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NOTE: This list (including some of the errors I originally made) is found in several other places online. That's fine, but I've asked that folks who want this on their own sites mention that I am the original compiler.

For many English-speakers, the following phrases are familiar enough to be considered common expressions, proverbs, and/or clichés. All of them originated with or were popularized by Shakespeare.

I compiled these from multiple sources online in 2003. Each of these words and compounds supposedly is not known to have appeared in print prior to the publication of Shakespeare's works. For this reason, people claim that Shakespeare invented these words.

How many of these are true coinages by "the Bard", and how many are simply the earliest written attestations of a word or words already in use, I can't tell you. The ones that seem real are new forms of words already in the language. Words like "advertising", "assassination", "bedazzled", "consanguineous", "dishearten", "enmesh", "eventful", "eyesore", "lackluster", "moonbeam", outbreak", "quarrelsome", "radiance", "reclusive", "seamy-side", "stealthy", "submerge", "time-honored", "undervalued", "unmitigated", "unreal", "well-read", "watchdog", and "whirligig" would have been meaningful to the audience.

A few words are first attested in Shakespeare and seem to have caused extra problems for the typesetters. This suggests they are really coined by Shakespeare. One example is "denote".

The popular book Coined by Shakespeare acknowledges that it is presenting first attestations rather than certain inventions. For example, "alligator" appeared for the first time in print as an English word in "Romeo and Juliet", but it has Spanish antecedents, and only the terminal "-r" seems to be new with Shakespeare. "Puke" appears as a vulgar term for vomiting in the near-contemporary "Duchess of Malfi", and it seems well-known; so Shakespeare's use in "As You Like It" seems more likely just a first attestation. The region of Dalmatia is as old as the Roman Empire, and obviously Shakespeare did not coin the adjectival form.

Words like "anchovy", "bandit", and "zany" are just first attestations of loan-words. By contrast, in "Troilus and Cressida", Shakespeare seems to have been having fun introducing new forms of old words, even though "orgulous" and "deracinate" never did catch on.

Right now I'm in the process of referencing these. I would like to hear from anyone who knows for certain about any item on this page.

I stand corrected; one of my sources misattributed "fool's paradise" to Romeo and Juliet though it appears in Tyndale's Bible and probably earlier.

abstemious (The Tempest -- a Latin word that meant "to abstain from alcoholic drink" was generalized to sexual behavior as well)

academe (Love's Labour's Lost; this is just an English form of "Academy", the Greek for Plato's grove)

accommodation (Othello)

accused (n.) (Richard II -- first known use as a noun, meaning person accused of a crime)

addiction (Henry V / Othello)

admirable (several; seems unlikely)

advertising (adj.)(Measure for Measure; in context, means "being attentive"; the noun was already in use)

aerial (Othello)

alligator (Romeo and Juliet; Spanish "aligarto" was already in use in English)

amazement (13 instances; first known use as a noun)

anchovy (I Henry IV; first attestation in English of the Spanish word for dried edible fish)

apostrophe ("apostrophas")(Love's Labour's Lost; seems to be a well-known word already)

arch-villain (Measure for Measure / Timon of Athens)

to arouse (2 Henry VI / Hamlet; "rouse" was the usual form)

assassination (Macbeth; "assassin" was already in use and derives from "hashish eater")

auspicious (several; "auspice" was a Roman practice of fortune-telling by bird flight)

bachelorship (I Henry VI)

backing (I Henry VI; this is just a pun on a known word)

bandit (II Henry VI, actually "bandetto", the first attestation in English of a familiar Italian word for people "banned", i.e., outlaws)

barefaced (in the sense of "barefaced power") (Macbeth)

baseless (in the sense of fantasy without grounding in fact) (The Tempest)

beached (several, merely means "possessing a beach")

bedazzled (The Taming of the Shrew)

bedroom (A Midsummer Night's Dream, merely means a place to sleep on the ground)

belongings (Measure for Measure)

to besmirch (Henry V)

birthplace (Coriolanus; first attestation)

to blanket (King Lear; first use as a verb)

bloodstained (I Henry IV)

blusterer (A Lover's Complaint)

bold-faced (I Henry VI)

bottled (Richard III)

bump (Romeo and Juliet; first attestation of onomopoeic word)

buzzer (Hamlet; means gossipper)

to cake (Timon of Athens, first attestation as a verb)

to castigate (Timon of Athens)

to cater (As You Like It; from coetous, a buyer of provisions)

clangor (3 Henry VI / 2 Henry IV)

to champion (Macbeth; first attestation as a verb, and in an older sense of "to challenge"; though the noun was familiar as someone who would fight for another)

circumstantial (As You Like It / Cymbeline; first attestation in the sense of "indirect")

cold-blooded (King John; first use to mean "lack of emotion")

coldhearted (Antony and Cleopatra)

compact (several; seems to have been a common word)

to comply (Othello)

to compromise (The Merchant of Venice, several of the histories; seems to have been already in use)

to cow (Macbeth; first use in English of a Scandinavian verb)

consanguineous (Twelfth Night; "consanguinity" was already in use)

control (n.) (Twelfth Night)

countless (Titus Andronicus / Pericles)

courtship (several, seems unikely)

critic (Love's Labour's Lost; Latin term)

critical (not in today's sense) (Othello, A Midsummer Night's Dream)

cruelhearted (The Two Gentlemen of Verona)

Dalmatians (Cymbeline)

dauntless (Macbeth)

dawn (I Henry IV, King John; first use as a noun, the standard had been "dawning")

day's work (several, must have been a common expression)

deafening (II Henry IV; in the sense of a noise that is loud but does not produce real deafness)

to denote (several; already a word in Latin)

depository (???)

discontent (Richard III / Titus Andronicus; the verb was in use but this is the first attestation as a noun)

design (several, seems unlikely)

dexterously (Twelfth Night)

dialogue (several, seems already familiar)

disgraceful (I Henry VI; means "not graceful")

dishearten (Henry V)

to dislocate (King Lear, refers to anatomy)

distasteful (Timon of Athens)

distracted (Hamlet / Measure for Measure; seems possible)

divest (Henry V / King Lear; probably already in use as referring to a royal title)

domineering (Love's Labour's Lost; from a Dutch word)

downstairs (I Henry IV, supposedly first use as an adjective)

droplet (Timon of Athens)

to drug (Macbeth; first use as a verb)

to dwindle (I Henry IV / Macbeth, seems already familiar as a term for body wasting)

to educate (Love's Labour's Lost)

to elbow (King Lear; first use as a verb)

embrace (I Henry VI; first use as a noun)

employer (Much Ado about Nothing)

employment (several, obviously familiar)

engagement (several, seems simply the first attestation)

to enmesh (Othello)

to ensnare (Othello)

enrapt (Troilus and Cressida)

enthroned (Antony and Cleopatra)

epileptic (King Lear; first use as an adjective, though the noun was old)

equivocal (Othello / All's Well that Ends Well; first use as adjective, though the verb "to equivocate" was familiar)

eventful (As You Like It)

excitement (Hamlet / Troilus and Cressida; both times as plural; first use as a noun)

expedience (several, supposedly first use as noun)

exposure (several, supposedly first use as noun)

eyeball (The Tempest)

eyedrops (II Henry IV; means "tears")

eyesore (The Taming of the Shrew)

fanged (Hamlet, first attestation)

farmhouse (The Merry Wives of Windsor; first known use of the compound)

far-off (several, seems already familiar)

fashionable (Timon of Athens / Troilus and Cressida)

fathomless (not today's sense) (Troilus and Cressida)

fitful (Macbeth)

fixture (not current sense) (Merry Wives of Windsor / Winter's Tale)

flawed (King Lear; first use as an adjective)

flowery (A Midsummer Night's Dream)

foppish (King Lear)

fortune-teller (The Comedy of Errors)

to forward (I Henry IV; first use as a verb)

foul-mouthed (several, seems already familiar)

freezing (Cymbeline)

frugal (several; "frugality" was already in common use)

full-grown (Pericles)

gallantry (Troilus and Cressida)

generous (several, obviously already known)

gloomy (several, "to gloom" was a verb)

glow (several; the word had originally meant red-and-warm)

gnarled (Measure for Measure; alteration of knurled which was a standard word for bumpy)

go-between (several, seems familiar)

to gossip (The Comedy of Errors; first use as a verb; "gossip" was one's familiar friends)

gust (III Henry VI, seems already familiar and was an Old Norse word)

half-blooded (King Lear)

hint (Othello, first use in today's sense)

hob-nails (I Henry IV, alleged; seems already familiar)

hobnob (Twelfth Night; older term was "hab, nab", and not in today's sense)

homely (several, seems already familiar)

honey-tongued (Love's Labour's Lost)

hoodwinked (already known from falconry)

hostile (several, seems like a word that is already familiar)

hot-blooded (The Merry Wives of Windsor / King Lear)

housekeeping (The Taming of the Shrew; seems unlikely)

howl (several, clearly familiar)

to humor (Love's Labour's Lost, first attestation as a verb)

hunchbacked (can't find)

to hurry (Comedy of Errors, first attestation as verb)

ill-tempered (can't find)

immediacy (King Lear, first use as noun)

impartial (2 Henry IV)

to impede (Macbeth, first use as verb, though "impediment" was already widely used)

import (several, and not used in the modern sense)

immediacy (King Lear, first attestation as a noun)

importantly (Cymbeline, first attestation as an adverb)

inaudible (All's Well that Ends Well; "audible" was already in use)

inauspicious (Romeo and Juliet)

indistinguishable (not in today's sense)(Troilus and Cressida)

inducement (several, seems unlikely)

investment (II Henry IV, not in present sense)

invitation (The Merry Wives of Windsor; signifies "flirting")

invulnerable King John / Hamlet / The Tempest; first attestation for the negative; Coriolanus has unvulnerable)

jaded (several, seems already a term of contempt)

Judgement Day (I Henry VI; usual term had been "Day of Judgement")

juiced (Merry Wives of Windsor; first attestation as an adjective)

kissing (several, first attestation of the participle, though surely not its first use)

lackluster (As You Like It)

ladybird (Romeo and Juliet)

to lament (several, seems already familiare)

to lapse (several, first attestation as a verb, though already familiar as a noun)

to launder (first use as a verb; "laundress" was in common use)

laughable (The Merchant of Venice)

leaky (Antony and Cleopatra / The Tempest)

leapfrog (Henry V; first attestation but seems unlikely as a coinage)

lonely (several, seems unlikely)

long-legged (can't find)

love letter (can't find)

to lower (several, seems already known)

luggage (first use as noun)

lustrous (Twelfth Night / All's Well that Ends Well)

madcap (several, attestation as adjective; the noun had become popular just before)

majestic (several, first use as adjective)

majestically (I Henry IV; first attestation as adverb)

malignancy (Twelfth Night, seems possible)

manager (Love's Labour's Lost / Midsummer Night's Dream; first attestation as noun)

marketable (As You Like It; first use as adjective)

militarist (All's Well that Ends Well)

mimic (Midsummer Night's Dream)

misgiving (Julius Caesar; first use as noun, though "to misgive" was in common use)

misplaced (several, seems unlikely)

to misquote (1 Henry IV; not in the present sense)

money's worth (Love's Labours Lost)

monumental (several, seems unlikely)

moonbeam (A Midsummer Night's Dream)

mortifying (Merchant of Venice / Much Ado About Nothing)

motionless (Henry V)

mountaineer (Cymbeline; the sense is "hillbilly")

multitudinous (Macbeth)

neglect (several, obviously already known)

to negotiate (Much Ado about Nothing / Twelfth Night; verb from the Latin)

new-fallen (Venus and Adonis / I Henry IV)

new-fangled (Love's Labour's Lost / As You Like It)

nimble-footed (several, seems already a familiar expression)

noiseless (King Lear / All's Well that Ends Well)

to numb (King Lear, first attestation as a transitive verb)

obscene (several; straight from Latin)

obsequiously (first use of the adverb; comes from "obsequies", or funeral rites)

outbreak (Hamlet, first attestation as a noun)

to outdare (I Henry IV)

to outgrow (can't find)

to outweigh (can't find)

over-cool (II Henry IV)

overgrowth (can't find)

over-ripened (II Henry VI ;first-use of the familiar compound)

over-weathered The Merchant of Venice)

overview (can't find)

pageantry (Pericles Prince of Tyre)

pale-faced (A Midsummer Night's Dream)

to pander (several; was already a proverb)

pedant (several, seems already in common use for a stuffy teacher)

perplex (King John / Cymbeline)

perusal (Sonnets / Hamlet; first use as a noun)

to petition (Antony and Cleopatra / Coriolanus; first use as a verb)

pious (several, seems very unlikely)

posture (several, seems known)

premeditated (several; first attestation of the adjective, though the noun was in use)

priceless (???)

Promethean (Othello / Love's Labour's Lost)

protester (not today's sense) (Julius Caesar)

published (2 Henry VI)

puking (As You Like It)

puppy-dog (King John / Henry V)

on purpose (several; seems very unlikely)

quarrelsome (As You Like It / Taming of the Shrew)

questing (As You Like It; first use of the gerund)

in question (several, seems already in use)

radiance (several; first use as noun)

to rant (The Merry Wives of Windsor / Hamlet; loan-word from Dutch or previously-unattested English word?)

rancorous (2 Henry VI, Comedy of Errors, Richard III, all early plays, seems unlikely)

raw-boned (I Henry VI)

reclusive (Much Ado about Nothing; first use as adjective)

reinforcement (Troilus and Cressida / Coriolanus; seems already in use)

reliance (???)

remorseless (several, first attestation of this form)

reprieve (several, obviously already in use)

resolve (several, obviously already in use)

restoration (King Lear)

restraint (several, seems already familiar)

retirement (II Henry IV; refers to military retreat; first use as noun)

revolting (several, obviously already familiar)

to rival (King Lear; first attestation as verb; noun was well-known)

rival (Midsummer Night's Dream; first attestation as adjective, noun was well-known)

roadway (II Henry IV; first attestation of the compound)

rumination (As You Like It; first use as noun)

sacrificial (Timon of Athens; not today's usage)

sanctimonious (Measure for Measure / Tempest)

satisfying (Othello / Cymbeline)

savage (several; the word was obviously already in use)

savagery (King John / Henry V; first use as this form)

schoolboy (Julius Caesar / Much Ado about Nothing)

scrubbed (The Merchant of Venice)

scuffle (Antony and Cleopatra; first use as noun, though the verb was familiar)

seamy-side (Othello)

to secure (II Henry VI; first use as a verb; the adjective was well-known)

shipwrecked (Pericles Prince of Tyre, seems unlikely)

shooting star (Richard II; first known use of the phrase)

shudder (Timon of Athens; first use as a noun; verb already well-known)

silk (alleged; obviously not Shakespeare's)

stocking (obviously not Shakespeare's)

silliness (Othello)

skim milk (I Henry IV; first use of the familiar term)

to sneak (Measure for Measure; supposed first use of the verb)

soft-hearted (2 Henry VI / 3 Henry VI; first use of the familiar phrase)

spectacled (Coriolanus; not in today's sense)

splitting (II Henry VI; first use as adjective)

sportive (Richard III / Comedy of Errors / All's Well that Ends Well; supposed first use)

to squabble (Othello; supposed first use, as with "to swagger")

stealthy (Macbeth; first use as adjective)

stillborn (can't find, obviously not Shakespeare's)

to submerge (Antony and Cleopatra)

successful (Titus Andronicus, seems dubious)

suffocating (Othello; supposed first use as a descriptor)

to sully (I Henry VI)

superscript (Love's Labour's Lost)

to supervise (Love's Labour's Lost; also Hamlet but not in today's sense)

to swagger (II Henry IV, others; in context this seems to be already a well-known word)

switch (first use to mean "twig")

tardily (All's Well that Ends Well; first use of adverb)

tardiness (King Lear; "tardy" as adjective was well-known)

threateningly (All's Well that Ends Well; first use of the adverb)

tightly (The Merry Wives of Windsor; first use as an adverb)

time-honored (Richard II)

title page (can't find; seems unlikely)

to torture (several; first use as a verb)

traditional (Richard III; first use as adjective)

tranquil (Othello; "tranquility" was an old word)

transcendence (All's Well that Ends Well; first attestation of the noun)

tongue-tied (III Henry VI / Julius Caesar / Troilus and Cressida; seems first attestation of a phrase already in use)

unaccommodated (King Lear)

unaware (Venus and Adonis; first use as an adverb; the adjective was not yet in use)

to unclog (Coriolanus, first use as a negative)

unappeased (Titus Andronicus)

unchanging (The Merchant of Venice)

unclaimed (As You Like It; not in today's sense)

uncomfortable (Romeo and Juliet)

to uncurl (???)

to undervalue (The Merchant of Venice)

to undress (The Taming of the Shrew; seems unlikely)

unearthly (Winter's Tale)

uneducated (Love's Labour's Lost, seems possible)

ungoverned (Richard III / King Lear)

to unhand (Hamlet)

unmitigated (Much Ado about Nothing)

unpublished (King Lear; in the sense of "still unknown")

unreal (Macbeth, first use of the negative)

unsolicited (Titus Andronicus / Henry VIII; supposed first use of the form)

unswayed (Richard III; not in today's sense, but "is the sword unswung?")

unwillingness (Richard III / Richard II)

upstairs (I Henry IV; supposedly first use as an adjective)

urging (Richard III / Comedy of Errors; first attestation as a noun

useful (several, seems already familiar)

varied (Love's Labour's Lost, others)

vastly (Rape of Lucrece, not present sense)

viewless (Measure for Measure; means "invisible")

vulnerable (Macbeth; used in today's sense)

watchdog (The Tempest; first use of the phrase)

well-behaved (The Merry Wives of Windsor; first known use of the compound)

well-bred (II Henry IV; first use of the familiar compound)

well-read (I Henry IV)

whirligig (Twelfth Night)

to widen (???)

widowed (Sonnet 97 / Coriolanus; first use as an adjective)

worn out (Romeo and Juliet / 2 Henry IV; seems unlikely)

worthless (III Henry VI, several others; seems just a first attestation)

yelping (I Henry VI; first attestation of this adjectival form)

zany (Love's Labour Lost; simply a loan-word from Italian commedia dell'arte)

Click here for some words which Shakespeare evidently coined but which did NOT pass into common use. They include "affined", "to articulate" (in the sense of "to negotiate"), "attasked", "cadent" (in the sense of "dripping"), "to beetle", "bubukles", "co-marts", "co-mates", "congreeing", "conspectuities", "crants" (a borrowing for "flower crowns"), "credent", "dispunge", "enactures", "to force" (meaning "to reinforce"), "fracted", "to friend" (thanks to social media, now a mainstream word again! -- there ar earlier attestations), "germins", "immediacy" (meaning immediate authority from), "immoment", "impair" (adjective for impure), "incarnadine", "incorpsed" (incorporated), "indigest" (disordered), "intrenchant" (incapable of being cut), "irregulous", "jointing", "mered", "mirable", "mistempered", "operant", "oppugnancy", "palmy", "out-crafted", "out-villained", "out-tongued", "plantage", "primogenitive", "primy", "propugnation", "relume", "reprobance", "rigol", "rooky", "roted", "rubious", "smilets", "to stell", "stellèd", "supplyment", "unsisting", and "virgined" (held securely).

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NOTE: This list (including some of the errors I originally made) is found in several other places online. That's fine, but I've asked that folks who want this on their own sites mention that I am the original compiler. For many English-speakers, the following phrases are familiar enough to be considered common expressions, proverbs, and/or clichés.

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10 WORDS SHAKESPEARE INVENTED (Now You Know #6)

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What is the difference between a comedy and a tragedy? | eNotes

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Get an answer for 'What is the difference between a comedy and a tragedy?' and find homework help for other Literature questions at eNotes

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Phrases made by Shakespeare

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April 23rd is generally considered to be a good day to celebrate the birth of England's greatest poet and playwright, William Shakespeare. This is partly because there are no records of his birth-although he was baptized on April 26-and partly because he died on April 23 (and April 23 is St. George's day, patron saint of England), so there is a pleasing, almost poetic symmetry about the way the dates line up.

Today is the 450th anniversary of the day Shakespeare was (possibly) born, and in tribute to his astonishing contribution to the English language, it's time to for a challenge. One that will suit all comers, faint-hearted (1) or not.

Below there are 45 common expressions that were either coined by Shakespeare or popularized by him (at this vertiginous historical remove, it's hard to be certain what was created and what was pinched from his immediate surroundings). All you have to do, if you truly love the Bard, is work just five of them into your everyday conversations throughout this live-long day (2).

That's all, just five and then you'll be fancy free (3). And because brevity is the soul of wit (4), we've stuck to the short ones.

The game is afoot (5! See? Easy.):

"All our yesterdays"- ( Macbeth)

"As good luck would have it" - ( The Merry Wives of Windsor)

"As merry as the day is long" - ( Much Ado About Nothing / King John)

"Bated breath" - ( The Merchant of Venice)

"Be-all and the end-all" - ( Macbeth)

"Neither a borrower nor a lender be" - ( Hamlet)

"Brave new world" - ( The Tempest)

"Break the ice" - ( The Taming of the Shrew)

"Brevity is the soul of wit" - ( Hamlet)

"Refuse to budge an inch" - ( Measure for Measure / The Taming of the Shrew)

"Cold comfort" - ( The Taming of the Shrew / King John)

"Conscience does make cowards of us all" - ( Hamlet)

"Crack of doom" - ( Macbeth)

"Dead as a doornail" - ( Henry VI Part II)

"A dish fit for the gods" - ( Julius Caesar)

"Cry havoc and let slip the dogs of war" - ( Julius Caesar)

"Devil incarnate" - ( Titus Andronicus / Henry V)

"Eaten me out of house and home" - ( Henry IV Part II)

"Faint hearted" - ( Henry VI Part I)

"Fancy-free" - ( A Midsummer Night's Dream)

"Forever and a day" - ( As You Like It)

"For goodness' sake" - ( Henry VIII)

"Foregone conclusion" - ( Othello)

"Full circle" - ( King Lear)

"The game is afoot" - ( Henry IV Part I)

"Give the devil his due" - ( Henry IV Part I)

"Good riddance" - ( Troilus and Cressida)

"Jealousy is the green-eyed monster" - ( Othello)

"Heart of gold" - ( Henry V)

"Hoist with his own petard" - ( Hamlet)

"Ill wind which blows no man to good" - ( Henry IV Part II)

"In my heart of hearts" - ( Hamlet)

"In my mind's eye" - ( Hamlet)

"Kill with kindness" - ( The Taming of the Shrew)

"Knock knock! Who's there?" - ( Macbeth)

"Laughing stock" - ( The Merry Wives of Windsor)

"Live long day" - ( Julius Caesar)

"Love is blind" - ( The Merchant of Venice)

"Milk of human kindness" - ( Macbeth)

"More sinned against than sinning" - ( King Lear)

"One fell swoop" - ( Macbeth)

"Play fast and loose" - ( King John)

"Set my teeth on edge" - ( Henry IV Part I)

"Wear my heart upon my sleeve" - ( Othello)

"Wild-goose chase" - ( Romeo and Juliet)

See more:
Fraser's Phrases: "What The Dickens"
10 Old British Slang Terms That Deserve A Revival
Five Tiny U.S. Phrases With Opposite Meanings In The U.K.
10 Irish Slang Terms Americans Should Adopt

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45 Everyday Phrases Coined By Shakespeare | BBC America

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April 23rd is generally considered to be a good day to celebrate the birth of England's greatest poet and playwright, William Shakespeare. This is partly because there are no records of his birth-although he was baptized on April 26-and partly because he died on April 23 (and April 23 is St.

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Words made by shakespeare

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Words Shakespeare Invented
The English language owes a great debt to Shakespeare. He invented over 1700 of our common words by changing nouns into verbs, changing verbs into adjectives, connecting words never before used together, adding prefixes and suffixes, and devising words wholly original. Below is a list of a few of the words Shakespeare coined or adapted, hyperlinked to the play and scene from which it comes. When the word appears in multiple plays, the link will take you to the play in which it first appears. For a more in-depth look at Shakespeare's coined words, please click here.

** Please note that the table below gives both a sample of words Shakespeare coined and words he adapted. For example, "elbow" was a noun before Shakespeare, but he turned it into a verb. There are many books on the subject and etymological dictionaries if you want a list of only words coined. **

For more words that Shakespeare coined please see the Comprehensive Etymological Dictionary of the English Language by Dr. Ernest Klein (1966) or Shakespeare-lexicon: A Complete Dictionary of All the English Words, Phrases and Constructions in the Works of the Poet by Alexander Schmidt (1902). For words Shakespeare used only once, please see The Once Used Words in Shakespeare by James Davie Butler (1886).
How to cite this article:
Mabillard, Amanda.Words Shakespeare Invented. Shakespeare Online. 20 Aug. 2000. < http://www.shakespeare-online.com/biography/wordsinvented.html >.

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More Resources

Shakespeare's Reputation in Elizabethan England
Quotations About William Shakespeare
Portraits of Shakespeare

Shakespeare's Sexuality
Shakespeare's Boss: The Master of Revels
Hamlet Essays and Study Guide

Macbeth Essays and Study Guide
Othello Essays and Study Guide
Romeo and Juliet Essays and Study Guide
Julius Caesar Essays and Study Guide

Top 10 Shakespeare Plays
Shakespeare's Metaphors and Similes
Shakespeare's Blank Verse
Elements of Comedy

How many plays did Shakespeare write?
Shakespeare Timeline
Edward Alleyn (Actor)
William Kempe (Actor)

What is Tragic Irony?
Characteristics of Elizabethan Tragedy

Did You Know?
Shakespeare was familiar with seven foreign languages and often quoted them directly in his plays. His vocabulary was the largest of any writer, at over twenty-four thousand words. According to James Davie Butler, "the total vocabulary of Milton's poetical remains is more nearly seventeen than eighteen thousand (17,377); and that of Homer, including the hymns as well as both Iliad and Odyssey, is scarcely nine thousand. Five thousand eight hundred and sixty words exhaust the vocabulary of Dante's Divina Comedia." ( The Once Used Words in Shakespeare)

More to Explore
The Chronology of Shakespeare's Plays
Establishing the Order of the Plays
Settings of Shakespeare's Plays by Location
Historical Settings of Shakespeare's Plays by Date

Shakespeare in Old English?
Shakespeare's Influence on Other Writers
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

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

Ben Jonson and the Decline of the Drama
Publishing in Elizabethan England
Shakespeare's Audience
Religion in Shakespeare's England

Alchemy and Astrology in Shakespeare's Day
Entertainment in Elizabethan England
London's First Public Playhouse

Shakespeare's Boss
Shakespeare's Audience
Shakespeare Hits the Big Time

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The English language owes a great debt to Shakespeare. He invented over 1700 of our common words by changing nouns into verbs, changing verbs into adjectives, connecting words never before used together, adding prefixes and suffixes, and devising words wholly original.

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Clothing wasn't just merely an insignificant thing in the days of Elizabethan England. In fact, it is quite significant that there is even an Elizabethan law related to it. These laws stated the colours as well as the type of clothing an individual was allowed to own and wear.

These laws were called 'Statutes of Apparel" and was enforced by the Queen herself in Greenwich on June 1574. The intent was to maintain the social structure as well as to keep a firm restrain on the people's expenditure towards clothing.

Basically, Elizabethan Clothing was a part of the social order. It is also indicative of a particular person's status not only reflecting how wealthy or poor they are but also of their social reputation. For example, back then it is absurd for a peasant to copy more well off individuals through "luxurious" clothing which was only worn by upper classes.

Royalty Clothing in the Elizabethan Era

The materials used for the clothes worn by the royals were very expensive and mostly imported. the women wore gowns which had many parts and layers. They also had shoulder pads. Starch was used to stiffen the fabrics. A farthingale to make the skirts and gowns look extended was also very common.

Men mostly wore a loose-fitting shirt, buttoned-down and cuffed. For pants, they wore short breeches that were puffy. women's clothes were designed to make them look slimmer and men's clothing was loose and baggy.

Social Class and Clothing

The Elizabethan era clothing materials varied according to social status. The upper class of Elizabethan England wore elegant and luxurious clothing that was made of expensive velvet, exotic silk and satin. Only the members of the Royal Family were allowed to own robes which were trimmed with ermine. Less noble folk wore clothing trimmed with either fox or otter.

Elizabethan Era Peasant's Clothing

Quite the contrast to the luxurious clothing of the affluent was the clothing worn by peasants and the lower classes. They wore clothing made of simple materials such as English cotton, wool and leather. Woollen clothing was in fact quite popular among the working as well as domestic classes since it was rather cheap and the wool trade saw an increase during the period.

Middle-Class Clothing

People of middle-class status in the Elizabethan era mostly wore clothes made of cotton, linen and broadcloth. They wore a short top called chemise which would protect the lower clothes from sweat. These chemises were like vests on which the bodice was worn. Petticoats were used to keep the body warm.

Middle-class people also used cloaks and overcoats. They wore hats in public and women often used perfumes because the streets were extremely filthy. The poor people wore doublets and jerkins. The men wore doublets over their shirts and the sleeves were detachable from the doublets.

Colours used in Elizabethan England

The dyes that were used to colour the lavish clothing of the noble of Elizabethan England cost quite a bit. In one of Elizabeth I's surviving portraits, she was shown wearing a crimson robe. The deep crimson colouring was obtained from an insect which was only found in the Mediterranean.

The brightest colours demanded a higher price tag and were only available to the upper class. The brightness of the colour and its richness are the determining factors as to how expensive it would be. The working class or peasants wore clothes dyed in yellow, orange, green, pale blue, pink and russet.

Accessories For Men and Women

Elizabethan clothing accessories for women usually consisted of gowns, underclothing, corsets, hats, ruffs, collars and shoes. The men wore doublets, underclothing, breeches, ruffs, collars, hats and shoes.

Women often wore fancy jewellery but for both men and women ruffs were an indispensable item that adds to their elegant look. The Queen herself wore many elaborate collars. The ruffs were worn around the neck or wrists and became significantly larger later on.

Rich Elizabethan women's clothing

Rich Elizabethan women also wore thick petticoats and on top of this came the corset and skirts. Their skirts were held up with hoops and are often padded at the hips. Then on top of all the was an outer bodice and a skirt or a fine dress and to finish it off, the women wore a coat or a dressing gown which went all the way down to the floor.

What Influenced Elizabethan Era clothing?

Queen Elizabeth herself was the greatest influencer of fashion during her time. Elaborate and ostentatious in her clothing choices, Queen Elizabeth even kept a detailed account of the expenditure for her clothing. Her clothing accounts listed exactly how much materials were bought, from whom and what purpose it was used for.

Elizabeth's fascination for foreign styles of clothing had a huge influence on the fashion of that era. French, Spanish, Italian, and even German fashion seeped into the clothing trends in England. Gowns and accessories worn by the Queen were imitated by women from all social classes and hence, similar clothes with cheaper materials were made.

Elizabeth's influence, however, was not only limited to women's wardrobe but also reached men's fashion. the courtiers competed with each other to show up in the most expensive, sparkly outfit possible. They started using rich fabrics and wore clothes that would broaden their shoulders. Bright colours and elaborate embroidery was made to display wealth and class.

An astute politician, Queen Elizabeth even knew how to use fashion for political ends. When negotiations for her marriage were being made with the Anjous, she sent a portrait of herself to Catherine de' Medici where she is dressed in the most elaborate and flashy French clothes. It was met with commending response and the negotiations were successful.

Talk about grandiose and not to mention heavy. But one must remember, that just like their art and architecture, clothing in the Elizabethan Era was also an indicator of a person's wealth and status.

More info on- Elizabethan era Clothing Law for Women, Clothing Styles of different Classes, Hairstyles

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Elizabethan Era Clothing, Costume: Men, Women, Kids

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Clothing wasn't just merely an insignificant thing in the days of Elizabethan England. In fact, it is quite significant that there is even an Elizabethan law related to it. These laws stated the colours as well as the type of clothing an individual was allowed to own and wear.

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There is so little known about the real William Shakespeare. It is hardly surprising therefore that plenty of theories about our most famous bard and his work have arisen. It was, after all, Mark Twain who said: "So far as anybody actually knows and can prove, Shakespeare of Stratford-on-Avon never wrote a play in his life."

Not always as easily dismissed as Shakespeare champions would have you believe, here are the most widely known theories about the authorship of the plays.
Various authors
In 1848 the American Joseph C Hart wrote a book putting forward the argument that the plays were written by several different authors. In 1856 Delia Bacon, another American, wrote an article to support this theory and attributed the authorship to a group of people who were overseen by Sir Francis Bacon and Sir Walter Raleigh.
Edward de Vere
Edward de Vere, the 17th Earl of Oxford was also the Lord Great Chamberlain of England and a courtier poet. There is little evidence that suggests he did write them, but some believe there are references in the plays to de Vere's life and that there are a series of codes in the writing that implicate the Earl as the author. This is the theory put forward in the film Anonymous.
Sir Francis Bacon
It is also thought possible that Sir Francis Bacon, writer of New Atlantis, essayist and scientist, could have penned the plays. Again there is little evidence to suggest this, apart from similarities in the plays to his own. The theory that Bacon could have written the plays was first put forward in 1856.
Christopher Marlowe
The playwright Christopher Marlowe was writing at the same time as Shakespeare and it's likely that the two crossed paths. The theory goes that the reports of Marlowe's death in a drunken brawl on May 30 1593 were falsified to protect him from going to prison for being an atheist. Marlovians believe that Shakespeare was named as the play's author to protect the truth of what really happened to Marlowe.
William Stanley
With the initials WS, William Stanley is another strong contender for authorship of the plays. He was the 6th Earl of Derby and had his own theatre company called Derby's men. He was known to sign himself off as Will. He travelled in Europe, and through his marriage to Elizabeth de Vere, he was related to William Cecil, on whom many believe the character of Polonius in Hamlet is based.
Roger Manners
The theory that the plays were written by Roger Manners the 5th Earl of Rutland was supported by a German literary critic called Karl Bleibtreu in 1907. Manners married the daughter of the poet Philip Sydney and it is thought that the two of them together wrote the plays. However, the Earl would have been only 16 when the first of Shakespeare's works was published in 1593.

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There is so little known about the real William Shakespeare . It is hardly surprising therefore that plenty of theories about our most famous bard and his work have arisen. It was, after all, Mark Twain who said: "So far as anybody actually knows and can prove, Shakespeare of Stratford-on-Avon never wrote a play in his life."

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Who Was William Shakespeare?

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

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

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

When Was Shakespeare Born?

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

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

Family

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

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

Childhood and Education

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

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

Wife and Children

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

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

Shakespeare's Lost Years

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

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

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

The King's Men

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

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

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

DOWNLOAD BIOGRAPHY'S WILLIAM SHAKESPEARE FACT CARD

Actor and Playwright

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

The September 20, 1592 edition of the Stationers' Register (a guild publication) includes an article by London playwright Robert Greene that takes a few jabs at Shakespeare: "...There is an upstart Crow, beautified with our feathers, that with his Tiger's heart wrapped in a Player's hide, supposes he is as well able to bombast out a blank verse as the best of you: and being an absolute Johannes factotum, is in his own conceit the only Shake-scene in a country," Greene wrote of Shakespeare.

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

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

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

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

Globe Theater

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

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

Shakespeare's Writing Style

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

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

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

William Shakespeare's Plays

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

Early Works: Histories and Comedies

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

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

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

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

Works after 1600: Tragedies and Tragicomedies

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

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

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

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

When Did Shakespeare Die?

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

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

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

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

Did Shakespeare Write His Own Plays?

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

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

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

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

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

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

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

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

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

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

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

Literary Legacy

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

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

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

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

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William Shakespeare: A biography

Since William Shakespeare lived more than 400 years ago, and many records from that time are lost or never existed in the first place, we don't know everything about Shakespeare's life. For example, we know that he was baptized in Stratford-upon-Avon, 100 miles northwest of London, on April 26, 1564. But we don't know his exact birthdate, which must have been a few days earlier.

We do know that Shakespeare's life revolved around two locations: Stratford and London. He grew up, had a family, and bought property in Stratford, but he worked in London, the center of English theater. As an actor, a playwright, and a partner in a leading acting company, he became both prosperous and well-known. Even without knowing everything about his life, fans of Shakespeare have imagined and reimagined him according to their own tastes.

Looking for more in-depth information? Need something you can cite? Read an essay about Shakespeare's life from the Folger Shakespeare Editions. Read essay

Early life: Birth and childhood

William Shakespeare was probably born on about April 23, 1564, the date that is traditionally given for his birth. He was John and Mary Shakespeare's oldest surviving child; their first two children, both girls, did not live beyond infancy. Growing up as the big brother of the family, William had three younger brothers, Gilbert, Richard, and Edmund, and two younger sisters: Anne, who died at seven, and Joan.

Their father, John Shakespeare, was a leatherworker who specialized in the soft white leather used for gloves and similar items. A prosperous businessman, he married Mary Arden, of the prominent Arden family. John rose through local offices in Stratford, becoming an alderman and eventually, when William was five, the town bailiff-much like a mayor. Not long after that, however, John Shakespeare stepped back from public life; we don't know why.

Shakespeare, as the son of a leading Stratford citizen, almost certainly attended Stratford's grammar school. Like all such schools, its curriculum consisted of an intense emphasis on the Latin classics, including memorization, writing, and acting classic Latin plays. Shakespeare most likely attended until about age 15.

A horn book in the Folger collection, similar to one that Shakespeare might have learned to read from

Marriage (to Anne Hathaway) and children

A few years after he left school, in late 1582, William Shakespeare married Anne Hathaway. She was already expecting their first-born child, Susanna, which was a fairly common situation at the time. When they married, Anne was 26 and William was 18. Anne grew up just outside Stratford in the village of Shottery. After marrying, she spent the rest of her life in Stratford.

In early 1585, the couple had twins, Judith and Hamnet, completing the family. In the years ahead, Anne and the children lived in Stratford while Shakespeare worked in London, although we don't know when he moved there. Some later observers have suggested that this separation, and the couple's relatively few children, were signs of a strained marriage, but we do not know that, either. Someone pursuing a theater career had no choice but to work in London, and many branches of the Shakespeares had small families.

Shakespeare's only son, Hamnet, died in 1596 at the age of 11. His older daughter Susanna later married a well-to-do Stratford doctor, John Hall. Their daughter Elizabeth, Shakespeare's first grandchild, was born in 1608. In 1616, just months before his death, Shakespeare's daughter Judith married Thomas Quiney, a Stratford vintner. The family subsequently died out, leaving no direct descendants of Shakespeare.

London theater

For several years after the birth of Judith and Hamnet in 1585, nothing is known for certain of Shakespeare's activities: how he earned a living, when he moved from Stratford, or how he got his start in the theater.

Following this gap in the record, the first definite mention of Shakespeare is in 1592 as an established London actor and playwright, mocked by a contemporary as a "Shake-scene." The same writer alludes to one of Shakespeare's earliest history plays, Henry VI, Part 3, which must already have been performed. The next year, in 1593, Shakespeare published a long poem, Venus and Adonis. The first quarto editions of his early plays appeared in 1594.

For more than two decades, Shakespeare had multiple roles in the London theater as an actor, playwright, and, in time, a business partner in a major acting company, the Lord Chamberlain's Men (renamed the King's Men in 1603). Over the years, he became steadily more famous in the London theater world; his name, which was not even listed on the first quartos of his plays, became a regular feature-clearly a selling point-on later title pages.

Final years and death

Shakespeare prospered financially from his partnership in the Lord Chamberlain's Men (later the King's Men), as well as from his writing and acting. He invested much of his wealth in real-estate purchases in Stratford and bought the second-largest house in town, New Place, in 1597.

Among the last plays that Shakespeare worked on was The Two Noble Kinsmen, which he wrote with a frequent collaborator, John Fletcher, most likely in 1613. He died on April 23, 1616-the traditional date of his birthday, though his precise birthdate is unknown. We also do not know the cause of his death. His brother-in-law had died a week earlier, which could imply infectious disease, but Shakespeare's health may have had a longer decline.

The memorial bust of Shakespeare at Holy Trinity Church in Stratford is considered one of two authentic likenesses, because it was approved by people who knew him. The other such likeness is the engraving by Martin Droeshout in the 1623 First Folio edition of Shakespeare's plays, produced seven years after his death by his friends and colleagues from the King's Men.

Timeline

View a timeline of Shakespeare's life with links to key supporting documents on Shakespeare Documented.
View timeline

The bust of Shakespeare in the Folger Reading Room is a copy of the statue at Holy Trinity Church in Stratford.

Frequently asked questions

Why did Shakespeare leave his wife his "second best bed"?

William Shakespeare wrote in his last will and testament, dated March 25, 1616, "Item I gyve unto my wife my second best bed with the furniture" (furniture is used to refer to the curtains and bedcover which formed part of the complete bed).

This was not an unusual bequest, nor was it likely to have been intended as a snub. The best bed was usually regarded as an heirloom piece, to be passed to the heir rather than the spouse. It is also probable that the best bed would have been reserved for guests, meaning the "second best" was the bed that William and Anne shared.

What did Shakespeare's son die of?

We don't really know how Shakespeare's young son Hamnet died. He had a twin sister named Judith, who lived to adulthood and married, but Hamnet died at the age of 11 and a half. Child mortality was high in the 16th century; there were no antibiotics and many childhood diseases might therefore prove fatal, such as scarlet fever, whooping cough, diphtheria, and even measles. He was buried on August 11, 1596.

What is the inscription on Shakespeare's grave?

GOOD FREND FOR JESUS SAKE FORBEARE,
TO DIGG THE DUST ENCLOASED HEARE:
BLESTE BE Ye [the] MAN Yt [that] SPARES THES STONES,
AND CURST BE HE Yt [that] MOVES MY BONES.

Did Shakespeare have a coat of arms?

Yes, William's father, John Shakespeare, was granted a coat of arms in 1596. It was disputed in 1602 by York Herald, Ralph Brooke, saying that the arms were too similar to existing coats of arms, and that the family was unworthy. However, the challenge was unsuccessful, as the Shakespeare coat of arms appears in later heraldic collections and on William Shakespeare's funeral monument in Holy Trinity Church, Stratford-upon-Avon.

Does Shakespeare have descendants?

William Shakespeare and Anne Hathaway had three children. The eldest, Susanna, was baptized on May 26, 1583, and married John Hall in 1607. They had one child, Elizabeth, in 1608. Elizabeth was married twice, to Thomas Nash in 1626, and to John Bernard in 1649. However, she had no children by either husband.

William and Anne also had twins, Judith and Hamnet, who were baptized on February 2, 1585. Hamnet died at age 11 and a half. Judith married Thomas Quiney in 1616, and the couple had three sons: Shakespeare Quiney, who died in infancy, and Richard and Thomas, who both died in 1639 within a month of each other. Since neither of the boys married, there is no possibility of any legitimate descendants from Shakespeare's line.

It is possible, however, to claim a relationship to Shakespeare through his sister, Joan. She married William Hart some time before 1600, and there are many descendants of this marriage alive today, in both the male and female lines.

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Shakespeare's life | Folger Shakespeare Library

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Learn about Shakespeare's life and family: birth in Stratford-upon-Avon, marriage to Anne Hathaway and their children, work in London theaters, and death.

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William Shakespeare - Playwright | Mini Bio | BIO

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Shakespeare's Influence on the English Language

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Savannah, Hannah, Christian, Amber-- Created using PowToon -- Free sign up at http://www.powtoon.com/ . Make your own animated videos and animated presentations for free. PowToon is a free tool that allows you to develop cool animated clips and animated presentations for your website, office meeting, sales pitch, nonprofit fundraiser, product launch, video resume, or anything else you could use an animated explainer video.

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Characteristics of Theatrical Comedy : Theatre 101

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Subscribe Now: http://www.youtube.com/subscription_center?add_user=Ehow Watch More: http://www.youtube.com/Ehow Theatrical comedy typically has some very distinguishing characteristics, especially when compared to drama. Find out about the characteristics of theatrical comedy with help from a professional actress and performer in this free video clip.

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Elizabethan Clothing
The section and era covering Elizabethan Clothing and Fashion includes extensive information regarding all elements of clothing and fashion during the Elizabethan era. The subjects range from the type of clothing regarded as Upper Class Fashion - rich, sumptuous materials and elegant styles to clothes worn by the lower classes using basic materials. Each item of Elizabethan clothing has been designed.

Picture of Queen Elizabeth I

Elizabethan Women's Clothing - gowns, hats, corsets, underwear, collars, ruffs and shoes. Elizabethan Men's Clothing - doublets, breeches, underwear, collars, ruffs, hats and shoes. For additional information of the period please click the following link to Tudor Clothes.

We recommend the following site for: Facts and information about Medieval Clothing

The Hair styles, Make-up, Jewelry and even suitable Wedding Dress has also been included. But the most alien concepts of the Elizabethan era was that, regardless of their wealth, Elizabethans were not allowed to wear what clothes they liked. Their clothing and items of apparel were dictated by the Elizabethan Sumptuary Laws which governed the style and materials worn.

The Sumptuary Laws - Enforcing statutes of Apparel - Governing Elizabethan Clothing.
The Elizabethan Sumptuary Clothing Laws were used to control behaviour and to ensure that a specific class structure was maintained. English Sumptuary Laws governing the clothing that Elizabethans wore were well known by all of the English people. The penalties for violating Sumptuary Laws could be harsh - fines, the loss of property, title and even life.

Elizabethan Clothing for Men

Elizabethan Clothing for Women

Elizabethan Clothing
Additional details, facts and information about Elizabethan Clothing and Fashion can be accessed via the Elizabethan Era Sitemap.

Elizabethan Clothing

Upper Class Clothing and Fashion

Women's Clothing and Fashion - gowns, hats, corsets, underwear, collars, ruffs and shoes

Men's Clothing and Fashion - doublets, breeches, underwear, collars, ruffs, hats and shoes

Hair styles

Make-up

Jewelry

Wedding Dress clothing and garb

Sumptuary Laws governing Elizabethan Clothing

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Elizabethan Era
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Queen Elizabeth's Coat of Arms

Elizabethan Clothing

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Elizabethan Clothing The section and era covering Elizabethan Clothing and Fashion includes extensive information regarding all elements of clothing and fashion during the Elizabethan era. The subjects range from the type of clothing regarded as Upper Class Fashion - rich, sumptuous materials and elegant styles to clothes worn by the lower classes using basic materials.

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Comedy vs Tragedy

If you are a fan of plays, then you must want to know the difference between comedy and tragedy. You must have undoubtedly heard of Shakespeare to whom one's mind could naturally straightaway run in association of the terms tragedy and comedy as Shakespeare is undoubtedly referred to as the world's pre-eminent dramatist. It appears that the two terms,which denote two genres of drama, are not similar, yet do they have a difference in meaning? Difference between comedy and tragedy is not something of obscurity, it is something that is plainly visible. This article attempts to explore the difference between tragedy and comedy in terms of a number of aspects related to drama in literature. To begin with, the main difference between tragedy and comedy is found at the ending of the drama.

What is a Tragedy?

A tragedy is a genre of drama in literature that is mainly characterized by its sad and depressing ending. The play deals with a series of sorrowful events happen to or are caused by its hero or heroine. Tragedy is also characterized by the emotion it creates in the audience; a sentiment mixed with sorry and empathy. Although, tragedy is associated with plays, by extension, it also relates to poetry and fiction as well. According to historians, the origins of tragedy occurred in Ancient Greece about 2500 years ago. It has been noted since in all literary eras and great playwrights of tragedy in the western literature include Shakespeare, Lope de Vega, Racine, and Schiller. In terms of the plot of a tragedy, it is usually a series of serious actions that evoke feelings of fear and pity. The main character or the protagonist of a tragedy is called a tragic hero whereas the setting of a tragedy is usually a battlefield, a dark and mysterious palace, or any other disastrous place.

What is a Comedy?

A comedy, in contrast to a tragedy, is a genre of drama in literature that is characterized by its happy and vivacious ending. Besides making the audience happy, a comedy rather importantly intends to evoke humour and amusement in the audience by means of extensive laughter. This kind of plays and dramas make up the comic theatre of which the western origins date back to the Ancient Greece. A comedy can again be classed into a number of sub-genres such as satire, burlesque, comedy of manners, and farce. The plot of a comedy normally deals with an ordinary problem faced by the common people. Further, a comedy is normally set in an ordinary place and the protagonist of a comedy is called a comic hero.

What is the difference between Comedy and Tragedy?

* A tragedy has a sad and depressing ending while a comedy has a happy and vigorous ending.

* The plot of a tragedy is marked with a series of actions that happened to the protagonist causing fear and pity in the audience while a comic plot often creates laughter in the audience.

* A protagonist of a tragedy is called a tragic hero while the main character of a comedy is called a comic hero.

* Comedy is also characterized with ambiguity in language while tragedy deals with concrete language.

* Stubbornness is often a characteristic of tragic heroes while willingness to learn and change a characteristic of comic heroes.

Judging by the above mentioned differences, it is comprehensible that comedy and tragedy differ from each other in the sense that one ending being sad and disappointing and the other being happy and enlightening. Also, differences are also noted with regard to the plot, setting, characters, language used, and emotions evoked in the audience.

Cite This Page
"Difference Between Comedy and Tragedy." DifferenceBetween.Com. September 18, 2014. < http://www.differencebetween.com/difference-between-comedy-and-vs-tragedy/ >

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If you are a fan of plays, then you must want to know the difference between comedy and tragedy. You must have undoubtedly heard of Shakespeare to whom one's mind could naturally straightaway run in association of the terms tragedy and comedy as Shakespeare is undoubtedly referred to as the world's pre-eminent dramatist.

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Characteristics of Tragedy & Comedy -- A Debatable List

The following list by John Morreall represents a conglomeration of varying theory on the nature of tragedy and comedy. Personally, I find (depending on the play) some of the characteristics more convincing and others less so. Try testing a play we're reading in class against these ideas. Do they successfully explain what's going on in the work?

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Characteristics of Tragedy & Comedy -- A Debatable List The following list by John Morreall represents a conglomeration of varying theory on the nature of tragedy and comedy. Personally, I find (depending on the play) some of the characteristics more convincing and others less so.