William Shakespeare

William Shakespeare ( /ˈʃeɪkspɪər/ ;[1]  26 April 1564 (baptised) – 23 April 1616)[nb 1]  was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.[2]  He is often called England's national poet and the "Bard of Avon".[3] [nb 2]  His extant works, including some collaborations, consist of about 38 plays,[nb 3]  154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain. His plays have been translated into every major living language and are performed more often than those of any other playwright.[4]

Shakespeare was born and brought up in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children:Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of aplaying company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others.[5]

Shakespeare produced most of his known work between 1589 and 1613.[6] <sup class="reference" id="cite_ref-play-dates_10-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[nb 4]  His early plays were mainly comedies and histories and these works remain regarded as some of the best work produced in these genres. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the finest works in the English language. In his last phase, he wrote tragicomedies, also known asromances, and collaborated with other playwrights.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Many of his plays were published in editions of varying quality and accuracy during his lifetime. In 1623, John Heminges and Henry Condell, two friends and fellow actors of Shakespeare, published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. It was prefaced with a poem by Ben Jonson, in which Shakespeare is hailed, presciently, as "not of an age, but for all time".<sup class="reference" id="cite_ref-11" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[7]  In the 20th and 21st century, his work has been repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed, and reinterpreted in diverse cultural and political contexts throughout the world.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">

Contents
[hide]  *1 Life <p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">
 * 1.1 Early life
 * 1.2 London and theatrical career
 * 1.3 Later years and death
 * 2 Plays
 * 2.1 Performances
 * 2.2 Textual sources
 * 3 Poems
 * 3.1 Sonnets
 * 4 Style
 * 5 Influence
 * 6 Critical reputation
 * 7 Speculation about Shakespeare
 * 7.1 Authorship
 * 7.2 Religion
 * 7.3 Sexuality
 * 7.4 Portraiture
 * 8 List of works
 * 8.1 Classification of the plays
 * 9 See also
 * 10 Notes
 * 10.1 Footnotes
 * 10.2 Citations
 * 11 References
 * 12 External links

Life
Main article: Shakespeare's life===Early life=== <p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">William Shakespeare was the son of John Shakespeare, an alderman and a successful glover originally from Snitterfield, and Mary Arden, the daughter of an affluent landowning farmer.<sup class="reference" id="cite_ref-12" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[8]  He was born in Stratford-upon-Avon and baptised there on 26 April 1564. His actual date of birth remains unknown, but is traditionally observed on 23 April, Saint George's Day.<sup class="reference" id="cite_ref-13" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[9]  This date, which can be traced back to an 18th-century scholar's mistake, has proved appealing to biographers, since Shakespeare died 23 April 1616.<sup class="reference" id="cite_ref-14" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[10]  He was the third child of eight and the eldest surviving son.<sup class="reference" id="cite_ref-15" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[11]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Although no attendance records for the period survive, most biographers agree that Shakespeare was probably educated at the King's New School in Stratford,<sup class="reference" id="cite_ref-16" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[12]  a free school chartered in 1553,<sup class="reference" id="cite_ref-17" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[13]  about a quarter-mile from his home. Grammar schools varied in quality during the Elizabethan era, but grammar school curricula were largely similar, the basic Latin text was standardised by royal decree,<sup class="reference" id="cite_ref-18" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[14]  and the school would have provided an intensive education in grammar based upon Latin classical authors.<sup class="reference" id="cite_ref-19" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[15]

John Shakespeare's house, believed to be Shakespeare's birthplace, in Stratford-upon-Avon.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">At the age of 18, Shakespeare married the 26-year-old Anne Hathaway. The consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. The next day, two of Hathaway's neighbours posted bonds guaranteeing that no lawful claims impeded the marriage.<sup class="reference" id="cite_ref-20" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[16]  The ceremony may have been arranged in some haste, since the Worcester chancellor allowed the marriage banns to be read once instead of the usual three times,<sup class="reference" id="cite_ref-21" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[17]  and six months after the marriage Anne gave birth to a daughter, Susanna, baptised 26 May 1583.<sup class="reference" id="cite_ref-22" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[18]  Twins, son Hamnet and daughterJudith, followed almost two years later and were baptised 2 February 1585.<sup class="reference" id="cite_ref-23" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[19]  Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596.<sup class="reference" id="cite_ref-24" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[20]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">After the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592. The exception is the appearance of his name in the 'complaints bill' of a law case before the Queen's Bench court at Westminster dated Michaelmas Term 1588 and 9 October 1589.<sup class="reference" id="cite_ref-25" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[21]  Scholars refer to the years between 1585 and 1592 as Shakespeare's "lost years".<sup class="reference" id="cite_ref-26" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[22]  Biographers attempting to account for this period have reported many apocryphal stories. Nicholas Rowe, Shakespeare's first biographer, recounted a Stratford legend that Shakespeare fled the town for London to escape prosecution for deer poaching in the estate of local squire Thomas Lucy. Shakespeare is also supposed to have taken his revenge on Lucy by writing a scurrilous ballad about him.<sup class="reference" id="cite_ref-27" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[23]  Another 18th-century story has Shakespeare starting his theatrical career minding the horses of theatre patrons in London.<sup class="reference" id="cite_ref-28" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[24]  John Aubrey reported that Shakespeare had been a country schoolmaster.<sup class="reference" id="cite_ref-29" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[25]  Some 20th-century scholars have suggested that Shakespeare may have been employed as a schoolmaster by Alexander Hoghton of Lancashire, a Catholic landowner who named a certain "William Shakeshafte" in his will.<sup class="reference" id="cite_ref-30" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[26]  Little evidence substantiates such stories other than hearsay collected after his death, and Shakeshafte was a common name in the Lancashire area.<sup class="reference" id="cite_ref-31" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[27]

London and theatrical career
<p style="margin-top:0.5em;line-height:inherit;">"All the world's a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts..."

— As You Like It, Act II, Scene 7, 139–42<sup class="reference" id="cite_ref-32" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[28] <p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">It is not known exactly when Shakespeare began writing, but contemporary allusions and records of performances show that several of his plays were on the London stage by 1592.<sup class="reference" id="cite_ref-33" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[29]  By then, he was sufficiently well known in London to be attacked in print by the playwright Robert Greene in his Groats-Worth of Wit: <p style="margin-top:0.5em;line-height:inherit;">...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.<sup class="reference" id="cite_ref-34" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[30] <p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Scholars differ on the exact meaning of these words,<sup class="reference" id="cite_ref-SG213_35-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[31]  but most agree that Greene is accusing Shakespeare of reaching above his rank in trying to match university-educated writers such asChristopher Marlowe, Thomas Nashe and Greene himself (the "university wits").<sup class="reference" id="cite_ref-36" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[32]  The italicised phrase parodying the line "Oh, tiger's heart wrapped in a woman's hide" from Shakespeare'sHenry VI, Part 3, along with the pun "Shake-scene", identifies Shakespeare as Greene's target. Here Johannes Factotum—"Jack of all trades"— means a second-rate tinkerer with the work of others, rather than the more common "universal genius".<sup class="reference" id="cite_ref-SG213_35-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[31] <sup class="reference" id="cite_ref-37" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[33]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Greene's attack is the earliest surviving mention of Shakespeare's career in the theatre. Biographers suggest that his career may have begun any time from the mid-1580s to just before Greene's remarks.<sup class="reference" id="cite_ref-38" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[34]  From 1594, Shakespeare's plays were performed by only the Lord Chamberlain's Men, a company owned by a group of players, including Shakespeare, that soon became the leading playing company in London.<sup class="reference" id="cite_ref-39" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[35]  After the death of Queen Elizabeth in 1603, the company was awarded a royal patent by the new king, James I, and changed its name to the King's Men.<sup class="reference" id="cite_ref-40" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[36]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">In 1599, a partnership of company members built their own theatre on the south bank of the River Thames, which they called the Globe. In 1608, the partnership also took over the Blackfriars indoor theatre. Records of Shakespeare's property purchases and investments indicate that the company made him a wealthy man.<sup class="reference" id="cite_ref-41" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[37]  In 1597, he bought the second-largest house in Stratford,New Place, and in 1605, he invested in a share of the parish tithes in Stratford.<sup class="reference" id="cite_ref-42" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[38]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Some of Shakespeare's plays were published in quarto editions from 1594. By 1598, his name had become a selling point and began to appear on the title pages.<sup class="reference" id="cite_ref-43" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[39]  Shakespeare continued to act in his own and other plays after his success as a playwright. The 1616 edition of Ben Jonson's Works names him on the cast lists for Every Man in His Humour (1598) and Sejanus His Fall(1603).<sup class="reference" id="cite_ref-44" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[40]  The absence of his name from the 1605 cast list for Jonson's Volpone is taken by some scholars as a sign that his acting career was nearing its end.<sup class="reference" id="cite_ref-45" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[41]  The First Folio of 1623, however, lists Shakespeare as one of "the Principal Actors in all these Plays", some of which were first staged after Volpone, although we cannot know for certain which roles he played.<sup class="reference" id="cite_ref-46" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[42]  In 1610, John Davies of Hereford wrote that "good Will" played "kingly" roles.<sup class="reference" id="cite_ref-47" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[43]  In 1709, Rowe passed down a tradition that Shakespeare played the ghost of Hamlet's father.<sup class="reference" id="cite_ref-48" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[44]  Later traditions maintain that he also played Adam in As You Like It and the Chorus in Henry V,<sup class="reference" id="cite_ref-49" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[45]  though scholars doubt the sources of the information.<sup class="reference" id="cite_ref-50" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[46]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare divided his time between London and Stratford during his career. In 1596, the year before he bought New Place as his family home in Stratford, Shakespeare was living in the parish of St. Helen's, Bishopsgate, north of the River Thames.<sup class="reference" id="cite_ref-FOOTNOTEHales1904401.E2.80.932_51-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[47] <sup class="reference" id="cite_ref-52" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[48]  He moved across the river to Southwark by 1599, the year his company constructed the Globe Theatre there.<sup class="reference" id="cite_ref-FOOTNOTEHales1904401.E2.80.932_51-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[47] <sup class="reference" id="cite_ref-53" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[49]  By 1604, he had moved north of the river again, to an area north of St Paul's Cathedral with many fine houses. There he rented rooms from a French Huguenot named Christopher Mountjoy, a maker of ladies' wigs and other headgear.<sup class="reference" id="cite_ref-54" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[50]

Later years and death
<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Rowe was the first biographer to record the tradition, repeated by Johnson, that Shakespeare retired to Stratford 'some years before his death'.<sup class="reference" id="cite_ref-autogenerated1_55-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[51] <sup class="reference" id="cite_ref-FOOTNOTEWood1806ix.E2.80.93x.2C_lxxii_56-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[52]  He was still working as an actor in London in 1608; in an answer to the sharers' petition in 1635 Cuthbert Burbage stated that after purchasing the lease of the Blackfriars Theatre in 1608 from Henry Evans, the King's Men 'placed men players' there, 'which were Heminges, Condell, Shakespeare, etc.'.<sup class="reference" id="cite_ref-FOOTNOTESmith1964558_57-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[53]  However it is perhaps relevant that the bubonic plague raged in London throughout 1609.<sup class="reference" id="cite_ref-FOOTNOTEAckroyd2006477_58-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[54] <sup class="reference" id="cite_ref-FOOTNOTEBarroll1991179.E2.80.9382_59-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[55]  The London public playhouses were repeatedly closed during extended outbreaks of the plague (a total of over 60 months closure between May 1603 and February 1610),<sup class="reference" id="cite_ref-60" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[56]  which meant there was often no acting work. Retirement from all work was uncommon at that time.<sup class="reference" id="cite_ref-61" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[57]  Shakespeare continued to visit London during the years 1611–1614.<sup class="reference" id="cite_ref-autogenerated1_55-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[51]  In 1612, he was called as a witness in Bellott v. Mountjoy, a court case concerning the marriage settlement of Mountjoy's daughter, Mary.<sup class="reference" id="cite_ref-62" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[58]  In March 1613 he bought a gatehouse in the former Blackfriars priory;<sup class="reference" id="cite_ref-63" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[59]  and from November 1614 he was in London for several weeks with his son-in-law, John Hall.<sup class="reference" id="cite_ref-64" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[60]  After 1610, Shakespeare wrote fewer plays, and none are attributed to him after 1613.<sup class="reference" id="cite_ref-65" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[61]  His last three plays were collaborations, probably with John Fletcher,<sup class="reference" id="cite_ref-66" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[62]  who succeeded him as the house playwright for the King's Men.<sup class="reference" id="cite_ref-67" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[63]

Shakespeare's funerary monument in Stratford-upon-Avon.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare died on 23 April 1616, at the age of 52.<sup class="reference" id="cite_ref-68" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[64]  He died within a month of signing his will, a document which he begins by describing himself as being in “perfect health”. There is no extant contemporary source that explains how or why he died. After half a century had passed, John Ward, the vicar of Stratford, wrote in his notebook: “Shakespeare, Drayton and Ben Jonson had a merry meeting and, it seems, drank too hard, for Shakespeare died of a fever there contracted.”<sup class="reference" id="cite_ref-69" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[65] <sup class="reference" id="cite_ref-70" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[66]  This is not impossible, for Shakespeare knew Jonson and Drayton. Of the tributes that started to come from fellow authors, one refers to his relatively early death: “We wondered, Shakespeare, that thou went’st so soon/From the world’s stage to the grave’s tiring room.”<sup class="reference" id="cite_ref-71" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[67]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">He was survived by his wife and two daughters. Susanna had married a physician, John Hall, in 1607,<sup class="reference" id="cite_ref-72" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[68]  and Judith had married Thomas Quiney, a vintner, two months before Shakespeare's death.<sup class="reference" id="cite_ref-73" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[69]  Shakespeare signed his last will and testament on 25 March 1616; the following day his new son-in-law, Thomas Quiney was found guilty of fathering an illegitimate son by Margaret Wheeler, who had died during childbirth. Thomas was ordered by the church court to do public penance which would have caused much shame and embarrassment for the Shakespeare family.<sup class="reference" id="cite_ref-74" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[70]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">In his will, Shakespeare left the bulk of his large estate to his elder daughter Susanna.<sup class="reference" id="cite_ref-75" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[71]  The terms instructed that she pass it down intact to "the first son of her body".<sup class="reference" id="cite_ref-76" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[72]  The Quineys had three children, all of whom died without marrying.<sup class="reference" id="cite_ref-77" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[73]  The Halls had one child, Elizabeth, who married twice but died without children in 1670, ending Shakespeare's direct line.<sup class="reference" id="cite_ref-78" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[74]  Shakespeare's will scarcely mentions his wife, Anne, who was probably entitled to one third of his estate automatically.<sup class="reference" id="cite_ref-79" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[75]  He did make a point, however, of leaving her "my second best bed", a bequest that has led to much speculation.<sup class="reference" id="cite_ref-80" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[76]  Some scholars see the bequest as an insult to Anne, whereas others believe that the second-best bed would have been the matrimonial bed and therefore rich in significance.<sup class="reference" id="cite_ref-81" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[77]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare was buried in the chancel of the Holy Trinity Church two days after his death.<sup class="reference" id="cite_ref-82" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[78]  The epitaph carved into the stone slab covering his grave includes a curse against moving his bones, which was carefully avoided during restoration of the church in 2008:<sup class="reference" id="cite_ref-83" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[79]

Shakespeare's grave, sitting next to Anne Shakespeare, his wife, and to Thomas Nash, the husband of his granddaughter.<p style="margin-top:0.5em;line-height:inherit;">Good frend for Iesvs sake forbeare, To digg the dvst encloased heare. Bleste be  man  spares thes stones, And cvrst be he  moves my bones.<sup class="reference" id="cite_ref-84" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[80] <sup class="reference" id="cite_ref-thorn_85-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[nb 5] <p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">(Modern spelling: Good friend, for Jesus' sake forbear, | To dig the dust enclosed here. | Blessed be the man that spares these stones, | And cursed be he that moves my bones.)

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Sometime before 1623, a funerary monument was erected in his memory on the north wall, with a half-effigy of him in the act of writing. Its plaque compares him to Nestor, Socrates, and Virgil.<sup class="reference" id="cite_ref-86" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[81]  In 1623, in conjunction with the publication of the First Folio, the Droeshout engraving was published.<sup class="reference" id="cite_ref-87" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[82]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare has been commemorated in many statues and memorials around the world, including funeral monuments in Southwark Cathedral andPoets' Corner in Westminster Abbey.

Plays
Main articles: Shakespeare's plays and William Shakespeare's collaborations<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Most playwrights of the period typically collaborated with others at some point, and critics agree that Shakespeare did the same, mostly early and late in his career.<sup class="reference" id="cite_ref-88" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[83]  Some attributions, such asTitus Andronicus and the early history plays, remain controversial, while The Two Noble Kinsmen and the lost Cardenio have well-attested contemporary documentation. Textual evidence also supports the view that several of the plays were revised by other writers after their original composition.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">The first recorded works of Shakespeare are Richard III and the three parts of Henry VI, written in the early 1590s during a vogue for historical drama. Shakespeare's plays are difficult to date, however,<sup class="reference" id="cite_ref-89" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[84]  and studies of the texts suggest that Titus Andronicus, The Comedy of Errors, The Taming of the Shrew and The Two Gentlemen of Verona may also belong to Shakespeare's earliest period.<sup class="reference" id="cite_ref-90" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[85]  His first histories, which draw heavily on the 1587 edition of Raphael Holinshed's Chronicles of England, Scotland, and Ireland,<sup class="reference" id="cite_ref-91" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[86]  dramatise the destructive results of weak or corrupt rule and have been interpreted as a justification for the origins of the Tudor dynasty.<sup class="reference" id="cite_ref-92" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[87]  The early plays were influenced by the works of other Elizabethan dramatists, especially Thomas Kyd and Christopher Marlowe, by the traditions of medieval drama, and by the plays of Seneca.<sup class="reference" id="cite_ref-93" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[88]  The Comedy of Errors was also based on classical models, but no source for The Taming of the Shrew has been found, though it is related to a separate play of the same name and may have derived from a folk story.<sup class="reference" id="cite_ref-94" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[89]  Like The Two Gentlemen of Verona, in which two friends appear to approve of rape,<sup class="reference" id="cite_ref-95" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[90]  the Shrew's story of the taming of a woman's independent spirit by a man sometimes troubles modern critics and directors.<sup class="reference" id="cite_ref-96" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[91]

Oberon, Titania and Puck with Fairies Dancing. By William Blake, c. 1786. Tate Britain.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare's early classical and Italianate comedies, containing tight double plots and precise comic sequences, give way in the mid-1590s to the romantic atmosphere of his greatest comedies.<sup class="reference" id="cite_ref-97" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[92]  A Midsummer Night's Dream is a witty mixture of romance, fairy magic, and comic lowlife scenes.<sup class="reference" id="cite_ref-98" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[93] Shakespeare's next comedy, the equally romantic Merchant of Venice, contains a portrayal of the vengeful Jewish moneylender Shylock, which reflects Elizabethan views but may appear derogatory to modern audiences.<sup class="reference" id="cite_ref-99" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[94]  The wit and wordplay of Much Ado About Nothing,<sup class="reference" id="cite_ref-100" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[95]  the charming rural setting of As You Like It, and the lively merrymaking of Twelfth Night complete Shakespeare's sequence of great comedies.<sup class="reference" id="cite_ref-101" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[96]  After the lyrical Richard II, written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the late 1590s, Henry IV, parts 1 and 2, and Henry V. His characters become more complex and tender as he switches deftly between comic and serious scenes, prose and poetry, and achieves the narrative variety of his mature work.<sup class="reference" id="cite_ref-102" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[97]  This period begins and ends with two tragedies: Romeo and Juliet, the famous romantic tragedy of sexually charged adolescence, love, and death;<sup class="reference" id="cite_ref-103" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[98]  and Julius Caesar—based on Sir Thomas North's 1579 translation of Plutarch's Parallel Lives—which introduced a new kind of drama.<sup class="reference" id="cite_ref-104" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[99] According to Shakespearean scholar James Shapiro, in Julius Caesar "the various strands of politics, character, inwardness, contemporary events, even Shakespeare's own reflections on the act of writing, began to infuse each other".<sup class="reference" id="cite_ref-105" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[100]

Hamlet, Horatio, Marcellus, and the Ghost of Hamlet's Father. Henry Fuseli, 1780–5. Kunsthaus Zürich.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">In the early 17th century, Shakespeare wrote the so-called "problem plays" Measure for Measure, Troilus and Cressida, and All's Well That Ends Welland a number of his best known tragedies.<sup class="reference" id="cite_ref-106" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[101]  Many critics believe that Shakespeare's greatest tragedies represent the peak of his art. The titular hero of one of Shakespeare's most famous tragedies, Hamlet, has probably been discussed more than any other Shakespearean character, especially for his famous soliloquy which begins "To be or not to be; that is the question".<sup class="reference" id="cite_ref-107" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[102]  Unlike the introverted Hamlet, whose fatal flaw is hesitation, the heroes of the tragedies that followed, Othello and King Lear, are undone by hasty errors of judgement.<sup class="reference" id="cite_ref-108" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[103]  The plots of Shakespeare's tragedies often hinge on such fatal errors or flaws, which overturn order and destroy the hero and those he loves.<sup class="reference" id="cite_ref-109" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[104]  In Othello, the villain Iago stokes Othello's sexual jealousy to the point where he murders the innocent wife who loves him.<sup class="reference" id="cite_ref-110" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[105]  In King Lear, the old king commits the tragic error of giving up his powers, initiating the events which lead to the torture and blinding of the Earl of Gloucester and the murder of Lear's youngest daughter Cordelia. According to the critic Frank Kermode, "the play-offers neither its good characters nor its audience any relief from its cruelty".<sup class="reference" id="cite_ref-111" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[106]  In Macbeth, the shortest and most compressed of Shakespeare's tragedies,<sup class="reference" id="cite_ref-112" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[107]  uncontrollable ambition incites Macbeth and his wife, Lady Macbeth, to murder the rightful king and usurp the throne, until their own guilt destroys them in turn.<sup class="reference" id="cite_ref-113" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[108]  In this play, Shakespeare adds a supernatural element to the tragic structure. His last major tragedies, Antony and Cleopatra and Coriolanus, contain some of Shakespeare's finest poetry and were considered his most successful tragedies by the poet and critic T. S. Eliot.<sup class="reference" id="cite_ref-114" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[109]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: Cymbeline, The Winter's Tale and The Tempest, as well as the collaboration, Pericles, Prince of Tyre. Less bleak than the tragedies, these four plays are graver in tone than the comedies of the 1590s, but they end with reconciliation and the forgiveness of potentially tragic errors.<sup class="reference" id="cite_ref-115" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[110]  Some commentators have seen this change in mood as evidence of a more serene view of life on Shakespeare's part, but it may merely reflect the theatrical fashion of the day.<sup class="reference" id="cite_ref-116" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[111] Shakespeare collaborated on two further surviving plays, Henry VIII and The Two Noble Kinsmen, probably with John Fletcher.<sup class="reference" id="cite_ref-117" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[112]

Performances
Main article: Shakespeare in performance<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">It is not clear for which companies Shakespeare wrote his early plays. The title page of the 1594 edition of Titus Andronicus reveals that the play had been acted by three different troupes.<sup class="reference" id="cite_ref-118" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[113] After the plagues of 1592–3, Shakespeare's plays were performed by his own company at The Theatre and the Curtain in Shoreditch, north of the Thames.<sup class="reference" id="cite_ref-119" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[114]  Londoners flocked there to see the first part of Henry IV, Leonard Digges recording, "Let but Falstaff come, Hal, Poins, the rest...and you scarce shall have a room".<sup class="reference" id="cite_ref-120" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[115]  When the company found themselves in dispute with their landlord, they pulled The Theatre down and used the timbers to construct the Globe Theatre, the first playhouse built by actors for actors, on the south bank of the Thames atSouthwark.<sup class="reference" id="cite_ref-121" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[116]  The Globe opened in autumn 1599, with Julius Caesar one of the first plays staged. Most of Shakespeare's greatest post-1599 plays were written for the Globe, including Hamlet,Othello and King Lear.<sup class="reference" id="cite_ref-122" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[117]

The reconstructed Globe Theatre, London.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">After the Lord Chamberlain's Men were renamed the King's Men in 1603, they entered a special relationship with the new King James. Although the performance records are patchy, the King's Men performed seven of Shakespeare's plays at court between 1 November 1604 and 31 October 1605, including two performances of The Merchant of Venice.<sup class="reference" id="cite_ref-123" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[118]  After 1608, they performed at the indoor Blackfriars Theatre during the winter and the Globe during the summer.<sup class="reference" id="cite_ref-124" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[119]  The indoor setting, combined with the Jacobean fashion for lavishly staged masques, allowed Shakespeare to introduce more elaborate stage devices. In Cymbeline, for example, Jupiter descends "in thunder and lightning, sitting upon an eagle: he throws a thunderbolt. The ghosts fall on their knees."<sup class="reference" id="cite_ref-125" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[120]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">The actors in Shakespeare's company included the famous Richard Burbage, William Kempe, Henry Condell and John Heminges. Burbage played the leading role in the first performances of many of Shakespeare's plays, including Richard III, Hamlet, Othello, and King Lear.<sup class="reference" id="cite_ref-126" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[121]  The popular comic actor Will Kempe played the servant Peter in Romeo and Juliet and Dogberry in Much Ado About Nothing, among other characters.<sup class="reference" id="cite_ref-127" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[122]  He was replaced around 1600 by Robert Armin, who played roles such as Touchstone in As You Like It and the fool in King Lear.<sup class="reference" id="cite_ref-128" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[123]  In 1613, Sir Henry Wotton recorded that Henry VIII "was set forth with many extraordinary circumstances of pomp and ceremony".<sup class="reference" id="cite_ref-WellsOxford1247_129-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[124]  On 29 June, however, a cannon set fire to the thatch of the Globe and burned the theatre to the ground, an event which pinpoints the date of a Shakespeare play with rare precision.<sup class="reference" id="cite_ref-WellsOxford1247_129-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[124]

Textual sources
Title page of the First Folio, 1623. Copper engraving of Shakespeare byMartin Droeshout.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">In 1623, John Heminges and Henry Condell, two of Shakespeare's friends from the King's Men, published the First Folio, a collected edition of Shakespeare's plays. It contained 36 texts, including 18 printed for the first time.<sup class="reference" id="cite_ref-130" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[125]  Many of the plays had already appeared in quarto versions—flimsy books made from sheets of paper folded twice to make four leaves.<sup class="reference" id="cite_ref-Oxfxxxiv_131-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[126]  No evidence suggests that Shakespeare approved these editions, which the First Folio describes as "stol'n and surreptitious copies".<sup class="reference" id="cite_ref-132" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[127]  Alfred Pollard termed some of them "bad quartos" because of their adapted, paraphrased or garbled texts, which may in places have been reconstructed from memory.<sup class="reference" id="cite_ref-133" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[128]  Where several versions of a play survive, each differs from the other. The differences may stem from copying or printing errors, from notes by actors or audience members, or from Shakespeare's own papers.<sup class="reference" id="cite_ref-134" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[129]  In some cases, for example Hamlet, Troilus and Cressida and Othello, Shakespeare could have revised the texts between the quarto and folio editions. In the case ofKing Lear, however, while most modern editions do conflate them, the 1623 folio version is so different from the 1608 quarto, that the Oxford Shakespeare prints them both, arguing that they cannot be conflated without confusion.<sup class="reference" id="cite_ref-135" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[130]

Poems
<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">In 1593 and 1594, when the theatres were closed because of plague, Shakespeare published two narrative poems on erotic themes, Venus and Adonisand The Rape of Lucrece. He dedicated them to Henry Wriothesley, Earl of Southampton. In Venus and Adonis, an innocent Adonis rejects the sexual advances of Venus; while in The Rape of Lucrece, the virtuous wife Lucrece is raped by the lustful Tarquin.<sup class="reference" id="cite_ref-136" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[131]  Influenced by Ovid's Metamorphoses,<sup class="reference" id="cite_ref-137" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[132] the poems show the guilt and moral confusion that result from uncontrolled lust.<sup class="reference" id="cite_ref-138" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[133]  Both proved popular and were often reprinted during Shakespeare's lifetime. A third narrative poem, A Lover's Complaint, in which a young woman laments her seduction by a persuasive suitor, was printed in the first edition of the Sonnets in 1609. Most scholars now accept that Shakespeare wrote A Lover's Complaint. Critics consider that its fine qualities are marred by leaden effects.<sup class="reference" id="cite_ref-139" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[134]  The Phoenix and the Turtle, printed in Robert Chester's 1601 Love's Martyr, mourns the deaths of the legendary phoenix and his lover, the faithful turtle dove. In 1599, two early drafts of sonnets 138 and 144 appeared in The Passionate Pilgrim, published under Shakespeare's name but without his permission.<sup class="reference" id="cite_ref-140" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[135]

Sonnets
Main article: Shakespeare's sonnetsTitle page from 1609 edition of Shake-Speares Sonnets.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Published in 1609, the Sonnets were the last of Shakespeare's non-dramatic works to be printed. Scholars are not certain when each of the 154 sonnets was composed, but evidence suggests that Shakespeare wrote sonnets throughout his career for a private readership.<sup class="reference" id="cite_ref-141" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[136]  Even before the two unauthorised sonnets appeared in The Passionate Pilgrim in 1599, Francis Meres had referred in 1598 to Shakespeare's "sugred Sonnets among his private friends".<sup class="reference" id="cite_ref-142" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[137]  Few analysts believe that the published collection follows Shakespeare's intended sequence.<sup class="reference" id="cite_ref-143" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[138]  He seems to have planned two contrasting series: one about uncontrollable lust for a married woman of dark complexion (the "dark lady"), and one about conflicted love for a fair young man (the "fair youth"). It remains unclear if these figures represent real individuals, or if the authorial "I" who addresses them represents Shakespeare himself, though Wordsworth believed that with the sonnets "Shakespeare unlocked his heart".<sup class="reference" id="cite_ref-144" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[139] <p style="margin-top:0.5em;line-height:inherit;">"Shall I compare thee to a summer's day? Thou art more lovely and more temperate..."

—Lines from Shakespeare's Sonnet 18.<sup class="reference" id="cite_ref-145" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[140] <p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">The 1609 edition was dedicated to a "Mr. W.H.", credited as "the only begetter" of the poems. It is not known whether this was written by Shakespeare himself or by the publisher, Thomas Thorpe, whose initials appear at the foot of the dedication page; nor is it known who Mr. W.H. was, despite numerous theories, or whether Shakespeare even authorised the publication.<sup class="reference" id="cite_ref-146" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[141]  Critics praise the Sonnets as a profound meditation on the nature of love, sexual passion, procreation, death, and time.<sup class="reference" id="cite_ref-147" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[142]

Style
Main article: Shakespeare's style<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare's first plays were written in the conventional style of the day. He wrote them in a stylised language that does not always spring naturally from the needs of the characters or the drama.<sup class="reference" id="cite_ref-148" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[143]  The poetry depends on extended, sometimes elaborate metaphors and conceits, and the language is often rhetorical—written for actors to declaim rather than speak. The grand speeches in Titus Andronicus, in the view of some critics, often hold up the action, for example; and the verse in The Two Gentlemen of Verona has been described as stilted.<sup class="reference" id="cite_ref-149" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[144]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Soon, however, Shakespeare began to adapt the traditional styles to his own purposes. The opening soliloquy of Richard III has its roots in the self-declaration of Vice in medieval drama. At the same time, Richard's vivid self-awareness looks forward to the soliloquies of Shakespeare's mature plays.<sup class="reference" id="cite_ref-150" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[145]  No single play marks a change from the traditional to the freer style. Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles.<sup class="reference" id="cite_ref-151" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[146]  By the time of Romeo and Juliet, Richard II, and A Midsummer Night's Dream in the mid-1590s, Shakespeare had begun to write a more natural poetry. He increasingly tuned his metaphors and images to the needs of the drama itself. Pity by William Blake, 1795, Tate Britain, is an illustration of two similes in Macbeth: “And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubim, hors’d

Upon the sightless couriers of the air.” <sup class="reference" id="cite_ref-152" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[147] <p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">''Shakespeare's standard poetic form was blank verse, composed in iambic pentameter. In practice, this meant that his verse was usually unrhymed and consisted of ten syllables to a line, spoken with a stress on every second syllable. The blank verse of his early plays is quite different from that of his later ones. It is often beautiful, but its sentences tend to start, pause, and finish at the end of lines, with the risk of monotony.<sup class="reference" id="cite_ref-153" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[148]  Once Shakespeare mastered traditional blank verse, he began to interrupt and vary its flow. This technique releases the new power and flexibility of the poetry in plays such as Julius Caesar and Hamlet. Shakespeare uses it, for example, to convey the turmoil in Hamlet's mind:<sup class="reference" id="cite_ref-Wright2004p868_154-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[149] ''


 * Sir, in my heart there was a kind of fighting
 * That would not let me sleep. Methought I lay
 * Worse than the mutines in the bilboes. Rashly—
 * And prais'd be rashness for it—let us know
 * Our indiscretion sometimes serves us well...
 * Hamlet, Act 5, Scene 2, 4–8<sup class="reference" id="cite_ref-Wright2004p868_154-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[149]

<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">After Hamlet, Shakespeare varied his poetic style further, particularly in the more emotional passages of the late tragedies. The literary criticA. C. Bradley described this style as "more concentrated, rapid, varied, and, in construction, less regular, not seldom twisted or elliptical".<sup class="reference" id="cite_ref-155" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[150]  In the last phase of his career, Shakespeare adopted many techniques to achieve these effects. These included run-on lines, irregular pauses and stops, and extreme variations in sentence structure and length.<sup class="reference" id="cite_ref-McDxxxxii_156-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[151]  In Macbeth, for example, the language darts from one unrelated metaphor or simile to another: "was the hope drunk/ Wherein you dressed yourself?" (1.7.35–38); "...pity, like a naked new-born babe/ Striding the blast, or heaven's cherubim, hors'd/ Upon the sightless couriers of the air..." (1.7.21–25). The listener is challenged to complete the sense.<sup class="reference" id="cite_ref-McDxxxxii_156-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[151]  The late romances, with their shifts in time and surprising turns of plot, inspired a last poetic style in which long and short sentences are set against one another, clauses are piled up, subject and object are reversed, and words are omitted, creating an effect of spontaneity.<sup class="reference" id="cite_ref-157" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[152]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare combined poetic genius with a practical sense of the theatre.<sup class="reference" id="cite_ref-158" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[153]  Like all playwrights of the time, he dramatised stories from sources such as Plutarch and Holinshed.<sup class="reference" id="cite_ref-159" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[154]  He reshaped each plot to create several centres of interest and to show as many sides of a narrative to the audience as possible. This strength of design ensures that a Shakespeare play can survive translation, cutting and wide interpretation without loss to its core drama.<sup class="reference" id="cite_ref-160" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[155]  As Shakespeare's mastery grew, he gave his characters clearer and more varied motivations and distinctive patterns of speech. He preserved aspects of his earlier style in the later plays, however. In Shakespeare's late romances, he deliberately returned to a more artificial style, which emphasised the illusion of theatre.<sup class="reference" id="cite_ref-161" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[156]

Influence
Main article: Shakespeare's influenceMacbeth Consulting the Vision of the Armed Head. By Henry Fuseli, 1793–94. Folger Shakespeare Library, Washington.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare's work has made a lasting impression on later theatre and literature. In particular, he expanded the dramatic potential of characterisation, plot, language, and genre.<sup class="reference" id="cite_ref-162" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[157]  Until Romeo and Juliet, for example, romance had not been viewed as a worthy topic for tragedy.<sup class="reference" id="cite_ref-163" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[158]  Soliloquies had been used mainly to convey information about characters or events; but Shakespeare used them to explore characters' minds.<sup class="reference" id="cite_ref-164" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[159]  His work heavily influenced later poetry. The Romantic poets attempted to revive Shakespearean verse drama, though with little success. Critic George Steiner described all English verse dramas from Coleridge to Tennyson as "feeble variations on Shakespearean themes."<sup class="reference" id="cite_ref-165" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[160]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare influenced novelists such as Thomas Hardy, William Faulkner, and Charles Dickens. The American novelist Herman Melville's soliloquies owe much to Shakespeare; his Captain Ahab in Moby-Dick is a classic tragic hero, inspired by King Lear.<sup class="reference" id="cite_ref-166" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[161]  Scholars have identified 20,000 pieces of music linked to Shakespeare's works. These include two operas by Giuseppe Verdi, Otello and Falstaff, whose critical standing compares with that of the source plays.<sup class="reference" id="cite_ref-167" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[162]  Shakespeare has also inspired many painters, including the Romantics and the Pre-Raphaelites. The Swiss Romantic artist Henry Fuseli, a friend of William Blake, even translated Macbeth into German.<sup class="reference" id="cite_ref-168" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[163]  The psychoanalyst Sigmund Freud drew on Shakespearean psychology, in particular that of Hamlet, for his theories of human nature.<sup class="reference" id="cite_ref-169" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[164]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">In Shakespeare's day, English grammar, spelling and pronunciation were less standardised than they are now,<sup class="reference" id="cite_ref-FOOTNOTECercignani1981_170-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[165]  and his use of language helped shape modern English.<sup class="reference" id="cite_ref-171" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[166]  Samuel Johnson quoted him more often than any other author in his A Dictionary of the English Language, the first serious work of its type.<sup class="reference" id="cite_ref-172" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[167]  Expressions such as "with bated breath" (Merchant of Venice) and "a foregone conclusion" (Othello) have found their way into everyday English speech.<sup class="reference" id="cite_ref-173" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[168]

Critical reputation
Main articles: Shakespeare's reputation and Timeline of Shakespeare criticism<p style="margin-top:0.5em;line-height:inherit;">"He was not of an age, but for all time."

— Ben Jonson<sup class="reference" id="cite_ref-174" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[169] <p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare was not revered in his lifetime, but he received a large amount of praise.<sup class="reference" id="cite_ref-175" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[170]  In 1598, the cleric and author Francis Meres singled him out from a group of English writers as "the most excellent" in both comedy and tragedy.<sup class="reference" id="cite_ref-176" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[171]  The authors of the Parnassus plays at St John's College, Cambridge numbered him with Chaucer, Gower and Spenser.<sup class="reference" id="cite_ref-177" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[172]  In the First Folio, Ben Jonson called Shakespeare the "Soul of the age, the applause, delight, the wonder of our stage", though he had remarked elsewhere that "Shakespeare wanted art".

A recently garlanded statue of William Shakespeare in Lincoln Park, Chicago, typical of many created in the 19th and early 20th century.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Between the Restoration of the monarchy in 1660 and the end of the 17th century, classical ideas were in vogue. As a result, critics of the time mostly rated Shakespeare below John Fletcher and Ben Jonson.<sup class="reference" id="cite_ref-178" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[173]  Thomas Rymer, for example, condemned Shakespeare for mixing the comic with the tragic. Nevertheless, poet and critic John Dryden rated Shakespeare highly, saying of Jonson, "I admire him, but I love Shakespeare".<sup class="reference" id="cite_ref-179" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[174]  For several decades, Rymer's view held sway; but during the 18th century, critics began to respond to Shakespeare on his own terms and acclaim what they termed his natural genius. A series of scholarly editions of his work, notably those of Samuel Johnson in 1765 and Edmond Malone in 1790, added to his growing reputation.<sup class="reference" id="cite_ref-180" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[175]  By 1800, he was firmly enshrined as the national poet.<sup class="reference" id="cite_ref-181" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[176]  In the 18th and 19th centuries, his reputation also spread abroad. Among those who championed him were the writers Voltaire, Goethe, Stendhal and Victor Hugo.<sup class="reference" id="cite_ref-182" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[177]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">During the Romantic era, Shakespeare was praised by the poet and literary philosopher Samuel Taylor Coleridge; and the critic August Wilhelm Schlegeltranslated his plays in the spirit of German Romanticism.<sup class="reference" id="cite_ref-183" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[178]  In the 19th century, critical admiration for Shakespeare's genius often bordered on adulation.<sup class="reference" id="cite_ref-184" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[179]  "That King Shakespeare," the essayist Thomas Carlyle wrote in 1840, "does not he shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying signs; indestructible".<sup class="reference" id="cite_ref-185" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[180]  The Victorians produced his plays as lavish spectacles on a grand scale.<sup class="reference" id="cite_ref-186" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[181]  The playwright and critic George Bernard Shaw mocked the cult of Shakespeare worship as "bardolatry", claiming that the new naturalism of Ibsen's plays had made Shakespeare obsolete.<sup class="reference" id="cite_ref-187" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[182]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">The modernist revolution in the arts during the early 20th century, far from discarding Shakespeare, eagerly enlisted his work in the service of the avant-garde. The Expressionists in Germany and the Futurists in Moscow mounted productions of his plays. Marxist playwright and director Bertolt Brecht devised an epic theatre under the influence of Shakespeare. The poet and critic T.S. Eliot argued against Shaw that Shakespeare's "primitiveness" in fact made him truly modern.<sup class="reference" id="cite_ref-188" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[183]  Eliot, along with G. Wilson Knight and the school of New Criticism, led a movement towards a closer reading of Shakespeare's imagery. In the 1950s, a wave of new critical approaches replaced modernism and paved the way for "post-modern" studies of Shakespeare.<sup class="reference" id="cite_ref-189" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[184]  By the 1980s, Shakespeare studies were open to movements such as structuralism, feminism, New Historicism, African-American studies, and queer studies.<sup class="reference" id="cite_ref-190" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[185] <sup class="reference" id="cite_ref-191" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[186]  In a comprehensive reading of Shakespeare's works and comparing Shakespeare literary accomplishments to accomplishments among leading figures in philosophy and theology as well, Harold Bloom has commented that, "Shakespeare was larger than Plato and than St. Augustine. He encloses us, because we see with his fundamental perceptions."<sup class="reference" id="cite_ref-192" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[187]

Authorship
Main article: Shakespeare authorship question<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Around 230 years after Shakespeare's death, doubts began to be expressed about the authorship of the works attributed to him.<sup class="reference" id="cite_ref-193" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[188]  Proposed alternative candidates include Francis Bacon,Christopher Marlowe, and Edward de Vere, 17th Earl of Oxford.<sup class="reference" id="cite_ref-194" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[189]  Several "group theories" have also been proposed.<sup class="reference" id="cite_ref-195" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[190]  Only a small minority of academics believe there is reason to question the traditional attribution,<sup class="reference" id="cite_ref-196" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[191]  but interest in the subject, particularly the Oxfordian theory of Shakespeare authorship, continues into the 21st century.<sup class="reference" id="cite_ref-197" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[192]

Religion
Main article: Shakespeare's religion<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Some scholars claim that members of Shakespeare's family were Catholics, at a time when Catholic practice was against the law.<sup class="reference" id="cite_ref-198" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[193]  Shakespeare's mother, Mary Arden, certainly came from a pious Catholic family. The strongest evidence might be a Catholic statement of faith signed by John Shakespeare, found in 1757 in the rafters of his former house in Henley Street. The document is now lost, however, and scholars differ as to its authenticity.<sup class="reference" id="cite_ref-199" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[194]  In 1591 the authorities reported that John Shakespeare had missed church "for fear of process for debt", a common Catholic excuse.<sup class="reference" id="cite_ref-Cath_200-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[195]  In 1606 the name of William's daughter Susanna appears on a list of those who failed to attend Easter communion in Stratford.<sup class="reference" id="cite_ref-Cath_200-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[195]  As several scholars have noted, whatever his private views, Shakespeare "conformed to the official state religion", as Park Honan put it.<sup class="reference" id="cite_ref-201" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[196] <sup class="reference" id="cite_ref-202" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[197]  Shakespeare's will uses a Protestant formula and he was a confirmed member of the Church of England, where he got married, his children were baptized, and where he was buried. Other authors argue that there is a lack of evidence about Shakespeare's religious beliefs. Scholars find evidence both for and against Shakespeare's Catholicism, Protestantism, or lack of belief in his plays, but the truth may be impossible to prove.<sup class="reference" id="cite_ref-203" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[198]

Sexuality
Main article: Sexuality of William Shakespeare<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Few details of Shakespeare's sexuality are known. At 18, he married the 26-year-old Anne Hathaway, who was pregnant. Susanna, the first of their three children, was born six months later on 26 May 1583. Over the centuries some readers have posited that Shakespeare's sonnets are autobiographical,<sup class="reference" id="cite_ref-204" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[199]  and point to them as evidence of his love for a young man. Others read the same passages as the expression of intense friendship rather than sexual love.<sup class="reference" id="cite_ref-205" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[200]  The 26 so-called "Dark Lady" sonnets, addressed to a married woman, are taken as evidence of heterosexual liaisons.<sup class="reference" id="cite_ref-206" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[201]

Portraiture
Main article: Portraits of Shakespeare<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">No written contemporary description of Shakespeare's physical appearance survives, and no evidence suggests that he ever commissioned a portrait, so the Droeshout engraving, which Ben Jonson approved of as a good likeness,<sup class="reference" id="cite_ref-207" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[202]  and his Stratford monument provide the best evidence of his appearance. From the 18th century, the desire for authentic Shakespeare portraits fuelled claims that various surviving pictures depicted Shakespeare. That demand also led to the production of several fake portraits, as well as mis-attributions, repaintings and relabelling of portraits of other people.<sup class="reference" id="cite_ref-208" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[203]

List of works
Further information: Shakespeare bibliography and Chronology of Shakespeare's plays===Classification of the plays===

The Plays of William Shakespeare. By Sir John Gilbert, 1849.<p style="margin-top:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">Shakespeare's works include the 36 plays printed in the First Folio of 1623, listed according to their folio classification as comedies, histories andtragedies.<sup class="reference" id="cite_ref-209" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[204]  Two plays not included in the First Folio, The Two Noble Kinsmen and Pericles, Prince of Tyre, are now accepted as part of the canon, with scholars agreed that Shakespeare made a major contribution to their composition.<sup class="reference" id="cite_ref-210" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[205]  No Shakespearean poems were included in the First Folio.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.3636360168457px;color:rgb(37,37,37);font-family:sans-serif;font-size:13.63636302948px;">In the late 19th century, Edward Dowden classified four of the late comedies as romances, and though many scholars prefer to call them tragicomedies, his term is often used.<sup class="reference" id="cite_ref-211" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[206]  These plays and the associated Two Noble Kinsmen are marked with an asterisk (*) below. In 1896, Frederick S. Boas coined the term "problem plays" to describe four plays: All's Well That Ends Well, Measure for Measure, Troilus and Cressida and Hamlet.<sup class="reference" id="cite_ref-212" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[207]  "Dramas as singular in theme and temper cannot be strictly called comedies or tragedies", he wrote. "We may therefore borrow a convenient phrase from the theatre of today and class them together as Shakespeare's problem plays."<sup class="reference" id="cite_ref-213" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[208]  The term, much debated and sometimes applied to other plays, remains in use, though Hamlet is definitively classed as a tragedy.<sup class="reference" id="cite_ref-214" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.9090909957886px;">[209]