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William Shakespeare (baptized on April 26, 1564 - April 23, 1616) was an English playwright, actor and poet who also known as the "Bard of Avon" and often called England's national poet. Shakespeare's works are known throughout the world, but his personal life is shrouded in mystery. Learn more at Biography.com.

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Shakespeare the Actor and Playwright
We know very little about Shakespeare's life during two major spans of time, commonly referred to as the "lost years." The lost years fall into two periods: 1578-82 and 1585-92. The first period covers the time after Shakespeare left grammar school until his marriage to Anne Hathaway in November of 1582. The second period covers the seven years of Shakespeare's life in which he must have been perfecting his dramatic skills and collecting sources for the plots of his plays. "What could such a genius accomplish in this direction during six or eight years? The histories alone must have required unending hours of labor to gather facts for the plots and counter-plots of these stories. When we think of the time he must have spent in reading about the pre-Tudor dynasties, we are at a loss to estimate what a day's work meant to him. Perhaps he was one of those singular geniuses who absorbs books. George Douglas Brown, when discussing Shakespeare, often used to say he knew how to 'pluck the guts' out of a tome" (Neilson 45).

No one knows for certain how Shakespeare first started his career in the theatre, although several London players would visit Stratford regularly, and so, sometime between 1585 and 1592, it is probable that young Shakespeare could have been recruited by the Leicester's or Queen's men. Whether an acting troupe recruited Shakespeare in his hometown or he was forced on his own to travel to London to begin his career, he was nevertheless an established actor in the great city by the end of 1592. In this year came the first reference to Shakespeare in the world of the theatre. The dramatist Robert Greene declared in his death-bed autobiography that "There is an upstart crow, beautified with our feathers, that with his Tygers heart wrapt in a Players 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." After Green's death, his editor, Henry Chettle, publicly apologized to Shakespeare in the Preface to his Kind-Heart's Dream:
About three months since died M. Robert Greene, leaving many papers in sundry booksellers' hands, among other his Groatsworth of Wit, in which a letter written to divers play-makers is offensively by one or two of them taken, and because on the dead they cannot be avenged, they willfully forge in their conceits a living author....With neither of them that take offence was I acquainted, and with one of them I care not if I never be. The other, whom at that time I did not so much spare as since I wish I had, for that, as I have moderated the heat of living writers and might have used my own discretion (especially in such a case, the author being dead), that I did not I am as sorry as if the original fault had been my fault, because myself have seen his demeanor no less civil than he excellent in the quality he professes. Besides, the diver of worship have reported his uprightness of dealing, which argues his honesty, and his facetious grace in writing that approves his art.

Such an apology indicates that Shakespeare was already a respected player in London with influential friends and connections. Records also tell us that several of Shakespeare's plays were popular by this time, including Henry VI, The Comedy of Errors, and Titus Andronicus. The company that staged most of the early productions of these plays was Pembroke's Men, sponsored by the Earl of Pembroke, Henry Herbert. The troupe was very popular and performed regularly at the court of Queen Elizabeth. Most critics conclude that Shakespeare spent time as both a writer and an actor for Pembroke's Men before 1592.

The turning point in Shakespeare's career came in 1593. The theatres had been closed since 1592 due to an outbreak of the plague and, although it is possible that Shakespeare toured the outlying areas of London with acting companies like Pembroke's Men or Lord Strange's Men, it seems more likely that he left the theatre entirely during this time to work on his non-dramatic poetry. The hard work paid off, for by the end of 1593, Shakespeare had caught the attention of the Earl of Southampton.

Southampton became Shakespeare's patron, and on April 18, 1593, Venus and Adonis was entered for publication. Shakespeare had made his formal debut as a poet. The dedication Shakespeare wrote to Southampton at the beginning of the poem is impassioned and telling, "phrased with courtly deference" (Rowse 74):
TO THE RIGHT HONORABLE HENRY WRIOTHESLEY, EARL OF SOUTHAMPTON, AND BARON OF TICHFIELD.
RIGHT HONORABLE,

I KNOW not how I shall offend in dedicating my
unpolished lines to your lordship, nor how the world will
censure me for choosing so strong a prop to support so weak a
burden only, if your honour seem but pleased, I account
myself highly praised, and vow to take advantage of all idle
hours, till I have honoured you with some graver labour. But if
the first heir of my invention prove deformed, I shall be
sorry it had so noble a god-father, and never after ear so
barren a land, for fear it yield me still so bad a harvest.
I leave it to your honourable survey, and your honour to your
heart's content; which I wish may always answer your own wish
and the world's hopeful expectation.

Your honour's in all duty,
WILLIAM SHAKESPEARE.

Although there is no concrete proof that Shakespeare had a long and close friendship with Southampton, most scholars agree that this was the case, based on Shakespeare's writings, particularly the early sonnets.

Shakespeare returned to the theatre in 1594, and became a leading member of the Lord Chamberlain's Men, formally known as Lord Strange's Men. The manuscript accounts of the treasurer of the royal chamber in the public records office tells us the following:
To William Kempe, William Shakespeare, and Richard Burbage, servants to the Lord Chamberlain, upon the council's warrent dated at Whitehall xv die Marcij 1594 for two several comedies or interludes showed by them before her Majesty in Christmas time last past, viz; upon St. Stephan's day and Innocent's day, xiiij li. vj s. viij d. and by way of her Majesty's reward...
This is proof that Shakespeare had performed with the Chamberlain's Men before Elizabeth I on several occasions. As payment for their performance the actors each received 10 pounds. During his time with the Chamberlain's Men Shakespeare wrote many plays, including Romeo and Juliet, Richard II, King John, and Love's Labour's Lost. As G.E. Bentley points out in Shakespeare and the Theatre, Shakespeare had by this time become immersed in his roles as actor and writer. He was "more completely and more continuously involved in theatres and acting companies than any other Elizabethan dramatist. [Shakespeare is] the only one known who not only wrote plays for his company, acted in the plays, and shared the profits, but who was also one of the housekeepers who owned the building. For seventeen years he was one of the owners of the Globe theatre and for eight years he was one of the housekeepers of the company's second theatre, the Blackfriars, as well" (Rowse 128). During the years Shakespeare performed with the Chamberlain's Men, before their purchase of the Globe in 1599, they played primarily at the well-established theatres like the Swan, the Curtain, and the Theatre. The troupe would also give regular performances before Elizabeth I and her court, and tour the surrounding areas of London. Some important events in Shakespeare's personal life also take place during this time period.

The Shakespeares finally received a coat of arms 1596 (see "Shakespeare's Parents" for more information on the coat-of-arms), and on August 11 of the same year, Shakespeare's son, Hamnet, died at the age of eleven. Shakespeare no doubt returned to Stratford for the burial, although we have no documented proof. In 1597, Shakespeare purchased the second largest house in Stratford: New Place. The house stood at the corner of Chapel Lane and Chapel Street, north of the Guild Chapel and right across from the very school he attended in his youth. He bought it from William Underhill for the low price of 60 pounds, and below is the actual deed (translated from the original Latin) transferring New Place from Underhill to Shakespeare on May 4, 1597:
Between William Shakespeare, complainant, and William Underhill, deforciant [wrongful occupier, supposed by the legal fiction on which the fine method of transfer was based to be keeping the complainant out of his rightful property], concerning one dwelling house, two barns, and two gardens with their appurtenances in Stratford-on-Avon, in regard to which a plea of agreement was broached in the same court: Namely, that the said William Underhill acknowledged the said tenements with their appurtenances to be the right of W. Shakespeare as being those which the same William Shakespeare has by gift of the said W. U., and remitted and waived claim to them from himself and his heirs to the said W.S. and his heirs forever....and agreement the same W.S. has given the foresaid W./U. sixty pounds sterling (Brooke 21).
Many theorize that Shakespeare renewed his interest in Stratford only after the death of Hamnet and that, for the many years he was away in London, he neglected his family back home. However, it is just as likely that he made frequent yet unrecorded trips to Stratford while he was trying to find success in London.

How to cite this article:
Mabillard, Amanda.Shakespeare as Actor and Playwright. Shakespeare Online. 12 Nov. 2000. < http://www.shakespeare-online.com/biography/shakespeareactor.html >.

References
Brooke, Tucker. Shakespeare of Stratford. New Haven: Yale UP, 1926.
Neilson, Francis. Shakespeare and the Tempest. New Hampshire: Richard C. Smith Inc., 1956.
Rowse, A.L. Queen Elizabeth: Shakespeare's Patron
King James I of England: Shakespeare's Patron
The Earl of Southampton: Shakespeare's Patron
Going to a Play in Elizabethan London

The Shakespeare Sisterhood - A Gallery
Worst Diseases in Shakespeare's London
Preface to The First Folio

Shakespeare's Pathos - General Introduction
Shakespeare's Portrayal of Childhood
Shakespeare's Portrayal of Old Age
Shakespeare's Attention to Details
Shakespeare's Portrayals of Sleep

Publishing in Elizabethan England
What did Shakespeare drink?
Ben Jonson and the Decline of the Drama
Publishing in Elizabethan England

Alchemy and Astrology in Shakespeare's Day
Entertainment in Elizabethan England
London's First Public Playhouse
Shakespeare Hits the Big Time Shakespeare the Man. London: Macmillan, 1973.

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More Resources

The Ghost in his Own Hamlet
Scholars believe Shakespeare might have played the title role in Edward I (a play by Edward Peele) in 1593. It is also assumed that Shakespeare played many roles in a variety of his own plays, including Macbeth (King Duncan), As You Like It (Adam), Henry IV (King Henry), and Hamlet (the Ghost of Hamlet's father). Nicholas Rowe, Shakespeare's first biographer, mentioned that Shakespeare's role as "the Ghost in his own Hamlet" was "the top of his performance." Read on...

More to Explore
Shakespeare's Ancestry
Shakespeare's Parents
Shakespeare's Birth
Shakespeare's Sibings

Shakespeare's Education
Shakespeare's Lost Years
Shakespeare's Marriage

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A Striking Allusion... Shakespeare's sonnets, a collection of his personal thoughts not intended for publication, help us understand Shakespeare the man. Sonnet 111 reveals Shakespeare's feelings about his role in the public eye:

O, for my sake do you with Fortune chide,
The guilty goddess of my harmful deeds,
That did not better for my life provide
Than public means which public manners breeds.
"The allusions in this Sonnet to Shakespeare's profession as an actor are not to be doubted. To this cause the poet attributes his errors. Poverty, compelling him to gain a livelihood by catering for public entertainment, was the source of his faults and of the scandal which they had occasioned. He would fain, at almost any cost, purify himself from the stain. He deserves to be pitied by his friend, rather than to be blamed." Thomas Tyler. Read on...

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Shakespeare's Children
Shakespeare's Death
Shakespeare's Burial

Was Shakespeare Italian?
How Many Plays Did Shakespeare Write?
What Did Shakespeare Look Like?

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Hamlet and the Players... In Act 2, Scene 2 of Hamlet (lines 312-349), Shakespeare takes his audience out of Denmark briefly, to allude to some pressing matters in Elizabethan London. Many believe that these are Shakespeare's personal feelings about the state of the Elizabethan theatre at the time. Do you think Shakespeare is using Hamlet to voice his own disdain? Read on...

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Shakespeare's Religion
Shakespeare's Contemporaries: Top Five Greatest
Shakespeare's Audience: The Groundlings
Four Periods of Shakespeare's Life

Shakespeare's Language
Words Shakespeare Invented
Shakespeare's Reputation in Elizabethan England

Shakespeare at the Globe
Shakespeare's Impact on Other Writers
Quotations About William Shakespeare
Shakespeare's Boss: The Master of Revels

Daily Life in Shakespeare's London
Life in Stratford (structures and guilds)
Life in Stratford (trades, laws, furniture, hygiene)
Stratford School Days: What Did Shakespeare Read?

Games in Shakespeare's England [A-L]
Games in Shakespeare's England [M-Z]
An Elizabethan Christmas
Clothing in Elizabethan England

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shakespeare's acting troupes globe acting shakespeare thespian stratford acting shakespeare

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We know very little about Shakespeare's life during two major spans of time, commonly referred to as the "lost years." The lost years fall into two periods: 1578-82 and 1585-92. The first period covers the time after Shakespeare left grammar school until his marriage to Anne Hathaway in November of 1582.

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Welcome to Britannica School , a safe, up-to-date, and age-appropriate information resource for Elementary, Middle, and High School.

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The first reference to Shakespeare in the literary world of London comes in 1592, when a fellow dramatist, Robert Greene, declared in a pamphlet written on his deathbed:

There is an upstart crow, beautified with our feathers, that with his Tygers heart wrapt in a Players 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.

What these words mean is difficult to determine, but clearly they are insulting, and clearly Shakespeare is the object of the sarcasms. When the book in which they appear ( Greenes, groats-worth of witte, bought with a million of Repentance, 1592) was published after Greene's death, a mutual acquaintance wrote a preface offering an apology to Shakespeare and testifying to his worth. This preface also indicates that Shakespeare was by then making important friends. For, although the puritanical city of London was generally hostile to the theatre, many of the nobility were good patrons of the drama and friends of the actors. Shakespeare seems to have attracted the attention of the young Henry Wriothesley, the 3rd earl of Southampton, and to this nobleman were dedicated his first published poems, Venus and Adonis and The Rape of Lucrece.

One striking piece of evidence that Shakespeare began to prosper early and tried to retrieve the family's fortunes and establish its gentility is the fact that a coat of arms was granted to John Shakespeare in 1596. Rough drafts of this grant have been preserved in the College of Arms, London, though the final document, which must have been handed to the Shakespeares, has not survived. Almost certainly William himself took the initiative and paid the fees. The coat of arms appears on Shakespeare's monument (constructed before 1623) in the Stratford church. Equally interesting as evidence of Shakespeare's worldly success was his purchase in 1597 of New Place, a large house in Stratford, which he as a boy must have passed every day in walking to school.

How his career in the theatre began is unclear, but from roughly 1594 onward he was an important member of the Lord Chamberlain's company of players (called the King's Men after the accession of James I in 1603). They had the best actor, Richard Burbage; they had the best theatre, the Globe (finished by the autumn of 1599); they had the best dramatist, Shakespeare. It is no wonder that the company prospered. Shakespeare became a full-time professional man of his own theatre, sharing in a cooperative enterprise and intimately concerned with the financial success of the plays he wrote.

Unfortunately, written records give little indication of the way in which Shakespeare's professional life molded his marvelous artistry. All that can be deduced is that for 20 years Shakespeare devoted himself assiduously to his art, writing more than a million words of poetic drama of the highest quality.

Private life

Shakespeare had little contact with officialdom, apart from walking-dressed in the royal livery as a member of the King's Men-at the coronation of King James I in 1604. He continued to look after his financial interests. He bought properties in London and in Stratford. In 1605 he purchased a share (about one-fifth) of the Stratford tithes-a fact that explains why he was eventually buried in the chancel of its parish church. For some time he lodged with a French Huguenot family called Mountjoy, who lived near St. Olave's Church in Cripplegate, London. The records of a lawsuit in May 1612, resulting from a Mountjoy family quarrel, show Shakespeare as giving evidence in a genial way (though unable to remember certain important facts that would have decided the case) and as interesting himself generally in the family's affairs.

No letters written by Shakespeare have survived, but a private letter to him happened to get caught up with some official transactions of the town of Stratford and so has been preserved in the borough archives. It was written by one Richard Quiney and addressed by him from the Bell Inn in Carter Lane, London, whither he had gone from Stratford on business. On one side of the paper is inscribed: "To my loving good friend and countryman, Mr. Wm. Shakespeare, deliver these." Apparently Quiney thought his fellow Stratfordian a person to whom he could apply for the loan of £30-a large sum in Elizabethan times. Nothing further is known about the transaction, but, because so few opportunities of seeing into Shakespeare's private life present themselves, this begging letter becomes a touching document. It is of some interest, moreover, that 18 years later Quiney's son Thomas became the husband of Judith, Shakespeare's second daughter.

Shakespeare's will (made on March 25, 1616) is a long and detailed document. It entailed his quite ample property on the male heirs of his elder daughter, Susanna. (Both his daughters were then married, one to the aforementioned Thomas Quiney and the other to John Hall, a respected physician of Stratford.) As an afterthought, he bequeathed his "second-best bed" to his wife; no one can be certain what this notorious legacy means. The testator's signatures to the will are apparently in a shaky hand. Perhaps Shakespeare was already ill. He died on April 23, 1616. No name was inscribed on his gravestone in the chancel of the parish church of Stratford-upon-Avon. Instead these lines, possibly his own, appeared:

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

John Russell Brown Terence John Bew Spencer The Editors of Encyclopaedia Britannica

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William Shakespeare - Upstart Crow, Lord Chamberlain's Company, and the Richard Quiney Letter

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The first reference to Shakespeare in the literary world of London comes in 1592, when a fellow dramatist, Robert Greene, declared in a pamphlet written on his deathbed: What these words mean is difficult to determine, but clearly they are insulting, and clearly Shakespeare is the object of the sarcasms. When the book in which they appear (Greenes, groats-worth of witte, bought with a million of Repentance, 1592) was published after Greene's death, a mutual acquaintance wrote a preface offering an apology to Shakespeare and testifying to his worth.

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By Maeve Maddox - 3 minute read

Shakespeare (1564-1616) wrote during the Renaissance, a time when the English language was being inundated with new words. Based on a count from the OED, between 10,000 and 12,000 new words were added to English during the 16th century. About half have found a permanent place in the language.

The majority of the new words came from Latin and were used by educated people who wrote books. They jumped quickly from the printed page into everyday speech-presumably by way of such popular entertainments as plays and sermons.

The character of Sir Andrew Aguecheek in Twelfth Night may reflect the eagerness of non-scholars to learn new words:

VIOLA [to Olivia]
Most excellent accomplished lady, the heavens rain odours on you!

SIR ANDREW [aside]
That youth's a rare courtier: 'Rain odours;' well.

VIOLA
My matter hath no voice, to your own most pregnant and vouchsafed ear.

SIR ANDREW
'Odours,' 'pregnant' and 'vouchsafed:' I'll get 'em all three all ready.

Except for a professional translator like Philemon Holland (1552-1637), Shakespeare used the largest vocabulary of any English writer. Some of the words he used in his plays are documented only a year or two before his use of them: exist, initiate, and jovial, for example.

It's impossible to say how many words Shakespeare coined, but his works provide the first documentation for words including accommodation, apostrophe, assassination, dexterously, dislocate, frugal, indistinguishable, misanthrope, obscene, pedant, premeditated, reliance, and submerged.

He makes fun of some of the new words going round by putting them in the mouths of pompous clowns like Holofernes in Love's Labour's Lost:

HOLOFERNES
The deer was, as you know, sanguis, in blood; ripe
as the pomewater, who now hangeth like a jewel in
the ear of caelo, the sky, the welkin, the heaven;
and anon falleth like a crab on the face of terra,
the soil, the land, the earth.

SIR NATHANIEL
Truly, Master Holofernes, the epithets are sweetly
varied, like a scholar at the least: but, sir, I
assure ye, it was a buck of the first head.
...
HOLOFERNES
Most barbarous intimation! yet a kind of
insinuation, as it were, in via, in way, of
explication; facere, as it were, replication, or
rather, ostentare, to show, as it were, his
inclination, after his undressed, unpolished,
uneducated, unpruned, untrained, or rather,
unlettered, or ratherest, unconfirmed fashion, to
insert again my haud credo for a deer.

"Shakespearean" words we still use are agile, allurement, antipathy, catastrophe, critical, demonstrate, dire, emphasis, emulate, extract, hereditary, horrid, impertinent, meditate, modest, pathetic, prodigious, vast, barricade, cavalier, mutiny, and pell-mell.

The meanings of many of these words have changed since the 16th century. For example, we use communicate to mean "exchange information." When Shakespeare uses it in Comedy of Errors, it still had the Latin meaning of "to share or make common to many."

In Merchant of Venice, Lorenzo uses expect (from Latin expectare, "to await) in the sense of "to wait for":

...let's in and there expect their coming.

The word humorous has been used in English with various senses before coming to mean "comical or funny," including the meanings damp, capricious, moody, and peevish.

Five of the words that Shakespeare made fun in the speech of Holofernes ( intimation, insinuation, explication, replication, and inclination) caught on and survived into modern usage.

Some of the same educators who are willing to drop the study of Shakespeare from the general curriculum probably complain about a decline in vocabulary in today's high school graduates. There may be no connection, but the fact remains that the close study of even one of Shakespeare's plays will yield a significant jump in vocabulary for the serious reader.

Sources:
A History of the English Language, Alfred C. Baugh
The Complete Works of Shakespeare, The Literature Network
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By Maeve Maddox - 3 minute read Shakespeare (1564-1616) wrote during the Renaissance, a time when the English language was being inundated with new words. Based on a count from the OED, between 10,000 and 12,000 new words were added to English during the 16th century.

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

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

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

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

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

Shakespeare's Peers: English Renaissance Playwrights

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

A Very Shakespeare Christmas

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

British History Online

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

Description Of Elizabethan England, 1577

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

Elizabeth I: An Overview

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

Elizabeth I and Elizabethan life in England

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

Elizabethan Era History

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

The Elizabethan's Hornbook

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

The Elizabethan People

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

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

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

The Royal Encyclopædia: Elizabeth I

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

Sixteenth Century Renaissance English Literature: Background Information

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

St. Ives Historical Society

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

Tudor England

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

United Kingdom National Archives

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

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

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Visit this site dedicated to providing information about the facts, history and people of the Elizabethan England.Fast and accurate facts about the Elizabethan England.Learn about the history and lives of people during the Elizabethan England.