage-plays with the Seasons of Humiliation, this being an Exercise of sad and pious Solemnity, and the other being Spectacles of Pleasure, too commonly expressing lascivious Mirth and Levity: It is therefore thought fit, and Ordained, by the Lords and Commons in this Parliament assembled, That, while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease, and be forborn, instead of which are recommended to the People of this Land the profitable and seasonable considerations of Repentance, Reconciliation, and Peace with God, which probably may produce outward Peace and Prosperity, and bring again Times of Joy and Gladness to these Nations.

The Act purports the ban to be temporary ("... while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease and be forborn") but does not assign a time limit to it.

Even after 1642, during the English Civil War and the ensuing Interregnum ( English Commonwealth), some English Renaissance theatre continued. For example, short comical plays called drolls were allowed by the authorities, while full-length plays were banned. The theatre buildings were not closed but rather were used for purposes other than staging plays.

The performance of plays remained banned for most of the next eighteen years, becoming allowed again after the Restoration of the monarchy in 1660. The theatres began performing many of the plays of the previous era, though often in adapted forms. New genres of Restoration comedy and spectacle soon evolved, giving English theatre of the later seventeenth century its distinctive character.

English Renaissance playing company timeline

This timeline charts the existence of major English playing companies from 1572 ("Acte for the punishment of Vacabondes", which legally restricted acting to players with a patron of sufficient degree) to 1642 (the closing of the theatres by Parliament). A variety of strolling players, and even early London-based troupes existed before 1572. The situations were often fluid, and much of this history is obscure; this timeline necessarily implies more precision than exists in some cases. The labels down the left indicate the most common names for the companies. The bar segments indicate the specific patron. In the case of children's companies (a distinct legal situation) some founders are noted.

Susan Baskervile, investor and litigant

William Beeston, manager

George Buc, Master of the Revels 1609-1622

Cuthbert Burbage, entrepreneur

James Burbage, entrepreneur

Ralph Crane, scribe

Philip Henslowe, entrepreneur

Henry Herbert, Master of the Revels 1623-1673

Edward Knight, prompter

Francis Langley, entrepreneur

John Rhodes, manager

Edmund Tilney, Master of the Revels 1579-1609

1. A complete roster of what the Elizabethans called "public" theatres would include the ^ Boar's Head Inn (1598), and the Hope Theatre (1613), neither of them major venues for drama in the era.

2. ^ The Blackfriars site was used as a theatre in the 1576-84 period; but it became a regular venue for drama only later.

3. Other "private" theaters of the era included the theatre near ^ St Paul's Cathedral used by the Children of Paul's (1575) and the occasionally used Cockpit-in-Court (1629).

4. ^ E. K. Chambers' The Elizabethan Stage (1923), reflects an earlier interpretation of the identity of the Hieronimo play.

5. For example the ^ King's Revels Children, Children of Paul's, and the Children of the Chapel. Shakespeare even alludes to such companies, with a certain amount of scorn, in Hamlet act 2, scene 2.

6. A few aristocratic women engaged in closet drama or dramatic translations. Chambers lists ^ Elizabeth, Lady Cary; Mary Herbert, Countess of Pembroke; Jane, Lady Lumley; and Elizabeth Tudor.

1. ^ Tucker, Patrick (2002). Secrets of Acting Shakespeare: The Original Approach. Routledge. p. 8.

2. ^ Martin Wiggins, in association with Catherine Richardson, British Drama 1533-1642: A Catalogue (Oxford: Oxford UP, 2012-).

3. McInnis, D., Steggle, M. (2014). "Introduction: Nothing Will Come of Nothing? Or, What can we Learn from Plays that Don't Exist?". In: McInnis, D., Steggle, M. (eds.) ^ Lost Plays in Shakespeare's England. Early Modern Literature in History. Palgrave Macmillan, London. doi:10.1057/9781137403971_1

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English Renaissance theatre, also known as Renaissance English theatre and Elizabethan theatre, refers to the theatre of England between 1558 and 1642. This is the style of the plays of William Shakespeare, Christopher Marlowe and Ben Jonson.

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Elizabethan Theatre, sometimes called English Renaissance theatre, refers to that style of performance plays which blossomed during the reign of Elizabeth I of England (r. 1558-1603) and which continued under her Stuart successors. Elizabethan theatre witnessed the first professional actors who belonged to touring troupes and who performed plays of blank verse with entertaining non-religious themes.

The first purpose-built permanent theatre was established in London in 1576 and others quickly followed so that drama simply to entertain became a booming industry. Theatres showing plays daily led to permanent acting companies which did not have to tour and so could invest more time and money into wowing their audience of both sexes and all social classes. The most celebrated playwright of the period was William Shakespeare (1564-1616) whose works were performed at the famous Globe Theatre in London and covered such diverse themes as history, romance, revenge, murder, comedy and tragedy.

Elizabeth I & the Arts

The Elizabethan age saw a boom in the arts in general but it was the performance arts that perhaps made the most lasting contribution to English and even world culture. The queen was herself an admirer of plays, performances, and spectacles which were frequently held at her royal residences. Elizabeth carefully managed her image as the Virgin Queen who had sacrificed her personal life to better concentrate on the good of her people. Theatre was, therefore, just one of the media she used to project her own glory and that of her family, the Tudors. The queen actively sponsored artists and playwrights.

Naturally, the Elizabethans did not invent theatre as plays have been performed ever since their invention by the ancient Greeks of the 6th century BCE. Medieval England had witnessed the performance of morality plays and mystery plays, there were even dramas performed by actors during religious ceremonies and holidays. There were also Masques, a type of mime where masked performers sang, danced, and recited poetry, wearing extravagant costumes, and stood before painted scenery. Finally, towns across England had long funded public shows, which involved musicians, acrobats, and jesters, and these continued even as theatre became popular.

The Elizabethan period saw these public performers become a professional body of entertainers. The first professional troupes of actors were sponsored by the queen, nobles, and anyone else who had the money for such entertainments. Plays were performed which, perhaps thanks to the English Reformation, were now entirely free from religious themes and not connected to public holidays or religious festivals. Secular plays presented a new challenge, though, and the influence of popular art on politics and public minds was recognised by Elizabeth, who banned performances of unlicensed plays in 1559. In the 1570s, religious play cycles were also banned. The royal control of theatre continued in 1572 when only nobles were permitted to sponsor professional acting troupes. From 1574 all troupes had to be licensed, too.

Even the most popular plays were only performed a handful of times each year as theatres strived to entertain regular theatre-goers.

The move away from divisive religious topics had led writers to explore other themes, and their imaginations knew no bounds. Historical topics were especially popular with the new playwrights in a period when a sense of English nationalism was developing as never before. This combined with a Humanist interest in Greek and Roman antiquity. Royal patronage of theatre would continue during the reign of Elizabeth's successor, James I of England (r. 1603-1625) who funded three professional actor companies (aka playing companies).

Professional Actors & Theatres

The first professionally licensed troupe of actors belonged to Elizabeth's court favourite Robert Dudley, 1st Earl of Leicester (l. c. 1532-1588). Called 'Leicester's Men' they gained their license in 1574 and toured the country's stately homes giving performances. Naturally, actors needed a suitable stage on which to impress and so the first purpose-built theatres soon arrived. In 1576 London received its very first purpose-built and permanent playhouse, founded by James Burbage (c. 1530-1597), himself an actor, and simply known as the Theatre (although there were earlier adapted buildings with temporary scaffolding such as the 1567 Red Lion). Located on Holywell Street in Shoreditch, the Theatre was a wooden enclosed building with no roof in the centre, and it welcomed audiences of both courtiers and commoners. The Theatre was such a success that other theatres were built, starting with the Curtain. Burbage opened a second theatre in London, Blackfriars Theatre, by converting a disused Dominican monastery. There was also the Rose (1587) and the Swan (1595) as the theatre business positively boomed and Elizabeth's encouragement of her nobles to stay at court and have residences at the capital guaranteed a ready audience. Other towns soon followed the fashion and acquired theatres, too; early adopters being Bath, Bristol, Norwich, and York. By the time of the Stuart kings, many theatres were offering a performance of a different play every day, typically in the afternoons, to a knowledgeable audience of men and women expecting to see novel entertainment. Even the most popular plays were only performed a handful of times each year as theatres strived to entertain regular theatre-goers.

Further, as theatres developed so actors and playwrights were freed from the obligations and restrictions that sponsorship by nobles brought. It was the Theatre, though, which was to become world-famous, especially after 1599 when it was relocated to the south bank of the River Thames and given a new name: the Globe Theatre.

The Globe Theatre opened for business in 1599 and was owned by Burbage's sons and some members of the professional acting company known as Chamberlains' Men. One of these investors was William Shakespeare, and he and other actors and playwrights shared half of the profits from the theatre while the other half went to pay secondary actors, musicians, costumes, and maintenance costs. Crucially, then, the establishment of theatres meant that previously travelling actors could now form a more solid financial base which allowed them to produce more plays and give them a much higher production value. Theatre companies could boast twelve or more permanent main actors and a number of bit-part players, boys and apprentices. Also on the staff were musicians, writers, artists, and copyists.

In 1592 William Shakespeare joined Chamberlain's Men & became an important member of the Globe Theatre's Permanent staff.

The Globe Theatre was made of wood, more or less circular in form, and open to the skies in the centre. Rising to a height of 12 metres (40 ft.) and measuring 24 metres (80 ft.) across, inside were three tiers of seating providing a capacity of around 2,000. The theatre got its name from the globe on its roof, which carried the legend in Latin of Shakespeare's famous line 'All the world's a stage.' The Globe's own stage was rectangular, measured some 12 metres in length and was protected by a thatch roof. Around 12 actors could perform on the stage at any one time. Behind the stage was a gallery which could seat more viewers or be used as an important part of the play (e.g. Juliet's balcony in Romeo and Juliet). The audience could be surprised by such technical tricks as lowering actors on wires or having them appear or disappear through a trapdoor in the stage floor.

In the second half of the 17th century, some important developments arrived. Women played women parts (previously boys had done this) and large flat painted scenes, often with perspective incorporated into them, were moved on sliding rails on and off stage. Another change was that now plays had extended runs with the same performance being repeated each day, a development that actors with short memories must have greatly welcomed. The pattern of performance plays was set and would remain in place right up to the present day.

William Shakespeare

William Shakespeare has become one of the most celebrated authors in any language. Born in Stratford-upon-Avon in 1564, it was not until 1592 that William became known in theatre circles. Two years later he joined Chamberlain's Men and then, as mentioned above, became an important member of the Globe Theatre's permanent staff, a position he held throughout his writing career. William produced on average two plays every year, writing 37 in all. The dating of Shakespeare's works is problematic as none have surviving original manuscripts and so historians have looked to their content and other documentary evidence. The plays are usually divided into four groups and illustrate the broad scope of Elizabethan theatre in general. These categories are: comedies, romances, histories, and tragedies. The works, like many plays of the period, combine wordplay and in-joke references to contemporary politics with tales of love, dark deeds of revenge and murder, historical events, historical fiction, and a big dollop of jingoism.

Shakespeare's first play is usually cited as Henry VI Part I, written around 1589. His most popular plays include A Midsummer Night's Dream (c. 1596) which revolves around the wedding of the Greek hero Theseus and the Amazon Hippolyte, Henry V (1599) which includes a fictionalised version of that king's rousing speech at the Battle of Agincourt of 1415, Hamlet (c. 1601) which tells the revenge of the Danish prince of that name against his evil uncle, and (1606), titled after the Scottish king who descends into madness after embarking on a rampage of murder.

Other Playwrights & Actors

Under the Stuart kings, it became fashionable and profitable to print the scripts of plays, even if they were always originally written with performance in mind. Some 800 play scripts survive from the 16th and 17th century, although this is only a small proportion of those produced at the time. After Shakespeare, the next most celebrated Elizabethan playwright is Christopher Marlowe (1564-1593). In 1587 his first play was performed, Tamburlaine the Great. The play was a smash hit and told the epic tale of Timur, the founder of the Timurid Empire in central Asia (1370-1507). Other successes followed such as The Tragedy of Dido, Queen of Carthage but, like many playwrights and poets of the period, Marlowe was prone to drinking bouts, and it was a brawl in a tavern that ended in his death. As Marlowe also worked as a spy for the government, some have speculated that his death was actually an assassination.

The third great playwright of the period was Ben Jonson (1572-1637). Escaping an early career path as an apprentice bricklayer, Jonson's first play, Isle of Dogs (1597), was successful but got him into trouble with the authorities who regarded it as inciting rebellion. After a short term in prison, Jonson soon found himself back in confinement after he killed an actor in an argument. Out for a second time, Jonson concentrated on what he was good at and wrote a string of hit plays, many of which were performed at the Globe Theatre. Jonson's other works included poetry, masques, and a huge body of literary criticism.

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Accomplished actors, of course, made a name for themselves in the new genre. One famous figure was the comic actor Richard Tarlton (d. 1588) who was also a court jester who made Elizabeth I titter until his jokes went too far and ridiculed some of her noble favourites. Multi-talented, Tarlton co-founded the Queen's Men company and wrote many successful plays, his most popular being Seven Deadly Sins (1585). Tarlton's most famous character was a little Chaplinesque: a small man with baggy trousers and carrying a large stick.

Challenges & Legacy

The new theatre was not without its critics. Puritans, who were ever-more prominent in Elizabethan society from the 1590s, objected to such frivolous entertainments as plays. They considered their subject matter - especially plots with vengeance, murder, and romance - unsuitable for commoners and likely to corrupt their minds, much like some modern critics of violent cinema proclaim. In addition, Puritans thought of theatres as wholly undesirable places where only the idle, immoral, and criminal elements of society gathered.

Local residents were often not happy to have a theatre in their neighbourhood because of the noise and low class-associations with such a venue; this was one of the reasons why the Theatre was moved to become the Globe Theatre. Even some business owners deplored the theatres as their employees went to watch the plays which were usually held during the daytime and so working hours. This concern led to petitions being sent to mayors who then lobbied Members of Parliament to restrict the theatre performances. It also explains why the early theatres were built in city suburbs away from the direct jurisdiction of the mayors. Drama was very cheap (starting at 1 penny a ticket, about $1 today) and very popular, though, and so very difficult to repress even when the Puritans gained prominence in the mid-17th century and temporarily closed all places of public meeting from 1642. In 1660, with the return of the monarchists, theatres opened up again and acting companies were immediately reformed.

Another challenge was public health. When a new wave of the Black Death plague hit London in 1592, all theatres were closed for a year. Many mayors sought to avoid public gatherings and even paid acting companies not to perform if a new outbreak of plague was present. Theatres, being wooden structures, were also susceptible to devastating fires. The Globe Theatre, for example, had to be rebuilt in 1614 when a cannon shot fired during a performance for dramatic effect set fire to the thatch roof.

Despite the threats, Elizabethan theatre seems to have quickly established itself as an important and lasting part of England's popular and literary culture. As early as 1623, for example, 36 of William Shakespeare's plays were collected together in print in the First Folio. More editions would be printed throughout the 17th century and a first properly edited collection was published in 1709. Shakespeare continues to be read across the world, of course, and his works continue to interest modern filmmakers. As fellow author Ben Johnson noted in his preface to First Folio, the star of Elizabethan theatre was "not of an age, but for all time" (Wagner, 275).

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Elizabethan theatre, sometimes called English Renaissance theatre, refers to that style of performance plays which blossomed during the reign of Elizabeth I of England (r. 1558-1603) and which continued...

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birthplace:Stratford-upon-Avon, England

birthday:26-4-1564

died:23-4-1616

wife:Anne Hathaway

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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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External links

# data[].attributes.attachment_link.description
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").

# data[].attributes.body
1.iambic pentameter, in poetry, a line of ten syllables arranged in five metrical feet, each syllable consisting of an unstressed syllable followed by a stressed syllable.

2.Iambic pentameter has always been the dominant meter in English poetry.

3.The term "iamb" was originally used in classical poetry as a quantitative measure. The classical term is used to describe the equivalent meter in English stressed syllable poetry. Different languages ​​express rhythm in different ways.

4.In ancient Greek and Latin, rhythm was created by alternating short and long syllables. In English, rhythm is created through the use of alternations between stressed, unstressed and stressed syllables.

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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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External links

# data[].attributes.attachment_link.description
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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1.The Elizabethan Era was the period in English history ruled by Queen Elizabeth I of the Tudor dynasty. Historians often describe it as a golden age in English history.

2.The high culture of the Elizabethan Renaissance found its best expression in the theatre.

3.Elizabethan literature is considered one of the most glorious periods in the history of English literature. In addition to stage plays and dramas, it also saw a flourishing of poetry. This period saw the emergence of new poetic forms such as sonnets, spenserian stanzas, and dramatic blank verse, as well as prose such as historiographies, pamphlets, and the first novels in English.

4.In Elizabethan times, inflation caused by rapid population growth caused about one-third of the people in England to live in poverty, and the rich hoped to help the powerless poor through charity.

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The Elizabethan era is the epoch in the Tudor period of the history of England during the reign of Queen Elizabeth I (1558-1603). Historians often depict it as the golden age in English history. The symbol of Britannia (a female personification of Great Britain) was first used in 1572, and often thereafter, to mark the Elizabethan age as a renaissance that inspired national pride through classical ideals, international expansion, and naval triumph over Spain.

This "golden age" represented the apogee of the English Renaissance and saw the flowering of poetry, music and literature. The era is most famous for its theatre, as William Shakespeare and many others composed plays that broke free of England's past style of theatre. It was an age of exploration and expansion abroad, while back at home, the Protestant Reformation became more acceptable to the people, most certainly after the Spanish Armada was repelled. It was also the end of the period when England was a separate realm before its royal union with Scotland.

The Elizabethan age contrasts sharply with the previous and following reigns. It was a brief period of internal peace between the English Reformation and the religious battles between Protestants and Catholics and then the political battles between parliament and the monarchy that engulfed the remainder of the seventeenth century. The Protestant/Catholic divide was settled, for a time, by the Elizabethan Religious Settlement, and parliament was not yet strong enough to challenge royal absolutism.

England was also well-off compared to the other nations of Europe. The Italian Renaissance had come to an end under the weight of Spanish domination of the Italian Peninsula. The Kingdom of France was embroiled in the French Wars of Religion (1562-1598). They were (temporarily) settled in 1598 by a policy of tolerating Protestantism with the Edict of Nantes. In part because of this, but also because the English had been expelled from their last outposts on the continent by Spain's tercios, the centuries-long Anglo-French Wars were largely suspended for most of Elizabeth's reign.

The one great rival was Habsburg Spain, with whom England clashed both in Europe and the Americas in skirmishes that exploded into the Anglo-Spanish War of 1585-1604. An attempt by Philip II of Spain to invade England with the Spanish Armada in 1588 was famously defeated, but in turn England launched an equally unsuccessful expedition to Spain with the Drake-Norris Expedition of 1589. The war carried on until the signing of the Treaty of London the year following Elizabeth's death.

England during this period had a centralised, well-organised, and effective government, largely a result of the reforms of Henry VII and Henry VIII, as well as Elizabeth's harsh punishments for any dissenters. Economically, the country began to benefit greatly from the new era of trans-Atlantic trade and persistent theft of Spanish treasure.

The term Elizabethan era was already well-established in English and British historical consciousness, long before the accession of the current Queen Elizabeth II, and it remains solely applied to the time of the earlier Queen of this name.

Romance and reality

The Victorian era and the early 20th century idealised the Elizabethan era. The Encyclopædia Britannica maintains that "[T]he long reign of Elizabeth I, 1558-1603, was England's Golden Age... ' Merry England', in love with life, expressed itself in music and literature, in architecture and in adventurous seafaring". This idealising tendency was shared by Britain and an Anglophilic America. In popular culture, the image of those adventurous Elizabethan seafarers was embodied in the films of Errol Flynn.

In response and reaction to this hyperbole, modern historians and biographers have tended to take a more dispassionate view of the Tudor period.

Government

Elizabethan England was not particularly successful in a military sense during the period, but it avoided major defeats and built up a powerful navy. On balance, it can be said that Elizabeth provided the country with a long period of general if not total peace and generally increased prosperity due in large part to stealing from Spanish treasure ships, raiding settlements with low defenses, and selling African slaves. Having inherited a virtually bankrupt state from previous reigns, her frugal policies restored fiscal responsibility. Her fiscal restraint cleared the regime of debt by 1574, and ten years later the Crown enjoyed a surplus of £300,000. Economically, Sir Thomas Gresham's founding of the Royal Exchange (1565), the first stock exchange in England and one of the earliest in Europe, proved to be a development of the first importance, for the economic development of England and soon for the world as a whole. With taxes lower than other European countries of the period, the economy expanded; though the wealth was distributed with wild unevenness, there was clearly more wealth to go around at the end of Elizabeth's reign than at the beginning. This general peace and prosperity allowed the attractive developments that "Golden Age" advocates have stressed.

Plots, intrigues and conspiracies

The Elizabethan Age was also an age of plots and conspiracies, frequently political in nature, and often involving the highest levels of Elizabethan society. High officials in Madrid, Paris and Rome sought to kill Elizabeth, a Protestant, and replace her with Mary, Queen of Scots, a Catholic. That would be a prelude to the religious recovery of England for Catholicism. In 1570, the Ridolfi plot was thwarted. In 1584, the Throckmorton Plot was discovered, after Francis Throckmorton confessed his involvement in a plot to overthrow the Queen and restore the Catholic Church in England. Another major conspiracy was the Babington Plot - the event which most directly led to Mary's execution, the discovery of which involved a double agent, Gilbert Gifford, acting under the direction of Francis Walsingham, the Queen's highly effective spy master.

The Essex Rebellion of 1601 has a dramatic element, as just before the uprising, supporters of the Earl of Essex, among them Charles and Joscelyn Percy (younger brothers of the Earl of Northumberland), paid for a performance of Richard II at the Globe Theatre, apparently with the goal of stirring public ill will towards the monarchy. It was reported at the trial of Essex by Chamberlain's Men actor Augustine Phillips, that the conspirators paid the company forty shillings "above the ordinary" (i. e., above their usual rate) to stage the play, which the players felt was too old and "out of use" to attract a large audience.

In the Bye Plot of 1603, two Catholic priests planned to kidnap King James and hold him in the Tower of London until he agreed to be more tolerant towards Catholics. Most dramatic was the 1605 Gunpowder Plot to blow up the House of Lords during the State Opening of Parliament. It was discovered in time with eight conspirators executed, including Guy Fawkes, who became the iconic evil traitor in English lore.

Royal Navy and defeat of the Armada

While Henry VIII had launched the Royal Navy, Edward and Mary had ignored it and it was little more than a system of coastal defense. Elizabeth made naval strength a high priority. She risked war with Spain by supporting the " Sea Dogs", such as John Hawkins and Francis Drake, who preyed on the Spanish merchant ships carrying gold and silver from the New World. The Navy yards were leaders in technical innovation, and the captains devised new tactics. Parker (1996) argues that the full-rigged ship was one of the greatest technological advances of the century and permanently transformed naval warfare. In 1573 English shipwrights introduced designs, first demonstrated in the "Dreadnaught", that allowed the ships to sail faster and maneuver better and permitted heavier guns. Whereas before warships had tried to grapple with each other so that soldiers could board the enemy ship, now they stood off and fired broadsides that would sink the enemy vessel. When Spain finally decided to invade and conquer England it was a fiasco. Superior English ships and seamanship foiled the invasion and led to the destruction of the Spanish Armada in 1588, marking the high point of Elizabeth's reign. Technically, the Armada failed because Spain's over-complex strategy required coordination between the invasion fleet and the Spanish army on shore. Moreover, the poor design of the Spanish cannons meant they were much slower in reloading in a close-range battle. Spain and France still had stronger fleets, but England was catching up.

Parker has speculated on the dire consequences if the Spanish had landed their invasion army in 1588. He argues that the Spanish army was larger, more experienced, better-equipped, more confident, and had better financing. The English defenses, on the other hand, were thin and outdated; England had too few soldiers and they were at best only partially trained. Spain had chosen England's weakest link and probably could have captured London in a week. Parker adds that a Catholic uprising in the north and in Ireland could have brought total defeat.

Colonising the New World

The discoveries of Christopher Columbus electrified all of western Europe, especially maritime powers like England. King Henry VII commissioned John Cabot to lead a voyage to find a northern route to the Spice Islands of Asia; this began the search for the North West Passage. Cabot sailed in 1497 and reached Newfoundland. He led another voyage to the Americas the following year, but nothing was heard of him or his ships again.

In 1562 Elizabeth sent privateers Hawkins and Drake to seize booty from Spanish and Portuguese ships off the coast of West Africa. When the Anglo-Spanish Wars intensified after 1585, Elizabeth approved further raids against Spanish ports in the Americas and against shipping returning to Europe with treasure. Meanwhile, the influential writers Richard Hakluyt and John Dee were beginning to press for the establishment of England's own overseas empire. Spain was well established in the Americas, while Portugal, in union with Spain from 1580, had an ambitious global empire in Africa, Asia and South America. France was exploring North America. England was stimulated to create its own colonies, with an emphasis on the West Indies rather than in North America.

Martin Frobisher landed at Frobisher Bay on Baffin Island in August 1576; He returned in 1577, claiming it in Queen Elizabeth's name, and in a third voyage tried but failed to found a settlement in Frobisher Bay.

From 1577 to 1580, Sir Francis Drake circumnavigated the globe. Combined with his daring raids against the Spanish and his great victory over them at Cádiz in 1587, he became a famous hero-his exploits are still celebrated-but England did not follow up on his claims. In 1583, Humphrey Gilbert sailed to Newfoundland, taking possession of the harbour of St. John's together with all land within two hundred leagues to the north and south of it.

In 1584, the queen granted Sir Walter Raleigh a charter for the colonisation of Virginia; it was named in her honour. Raleigh and Elizabeth sought both immediate riches and a base for privateers to raid the Spanish treasure fleets. Raleigh sent others to found the Roanoke Colony; it remains a mystery why the settlers all disappeared. In 1600, the queen chartered the East India Company. It established trading posts, which in later centuries evolved into British India, on the coasts of what is now India and Bangladesh. Larger scale colonisation began shortly after Elizabeth's death.

Distinctions

England in this era had some positive aspects that set it apart from contemporaneous continental European societies. Torture was rare, since the English legal system reserved torture only for capital crimes like treason-though forms of corporal punishment, some of them extreme, were practised. The persecution of witches began in 1563, and hundreds were executed, although there was nothing like the frenzy on the Continent. Mary had tried her hand at an aggressive anti-Protestant Inquisition and was hated for it; it was not to be repeated. Nevertheless, more Catholics were persecuted, exiled, and burned alive than under Queen Mary.

Elizabeth managed to moderate and quell the intense religious passions of the time. This was in significant contrast to previous and succeeding eras of marked religious violence.

Elizabeth said "I have no desire to make windows into mens' souls". Her desire to moderate the religious persecutions of previous Tudor reigns - the persecution of Catholics under Edward VI, and of Protestants under Mary I - appears to have had a moderating effect on English society. Elizabeth, Protestant, but undogmatic one, reinstated the 1552 Book of Common Prayer with modifications which made clear that the Church of England believed in the (spiritual) Real Presence of Christ in the Holy Communion but without a definition how in favor of leaving this a mystery, and she had the Black Rubric removed from the Articles of Faith: this had allowed kneeling to receive communion without implying that by doing so it meant the real and essential presence of Christ in the bread and wine: she believed it so. She was not able to get an unmarried clergy or the Protestant Holy Communion celebrated to look like a Mass,. The Apostolic Succession was maintained, the institution of the church continued without a break (with 98% of the clergy remaining at their posts) and the attempt to ban music in church was defeated. The Injunctions of 1571 forbade any doctrines that did not conform to the teaching of the Church Fathers and the Catholic Bishops. The Queen's hostility to strict Calvinistic doctrines blocked the Radicals.

Almost no original theological thought came out of the English Reformation: instead the Church relied on the Catholic Consensus of the first Four Ecumenical Councils. The preservation of many Catholic doctrines and practices was the cuckoos nest that eventually resulted in the formation of the Via Media during the 17th century. She spent the rest of her reign ferociously fending off radical reformers and Roman Catholics who wanted to modify the Settlement of Church affairs: The Church of England was Protestant, "with its peculiar arrested development in Protestant terms, and the ghost which it harboured of an older world of Catholic traditions and devotional practice,"

For a number of years refrained from persecuting Catholics because she was against Catholicism, not her Catholic subjects if they made no trouble. In 1570, Pope Pius V declared Elizabeth a heretic who was not the legitimate queen and that her subjects no longer owed her obedience. The pope sent Jesuits and seminarians to secretly evangelize and support Catholics. After several plots to overthrow her, Catholic clergy were mostly considered to be traitors, and were pursued aggressively in England. Often priests were tortured or executed after capture unless they cooperated with the English authorities. People who publicly supported Catholicism were excluded from the professions; sometimes fined or imprisoned. This was justified on the grounds that Catholics were not persecuted for their religion but punished for being traitors who supported the Queen's Spanish foe; in practice, however, Catholics perceived it as religious persecution and regarded those executed as martyrs.

Science, technology and exploration

Lacking a dominant genius or a formal structure for research (the following century had both Sir Isaac Newton and the Royal Society), the Elizabethan era nonetheless saw significant scientific progress. The astronomers Thomas Digges and Thomas Harriot made important contributions; William Gilbert published his seminal study of magnetism, De Magnete, in 1600. Substantial advancements were made in the fields of cartography and surveying. The eccentric but influential John Dee also merits mention.

Much of this scientific and technological progress related to the practical skill of navigation. English achievements in exploration were noteworthy in the Elizabethan era. Sir Francis Drake circumnavigated the globe between 1577 and 1581, and Martin Frobisher explored the Arctic. The first attempt at English settlement of the eastern seaboard of North America occurred in this era-the abortive colony at Roanoke Island in 1587.

While Elizabethan England is not thought of as an age of technological innovation, some progress did occur. In 1564 Guilliam Boonen came from the Netherlands to be Queen Elizabeth's first coach-builder -thus introducing the new European invention of the spring-suspension coach to England, as a replacement for the litters and carts of an earlier transportation mode. Coaches quickly became as fashionable as sports cars in a later century; social critics, especially Puritan commentators, noted the "diverse great ladies" who rode "up and down the countryside" in their new coaches.

Social history

Historians since the 1960s have explored many facets of the social history, covering every class of the population.

Although home to only a small part of the population the Tudor municipalities were overcrowded and unhygienic. Most towns were unpaved with poor public sanitation. There were no sewers or drains, and rubbish was simply abandoned in the street. Animals such as rats thrived in these conditions. In larger towns and cities, such as London, common diseases arising from lack of sanitation included smallpox, measles, malaria, typhus, diphtheria, Scarlet fever, and chickenpox.

Outbreaks of the Black Death pandemic occurred in 1498, 1535, 1543, 1563, 1589 and 1603. The reason for the speedy spread of the disease was the increase of rats infected by fleas carrying the disease.

Child mortality was low in comparison with earlier and later periods, at about 150 or fewer deaths per 1000 babies. By age 15 a person could expect 40-50 more years of life.

Homes and dwelling

The great majority were tenant farmers who lived in small villages. Their homes were, as in earlier centuries, thatched huts with one or two rooms, although later on during this period, roofs were also tiled. Furniture was basic, with stools being commonplace rather than chairs. The walls of Tudor houses were often made from timber and wattle and daub, or brick; stone and tiles were more common in the wealthier homes. The daub was usually then painted with limewash, making it white, and the wood was painted with black tar to prevent rotting, but not in Tudor times; the Victorians did this afterwards. The bricks were handmade and thinner than modern bricks. The wooden beams were cut by hand, which makes telling the difference between Tudor houses and Tudor-style houses easy, as the original beams are not straight. The upper floors of Tudor houses were often larger than the ground floors, which would create an overhang (or jetty). This would create more floor-surface above while also keeping maximum street width. During the Tudor period, the use of glass when building houses was first used, and became widespread. It was very expensive and difficult to make, so the panes were made small and held together with a lead lattice, in casement windows. People who could not afford glass often used polished horn, cloth or paper. Tudor chimneys were tall, thin, and often decorated with symmetrical patterns of molded or cut brick. Early Tudor houses, and the homes of poorer people, did not have chimneys. The smoke in these cases would be let out through a simple hole in the roof.

Mansions had many chimneys for the many fireplaces required to keep the vast rooms warm. These fires were also the only way of cooking food. Wealthy Tudor homes needed many rooms, where a large number of guests and servants could be accommodated, fed and entertained. Wealth was demonstrated by the extensive use of glass. Windows became the main feature of Tudor mansions, and were often a fashion statement. Mansions were often designed to a symmetrical plan; "E" and "H" shapes were popular.

About one-third of the population lived in poverty, with the wealthy expected to give alms to assist the impotent poor. Tudor law was harsh on the able-bodied poor, i.e., those unable to find work. Those who left their parishes in order to locate work were termed vagabonds and could be subjected to punishments, including whipping and putting at the stocks.

The idea of the workhouse for the able-bodied poor was first suggested in 1576.

There was an unprecedented expansion of education in the Tudor period. Until then, few children went to school. Those that did go were mainly the sons of wealthy or ambitious fathers who could afford to pay the attendance fee. Boys were allowed to go to school and began at the age of 4, they then moved to grammar school when they were 7 years old. Girls were either kept at home by their parents to help with housework or sent out to work to bring money in for the family. They were not sent to school. Boys were educated for work and the girls for marriage and running a household so when they married they could look after the house and children. Wealthy families hired a tutor to teach the boys at home. Many Tudor towns and villages had a parish school where the local vicar taught boys to read and write. Brothers could teach their sisters these skills. At school, pupils were taught English, Latin, Greek, catechism and arithmetic. The pupils practised writing in ink by copying the alphabet and the Lord's Prayer. There were few books, so pupils read from hornbooks instead. These wooden boards had the alphabet, prayers or other writings pinned to them and were covered with a thin layer of transparent cow's horn. There were two types of school in Tudor times: petty school was where young boys were taught to read and write; grammar school was where abler boys were taught English and Latin. It was usual for students to attend six days a week. The school day started at 7:00 am in winter and 6:00 am in summer and finished about 5:00 pm. Petty schools had shorter hours, mostly to allow poorer boys the opportunity to work as well. Schools were harsh and teachers were very strict, often beating pupils who misbehaved.

Education would begin at home, where children were taught the basic etiquette of proper manners and respecting others. It was necessary for boys to attend grammar school, but girls were rarely allowed in any place of education other than petty schools, and then only with a restricted curriculum. Petty schools were for all children aged from 5 to 7 years of age. Only the most wealthy people allowed their daughters to be taught, and only at home. During this time, endowed schooling became available. This meant that even boys of very poor families were able to attend school if they were not needed to work at home, but only in a few localities were funds available to provide support as well as the necessary education scholarship.

Boys from wealthy families were taught at home by a private tutor. When Henry VIII shut the monasteries he closed their schools. He refounded many former monastic schools-they are known as "King's schools" and are found all over England. During the reign of Edward VI many free grammar schools were set up to take in non-fee paying students. There were two universities in Tudor England: Oxford and Cambridge. Some boys went to university at the age of about 14.

England's food supply was plentiful throughout most of the reign; there were no famines. Bad harvests caused distress, but they were usually localized. The most widespread came in 1555-57 and 1596-98. In the towns the price of staples was fixed by law; in hard times the size of the loaf of bread sold by the baker was smaller.

The poor consumed a diet largely of bread, cheese, milk, and beer, with small portions of meat, fish and vegetables, and occasionally some fruit. Potatoes were just arriving at the end of the period, and became increasingly important. The typical poor farmer sold his best products on the market, keeping the cheap food for the family. Stale bread could be used to make bread puddings, and bread crumbs served to thicken soups, stews, and sauces. At a somewhat higher social level families ate an enormous variety of meats, especially beef, mutton, veal, lamb, and pork, as well as chickens, and ducks. The holiday goose was a special treat. Many rural folk and some townspeople tended a small garden which produced vegetables such as asparagus, cucumbers, spinach, lettuce, beans, cabbage, carrots, leeks, and peas, as well as medicinal and flavoring herbs. Some grew their own apricots, grapes, berries, apples, pears, plums, currants, and cherries. Families without a garden could trade with their neighbors to obtain vegetables and fruits at low cost.

England was exposed to new foods (such as the potato imported from South America), and developed new tastes during the era. The more prosperous enjoyed a wide variety of food and drink, including exotic new drinks such as tea, coffee, and chocolate. French and Italian chefs appeared in the country houses and palaces bringing new standards of food preparation and taste. For example, the English developed a taste for acidic foods-such as oranges for the upper class-and started to use vinegar heavily. The gentry paid increasing attention to their gardens, with new fruits, vegetables and herbs; pasta, pastries, and dried mustard balls first appeared on the table. The apricot was a special treat at fancy banquets. Roast beef remained a staple for those who could afford it. The rest ate a great deal of bread and fish. Every class had a taste for beer and rum.

At the rich end of the scale the manor houses and palaces were awash with large, elaborately prepared meals, usually for many people and often accompanied by entertainment. The upper classes often celebrated religious festivals, weddings, alliances and the whims of the king or queen. Feasts were commonly used to commemorate the "procession" of the crowned heads of state in the summer months, when the king or queen would travel through a circuit of other nobles' lands both to avoid the plague season of London, and alleviate the royal coffers, often drained through the winter to provide for the needs of the royal family and court. This would include a few days or even a week of feasting in each noble's home, who depending on his or her production and display of fashion, generosity and entertainment, could have his way made in court and elevate his or her status for months or even years.

Special courses after a feast or dinner which often involved a special room or outdoor gazebo (sometimes known as a folly) with a central table set with dainties of "medicinal" value to help with digestion. These would include wafers, comfits of sugar-spun anise or other spices, jellies and marmalades (a firmer variety than we are used to, these would be more similar to our gelatin jigglers), candied fruits, spiced nuts and other such niceties. These would be eaten while standing and drinking warm, spiced wines (known as hypocras) or other drinks known to aid in digestion. One must remember that sugar in the Middle Ages or Early Modern Period was often considered medicinal, and used heavily in such things. This was not a course of pleasure, though it could be as everything was a treat, but one of healthful eating and abetting the digestive capabilities of the body. It also, of course, allowed those standing to show off their gorgeous new clothes and the holders of the dinner and banquet to show off the wealth of their estate, what with having a special room just for banqueting.

While the Tudor era presents an abundance of material on the women of the nobility-especially royal wives and queens-historians have recovered scant documentation about the average lives of women. There has, however, been extensive statistical analysis of demographic and population data which includes women, especially in their childbearing roles. The role of women in society was, for the historical era, relatively unconstrained; Spanish and Italian visitors to England commented regularly, and sometimes caustically, on the freedom that women enjoyed in England, in contrast to their home cultures. England had more well-educated upper-class women than was common anywhere in Europe.

The Queen's marital status was a major political and diplomatic topic. It also entered into the popular culture. Elizabeth's unmarried status inspired a cult of virginity. In poetry and portraiture, she was depicted as a virgin or a goddess or both, not as a normal woman. Elizabeth made a virtue of her 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". Public tributes to the Virgin by 1578 acted as a coded assertion of opposition to the queen's marriage negotiations with the Duc d'Alençon.

In contrast to her father's emphasis on masculinity and physical prowess, Elizabeth emphasized the maternalism theme, saying often that she was married to her kingdom and subjects. She explained "I keep the good will of all my husbands - my good people - for if they did not rest assured of some special love towards them, they would not readily yield me such good obedience," and promised in 1563 they would never have a more natural mother than she. Coch (1996) argues that her figurative motherhood played a central role in her complex self-representation, shaping and legitimating the personal rule of a divinely appointed female prince.

Over ninety percent of English women (and adults, in general) entered marriage at the end of the 1500s and beginning of the 1600s, at an average age of about 25-26 years for the bride and 27-28 years for the groom, with the most common ages being 25-26 for grooms and 23 for brides. Among the nobility and gentry, the average was around 19-21 for brides and 24-26 for grooms. Many city and townswomen married for the first time in their thirties and forties and it was not unusual for orphaned young women to delay marriage until the late twenties or early thirties to help support their younger siblings, and roughly a quarter of all English brides were pregnant at their weddings.

High culture

With William Shakespeare at his peak, as well as Christopher Marlowe and many other playwrights, actors and theatres constantly busy, the high culture of the Elizabethan Renaissance was best expressed in its theatre. Historical topics were especially popular, not to mention the usual comedies and tragedies.

Travelling musicians were in great demand at Court, in churches, at country houses, and at local festivals. Important composers included William Byrd (1543-1623), John Dowland (1563-1626) Thomas Campion (1567-1620), and Robert Johnson (c. 1583-c. 1634). The composers were commissioned by church and Court, and deployed two main styles, madrigal and ayre. The popular culture showed a strong interest in folk songs and ballads (folk songs that tell a story). It became the fashion in the late 19th century to collect and sing the old songs.

It has often been said that the Renaissance came late to England, in contrast to Italy and the other states of continental Europe; the fine arts in England during the Tudor and Stuart eras were dominated by foreign and imported talent-from Hans Holbein the Younger under Henry VIII to Anthony van Dyck under Charles I. Yet within this general trend, a native school of painting was developing. In Elizabeth's reign, Nicholas Hilliard, the Queen's "limner and goldsmith," is the most widely recognized figure in this native development; but George Gower has begun to attract greater notice and appreciation as knowledge of him and his art and career has improved.

Popular culture

The Annual Summer Fair and other seasonal fairs such as May Day were often bawdy affairs.

Watching plays became very popular during the Tudor period. Most towns sponsored plays enacted in town squares followed by the actors using the courtyards of taverns or inns (referred to as inn-yards) followed by the first theatres (great open-air amphitheatres and then the introduction of indoor theatres called playhouses). This popularity was helped by the rise of great playwrights such as William Shakespeare and Christopher Marlowe using London theatres such as the Globe Theatre. By 1595, 15,000 people a week were watching plays in London. It was during Elizabeth's reign that the first real theatres were built in England. Before theatres were built, actors travelled from town to town and performed in the streets or outside inns.

Miracle plays were local re-enactments of stories from the Bible. They derived from the old custom of mystery plays, in which stories and fables were enacted to teach lessons or educate about life in general. They influenced Shakespeare.

Festivals were popular seasonal entertainments.

There were many different types of Elizabethan sports and entertainment. Animal sports included bear and bull baiting, dog fighting and cock fighting.

The rich enjoyed tennis, fencing, and jousting. Hunting was strictly limited to the upper class. They favoured their packs of dogs and hounds trained to chase foxes, hares and boars. The rich also enjoyed hunting small game and birds with hawks, known as falconry.

Jousting was an upscale, very expensive sport where warriors on horseback raced toward each other in full armor trying to use their lance to knock the other off his horse. It was a violent sport-- King Henry II of France was killed in a tournament in 1559, as were many lesser men. King Henry VIII was a champion; he finally retired from the lists after a hard fall left him unconscious for hours.

Other sports included archery, bowling, hammer-throwing, quarter-staff contests, troco, quoits, skittles, wrestling and mob football.

Gambling and card games

Dice was a popular activity in all social classes. Cards appeared in Spain and Italy about 1370, but they probably came from Egypt. They began to spread throughout Europe and came into England around 1460. By the time of Elizabeth's reign, gambling was a common sport. Cards were not played only by the upper class. Many of the lower classes had access to playing cards. The card suits tended to change over time. The first Italian and Spanish decks had the same suits: Swords, Batons/ Clubs, Cups, and Coins. The suits often changed from country to country. England probably followed the Latin version, initially using cards imported from Spain but later relying on more convenient supplies from France. Most of the decks that have survived use the French Suit: Spades, Hearts, Clubs, and Diamonds. Yet even before Elizabeth had begun to reign, the number of cards had been standardized to 52 cards per deck. The lowest court subject in England was called the "knave." The lowest court card was therefore called the knave until later when the term "Jack" became more common. Popular card games included Maw, One and Thirty, Bone-ace. (These are all games for small group players.) Ruff and Honors was a team game.

Festivals, holidays and celebrations

During the Elizabethan era, people looked forward to holidays because opportunities for leisure were limited, with time away from hard work being restricted to periods after church on Sundays. For the most part, leisure and festivities took place on a public church holy day. Every month had its own holiday, some of which are listed below:

The first Monday after Twelfth Night of January (any time between 7 January and 14 January) was Plough Monday. It celebrated returning to work after the Christmas celebrations and the New Year.

2 February: Candlemas. Although often still very cold, Candlemas was celebrated as the first day of spring. All Christmas decorations were burned on this day, in candlelight and torchlight processions.

14 February: Valentine's Day.

Between 3 March and 9 March: Shrove Tuesday (known as Mardi Gras or Carnival on the Continent). On this day, apprentices were allowed to run amok in the city in mobs, wreaking havoc, because it supposedly cleansed the city of vices before Lent.
The day after Shrove Tuesday was Ash Wednesday, the first day of Lent when all were to abstain from eating and drinking certain things.
24 March: Lady Day or the feast of the Annunciation, the first of the Quarter Days on which rents and salaries were due and payable. It was a legal New Year when courts of law convened after a winter break, and it marked the supposed moment when the Angel Gabriel came to announce to the Virgin Mary that she would bear a child.

1 May: May Day, celebrated as the first day of summer. This was one of the few Celtic festivals with no connection to Christianity and patterned on Beltane. It featured crowning a May Queen, a Green Man and dancing around a maypole.

21 June: Midsummer (Christianized as the feast of John the Baptist) and another Quarter Day.

1 August: Lammastide, or Lammas Day. Traditionally, the first day of August, in which it was customary to bring a loaf of bread to the church.

29 September: Michaelmas. Another Quarter Day. Michaelmas celebrated the beginning of autumn, and Michael the Archangel.

25 October: St. Crispin's Day. Bonfires, revels, and an elected 'King Crispin' were all featured in this celebration. Dramatized by Shakespeare in .
28 October: The Lord Mayor's Show, which still takes place today in London.
31 October: All Hallows Eve or Halloween. The beginning celebration of the days of the dead.

1 November: All Hallows or All Saints' Day, followed by All Souls' Day.

17 November: Accession Day or Queen's Day, the anniversary of Queen Elizabeth's accession to the throne, celebrated with lavish court festivities featuring jousting during her lifetime and as a national holiday for dozens of years after her death.

24 December: The Twelve Days of Christmas started at sundown and lasted until Epiphany on 6 January. Christmas was the last of the Quarter Days for the year.

References

Further reading

Arnold, Janet: Queen Elizabeth's Wardrobe Unlock'd (W S Maney and Son Ltd, Leeds, 1988) ISBN 0-901286-20-6

Ashelford, Jane. The Visual History of Costume: The Sixteenth Century. 1983 edition (ISBN 0-89676-076-6)

Bergeron, David, English Civic Pageantry, 1558-1642 (2003)

Black, J. B. The Reign of Elizabeth: 1558-1603 (2nd ed. 1958) survey by leading scholar online edition

Digby, George Wingfield. Elizabethan Embroidery. New York: Thomas Yoseloff, 1964.

Elton, G.R. Modern Historians on British History 1485-1945: A Critical Bibliography 1945-1969 (1969), annotated guide to history books on every major topic, plus book reviews and major scholarly articles; pp 26-50, 163-97. online

Fritze, Ronald H., ed. Historical Dictionary of Tudor England, 1485-1603 (Greenwood, 1991) 595pp.

Hartley, Dorothy, and Elliot Margaret M. Life and Work of the People of England. A pictorial record from contemporary sources. The Sixteenth Century. (1926).

Hutton, Ronald:The Rise and Fall of Merry England: The Ritual Year, 1400-1700, 2001. ISBN 0-19-285447-X

Morrill, John, ed. The Oxford illustrated history of Tudor & Stuart Britain (1996) online; survey essays by leading scholars; heavily illustrated

Shakespeare's England. An Account of the Life and Manners of his Age (2 vol. 1916); essays by experts on social history and customs vol 1 online

Singman, Jeffrey L. Daily Life in Elizabethan England (1995) online edition

Strong, Roy: The Cult of Elizabeth (The Harvill Press, 1999). ISBN 0-7126-6493-9

Wagner, John A. Historical Dictionary of the Elizabethan World: Britain, Ireland, Europe, and America (1999) online edition

Wilson, Jean. Entertainments for Elizabeth I (Studies in Elizabethan and Renaissance Culture) (2007)

Wright Louis B. Middle-Class Culture in Elizabethan England (1935) online edition

Yates, Frances A. The Occult Philosophy in the Elizabethan Age. London, Routledge & Kegan Paul, 1979.

Yates, Frances A. Theatre of the World. Chicago, University of Chicago Press, 1969.

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The Elizabethan era is the epoch in the Tudor period of the history of England during the reign of Queen Elizabeth I (1558-1603). Historians often depict it as the golden age in English history.

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