I INTRODUCTION

Shakespeare, William (1564-1616), English

playwright and poet, recognized in much of the
world as the greatest of all dramatists.
Shakespeare’s plays communicate a profound
knowledge of the wellsprings of human
behavior, revealed through portrayals of a
wide variety of characters. His use of poetic
and dramatic means to create a unified
aesthetic effect out of a multiplicity of vocal
expressions and actions is recognized as a
singular achievement, and his use of poetry
within his plays to express the deepest levels
of human motivation in individual, social, and
universal situations is considered one of the
greatest accomplishments in literary history.
Shakespeare's Playsc . Globe Theatre Interior
Audience members at the reconstructed Globe
Theatre in London can sit on benches in one of
the three covered galleries or stand in the
open yard, just as audiences did in the original
Globe Theatre of Shakespeare’s time. The
projecting stage has a thatched roof and an
elaborately decorated back wall. Large oak
pillars, painted to look like marble, support a
canopy, which has been painted to represent
the heavens.Andrea Pistolesi/The Image Bank
William Shakespeare Quick Factsc .

II LIFE

Globe Theatre in LondonThe Globe Theatre,

where dramatist William Shakespeare saw his
plays performed 400 years ago, has been
rebuilt near its original location on the south
bank of the Thames River in London, England.
The rebuilt theater opened in 1997 and offers
performances of Shakespeare’s plays during
the summer. Like the original, which opened in
1599, the rebuilt theater encloses a roofless
inner pit, into which the roofed stage projects.
Traditional materials were used in the
rebuilding. A thatched roof covers the galleries
where the audience sits, and the outer walls
are made of lime plaster.MacDuff Everton/The
Image Bank Shakespeare's Sonnet 18English
author William Shakespeare ranks as perhaps
the most famous writer in the history of
English literature. Shakespeare employed poet
verse within his dramatic comedies, tragedies,
and histories, and he also composed notable
individual poems. His poetic efforts include a
series of 154 sonnets, in which he developed
the Shakespearian sonnet as a new poetic
form, arranged with three quatrains and a
couplet. Sonnet 18 (recited by an actor) comes
from The Sonnets of Shakespeare (printed in
1609).(p) 1994 . Shakespeare’s Burial
SiteEngland’s greatest playwright, William
Shakespeare, died on April 23, 1616, and was
buried in the Holy Trinity Church in Stratford-
upon-Avon, Warwickshire, shown here. His
epitaph reads: Good friend for Jesus sake
forbeare To digg the dust encloased heare:
Blese be ye man yt spares thes stones And
curst be he yt moves my bones.Chris Cole/The
Image Bank A complete, authoritative account
of Shakespeare’s life is lacking, and thus much
supposition surrounds relatively few facts. It is
commonly accepted that he was born in 1564,
and it is known that he was baptized in
Stratford-upon-Avon, Warwickshire. The third
of eight children, he was probably educated at
the local grammar school. As the eldest son,
Shakespeare ordinarily would have been
apprenticed to his father’s shop so that he
could learn and eventually take over the
business, but according to one account he was
apprenticed to a butcher because of declines
in his father’s financial situation. According to
another account, he became a schoolmaster. In
1582 Shakespeare married Anne Hathaway,
the daughter of a farmer. He is supposed to
have left Stratford after he was caught
poaching in the deer park of Sir Thomas Lucy,
a local justice of the peace. Shakespeare and
Anne Hathaway had a daughter, Susanna, in
1583 and twins-Hamnet and Judith-in 1585.
Hamnet did not survive childhood. Poetry of
William Shakespeare English poet and
dramatist William Shakespeare sometimes
played with existing conventions of courtly
love in his sonnets. Courtly love sonnets, a
tradition stemming back to 13th-century Italy,
often depict a pure love for an idealized,
inaccessible woman. By contrast, in love
poems such as sonnet 130, Shakespeare
describes a far more tangible and imperfect
woman. The songs that appear in
Shakespeare’s plays can be sweet, playful,
lascivious, and absurd. Following are a
selection of four of Shakespeare’s sonnets and
two of his songs, “Tell Me Where Is Fancy
Bred” and “Where the Bee Sucks, There Suck
I.” open Shakespeare apparently arrived in
London about 1588 and by 1592 had attained
success as an actor and a playwright. Shortly
thereafter he secured the patronage of Henry
Wriothesley, 3rd earl of Southampton. The
publication of Shakespeare’s two fashionably
erotic narrative poems Venus and Adonis
(1593) and The Rape of Lucrece (1594) and of
his Sonnets (published 1609, but circulated
previously in manuscript form) established his
reputation as a gifted and popular poet of the
Renaissance (14th century to 17th century).
The Sonnets describe the devotion of a
character, often identified as the poet himself,
to a young man whose beauty and virtue he
praises and to a mysterious and faithless dark
lady with whom the poet is infatuated. The
ensuing triangular situation, resulting from the
attraction of the poet’s friend to the dark lady,
is treated with passionate intensity and
psychological insight. Shakespeare’s modern
reputation, however, is based primarily on the
38 plays that he apparently wrote, modified, or
collaborated on. Although generally popular in
his time, these plays were frequently little
esteemed by his educated contemporaries,
who considered English plays of their own day
to be only vulgar entertainment. Ten Who
Changed the Millennium In this December 1999
feature article from Encarta Yearbook,
educator and author Agnes Hooper Gottlieb
identifies and profiles ten individuals who
changed the course of the last 1,000 years.
open Shakespeare’s professional life in London
was marked by a number of financially
advantageous arrangements that permitted
him to share in the profits of his acting
company, the Chamberlain’s Men, later called
the King’s Men, and its two theaters, the Globe
Theatre and the Blackfriars. His plays were
given special presentation at the courts of
Queen Elizabeth I and King James I more
frequently than those of any other
contemporary dramatist. It is known that he
risked losing royal favor only once, in 1599,
when his company performed “the play of the
deposing and killing of King Richard II“ at the
request of a group of conspirators against
Elizabeth. In the subsequent inquiry,
Shakespeare’s company was absolved of
complicity in the conspiracy. He is supposed to
have left Stratford after he was caught
poaching in the deer park of Sir Thomas Lucy.
After about 1608, Shakespeare’s dramatic
production lessened and it seems that he
spent more time in Stratford, where he had
established his family in an imposing house
called New Place and had become a leading
local citizen. He died in 1616, and was buried
in the Stratford church.

III WORKS

Music of the Renaissance TheaterDuring the

Renaissance (15th-16th century) a “rebirth” of
artists and intellectuals paralleled a movement
to restore the philosophical and artistic ideals
of classical antiquity. The spirit of this time is
often reflected in its secular songs and consort
music. This was also a time when music
became more of a part of artistic and literary
life. The English playwright William
Shakespeare utilized music in the form of
popular songs and well-known ballads in his
plays. Not surprisingly, his verses inspired
numerous composers of songs and dramatic
orchestral music."Greensleeves" performed by
the Deller Consort, from Shakespeare Songs.
Although the precise date of many of
Shakespeare’s plays is in doubt, his dramatic
career is generally divided into four periods:
(1) the period up to 1594, (2) the years from
1594 to 1600, (3) the years from 1600 to 1608,
and (4) the period after 1608. Because of the
difficulty of dating Shakespeare’s plays and
the lack of conclusive facts about his writings,
these dates are approximate and can be used
only as a convenient framework in which to
discuss his development. In all periods, the
plots of his plays were frequently drawn from
chronicles, histories, or earlier fiction, as were
the plays of other contemporary dramatists.
AFirst Period From Richard III English
dramatist William Shakespeare portrayed
Richard III, king of England from 1483 to 1485,
as bitter, deformed, and conniving. Scholars
generally agree that Shakespeare villainized
Richard to some degree for the enjoyment of
Shakespeare’s Tudor audience: Richard III was
the last king of the house of York before the
accession of the powerful and prosperous
Tudor dynasty. In the famous opening lines of
Shakespeare’s Richard III (1592-1593?),
Richard, then duke of Gloucester, sarcastically
describes the quiet reign of his eldest brother,
Edward IV of the house of York, and plots to
defame his brother George, duke of Clarence,
who is ahead of Richard in the line of
succession. open Shakespeare’s first period
was one of experimentation. His early plays,
unlike his more mature work, are characterized
to a degree by formal and rather obvious
construction and by stylized verse. web center
UFind the best online information about
Shakespeare, William. Encarta Editors' Picks
Bartleby Shakespeare Collection Selected
Poetry of William Shakespeare (1564-1616)
William Shakespeare (1564-1616) more...
Chronicle history plays were a popular genre of
the time, and four plays dramatizing the
English civil strife of the 15th century are
possibly Shakespeare’s earliest dramatic
works (see England: The Lancastrian and
Yorkist Kings). These plays, Henry VI, Parts I,
II, and III (1590?-1592?) and Richard III (1592-
1593?), deal with evil resulting from weak
leadership and from national disunity fostered
for selfish ends. The four-play cycle closes with
the death of Richard III and the ascent to the
throne of Henry VII, the founder of the Tudor
dynasty, to which Elizabeth belonged. In style
and structure, these plays are related partly to
medieval drama and partly to the works of
earlier Elizabethan dramatists, especially
Christopher Marlowe. Either indirectly (through
such dramatists) or directly, the influence of
the classical Roman dramatist Seneca is also
reflected in the organization of these four
plays, especially in the bloodiness of many of
their scenes and in their highly colored,
bombastic language. The influence of Seneca,
exerted by way of the earlier English dramatist
Thomas Kyd, is particularly obvious in Titus
Andronicus (1594?), a tragedy of righteous
revenge for heinous and bloody acts, which are
staged in sensational detail. Shakespeare’s
comedies of the first period represent a wide
range. The Comedy of Errors (1592?), a farce in
imitation of classical Roman comedy, depends
for its appeal on mistaken identities in two
sets of twins involved in romance and war.
Farce is not as strongly emphasized in The
Taming of the Shrew (1593?), a comedy of
character. The Two Gentlemen of Verona
(1594?) concerns romantic love. Love’s
Labour’s Lost (1594?) satirizes the loves of its
main male characters as well as the
fashionable devotion to studious pursuits by
which these noblemen had first sought to
avoid romantic and worldly ensnarement. The
dialogue in which many of the characters voice
their pretensions ridicules the artificially
ornate, courtly style typified by the works of
English novelist and dramatist John Lyly, the
court conventions of the time, and perhaps the
scientific discussions of Sir Walter Raleigh and
his colleagues. BSecond Period A Midsummer
Night’s DreamFairies emerge from doorways in
space, and Bottom’s bed hangs suspended
before the moon in this 1998 production of A
Midsummer Night’s Dream at the Oregon
Shakespeare Festival in Ashland, Oregon. The
set, lighting, staging, and costumes all
combine to intensify the play’s enchanted,
unreal atmosphere.David Cooper/Oregon
Shakespeare Festival Scene from As You Like
ItShakespeare’s second period, encompassing
the mid and late-1590s, is characterized by
comedies and histories. The scene pictured
here features American actors Cloris Leachman
and Katharine Hepburn in a 20th century
production of As You Like It (1599-1600), one
of Shakespeare’s best-known comedies.

THE BETTMANN ARCHIVE

Shakespeare’s second period includes his most

important plays concerned with English
history, his so-called joyous comedies, and two
of his major tragedies. In this period, his style
and approach became highly individualized.
The second-period historical plays include
Richard II (1595?), Henry IV, Parts I and II
(1597?), and Henry V (1598?). They encompass
the years immediately before those portrayed
in the Henry VI plays. Richard II is a study of a
weak, sensitive, self-dramatizing but
sympathetic monarch who loses his kingdom to
his forceful successor, Henry IV. In the two
parts of Henry IV, Henry recognizes his own
guilt. His fears for his own son, later Henry V,
prove unfounded, as the young prince displays
a responsible attitude toward the duties of
kingship. In an alternation of masterful comic
and serious scenes, the fat knight Falstaff and
the rebel Hotspur reveal contrasting excesses
between which the prince finds his proper
position. The mingling of the tragic and the
comic to suggest a broad range of humanity
subsequently became one of Shakespeare’s
favorite devices. From As You Like It
Witticisms and innuendo fly fast and furious in
this playful scene from dramatist William
Shakespeare’s comedy As You Like It (1599?).
Earlier in the play, the nobleman Orlando falls
in love with the lady Rosalind. Rosalind,
disguised as a boy named Ganymede, then
comes across Orlando in the forest and urges
him to pretend that “Ganymede” is Rosalind.
Orlando plays along, oblivious to the fact that
he is indeed speaking to Rosalind. Other
characters who appear in this scene are
Rosalind’s cousin Celia, disguised as the boy
Aliena, and the nobleman Jaques, whom
Rosalind teases for his somberness. open
Outstanding among the comedies of the
second period is A Midsummer Night’s Dream
(1595?), which interweaves several plots
involving two pairs of noble lovers, a group of
bumbling and unconsciously comic
townspeople, and members of the fairy realm,
notably Puck, King Oberon, and Queen Titania.
Subtle evocation of atmosphere, of the sort
that characterizes this play, is also found in
the tragicomedy The Merchant of Venice
(1596?). In this play, the Renaissance motifs of
masculine friendship and romantic love are
portrayed in opposition to the bitter
inhumanity of a usurer named Shylock, whose
own misfortunes are presented so as to arouse
understanding and sympathy. The character of
the quick-witted, warm, and responsive young
woman, exemplified in this play by Portia,
reappears in the joyous comedies of the
second period. From Julius Caesar The great
English dramatist William Shakespeare showed
his mastery of the art of rhetoric in this
excerpt from Julius Caesar (1599?). The scene,
the funeral of Roman ruler Julius Caesar, opens
with a well-received speech by Marcus Brutus,
one of Caesar’s assassins. Brutus, who was
highly respected by the people of Rome,
argues that Caesar had become overly
ambitious. Here, Roman statesman Mark
Antony replies with a virtuoso address that
turns the crowd against Brutus, but leaves the
impression that Antony is a noble bystander,
rather than a cunning agitator. open The witty
comedy Much Ado About Nothing (1599?) is
marred, in the opinion of some critics, by an
insensitive treatment of its female characters.
However, Shakespeare’s most mature
comedies, As You Like It (1599?) and Twelfth
Night (1600?), are characterized by lyricism,
ambiguity, and beautiful, charming, and
strong-minded heroines. In As You Like It, the
contrast between the manners of the
Elizabethan court and those current in the
English countryside is drawn in a rich and
varied vein. Shakespeare constructed a
complex orchestration between different
characters and between appearance and
reality and used this pattern to comment on a
variety of human foibles. In that respect, As
You Like It is similar to Twelfth Night, in which
the comical side of love is illustrated by the
misadventures of two pairs of romantic lovers
and of a number of realistically conceived and
clowning characters in the subplot. Another
comedy of the second period is The Merry
Wives of Windsor (1599?), a farce about
middle-class life in which Falstaff reappears as
the comic victim. The mingling of the tragic
and the comic ... became one of Shakespeare’s
favorite devices. Two major tragedies,
differing considerably in nature, mark the
beginning and the end of the second period.
Romeo and Juliet (1595?), famous for its poetic
treatment of the ecstasy of youthful love,
dramatizes the fate of two lovers victimized by
the feuds and misunderstandings of their
elders and by their own hasty temperaments.
Julius Caesar (1599?), on the other hand, is a
serious tragedy of political rivalries, but is less
intense in style than the tragic dramas that
followed it. CThird Period Shakespeare's
MacbethWilliam Shakespeare, who wrote
during the late 1500s and early 1600s in
England, is generally considered the greatest
dramatist in human history and the supreme
poet of the English language. His brilliant
works are universally celebrated for their
comprehensive understanding of the human
condition. In this excerpt from William
Shakespeare’s play Macbeth (recited by an
actor), Macbeth meditates on the futility of
human endeavors. Macbeth’s schemes for
gaining power are falling apart, and he has
just heard that Lady Macbeth is dead.(p)
1992 . ./Culver Pictures Shakespeare’s third
period includes his greatest tragedies and his
so-called dark or bitter comedies. The
tragedies of this period are considered the
most profound of his works. In them he used
his poetic idiom as an extremely supple
dramatic instrument, capable of recording
human thought and the many dimensions of
given dramatic situations. Hamlet (1601?),
perhaps his most famous play, exceeds by far
most other tragedies of revenge in picturing
the mingled sordidness and glory of the human
condition. Hamlet feels that he is living in a
world of horror. Confirmed in this feeling by
the murder of his father and the sensuality of
his mother, he exhibits tendencies toward both
crippling indecision and precipitous action.
Interpretation of his motivation and
ambivalence continues to be a subject of
considerable controversy. Hamlet's Soliloquy
Since first performed in the early 1600s, the
title role in William Shakespeare's Hamlet has
remained a favorite of many actors because of
the emotional complexity of Hamlet's
personality. Nowhere is this complexity more
apparent than in Hamlet's famous soliloquy in
Act III, Scene 1. The soliloquy is a monologue
in which a character reveals inner thoughts,
motivations, and feelings. Shakespeare used
the technique often, and his soliloquies are
poetic and rich in imagery. In Hamlet, a play
about a man whose mind may be his fatal flaw,
the form reaches its highest level. open
Othello (1604?) portrays the growth of
unjustified jealousy in the protagonist, Othello,
a Moor serving as a general in the Venetian
army. The innocent object of his jealousy is his
wife, Desdemona. In this tragedy, Othello’s
evil lieutenant Iago draws him into mistaken
jealousy in order to ruin him. King Lear
(1605?), conceived on a more epic scale, deals
with the consequences of the irresponsibility
and misjudgment of Lear, a ruler of early
Britain, and of his councillor, the Duke of
Gloucester. The tragic outcome is a result of
their giving power to their evil children, rather
than to their good children. Lear’s daughter
Cordelia displays a redeeming love that makes
the tragic conclusion a vindication of
goodness. This conclusion is reinforced by the
portrayal of evil as self-defeating, as
exemplified by the fates of Cordelia’s sisters
and of Gloucester’s opportunistic son. Antony
and Cleopatra (1606?) is concerned with a
different type of love, namely the middle-aged
passion of Roman general Mark Antony for
Egyptian queen Cleopatra. Their love is
glorified by some of Shakespeare’s most
sensuous poetry. In Macbeth (1606?),
Shakespeare depicts the tragedy of a man
who, led on by others and because of a defect
in his own nature, succumbs to ambition. In
securing the Scottish throne, Macbeth dulls his
humanity to the point where he becomes
capable of any amoral act. From Hamlet
Hamlet (1601?), by English playwright William
Shakespeare, is one of the most famous
tragedies in English literature. At the opening
of the drama, Hamlet, the prince of Denmark,
has returned home after the death of his
father, the king. Shortly after the funeral,
Hamlet’s mother remarried Hamlet’s uncle
Claudius, who succeeded his father on the
throne. In the following scenes from the first
act, Hamlet is visited by his father’s ghost,
which tells Hamlet that he was murdered by
Claudius. Hamlet then vows to avenge his
father’s death, and forces his friends Horatio
and Marcellus to swear never to tell what they
saw or heard that night. open Unlike these
tragedies, three other plays of this period
suggest a bitterness stemming from the
protagonists’ apparent lack of greatness or
tragic stature. In Troilus and Cressida (1602?),
the most intellectually contrived of
Shakespeare’s plays, the gulf between the
ideal and the real, both individual and political,
is skillfully evoked. In Coriolanus (1608?),
another tragedy set in antiquity, the legendary
Roman hero Gnaeus Marcius Coriolanus is
portrayed as unable to bring himself either to
woo the Roman masses or to crush them by
force. Timon of Athens (1608?) is a similarly
bitter play about a character reduced to
misanthropy by the ingratitude of his
sycophants. Because of the uneven quality of
the writing, this tragedy is considered a
collaboration, quite possibly with English
dramatist Thomas Middleton. Shakespeare’s
third period includes his greatest tragedies
and his so-called dark or bitter comedies. The
two comedies of this period are also dark in
mood and are sometimes called problem plays
because they do not fit into clear categories or
present easy resolution. All’s Well That Ends
Well (1602?) and Measure for Measure (1604?)
both question accepted patterns of morality
without offering solutions. DFourth Period
Epilogue to The Tempest The closing lines of
English dramatist William Shakespeare’s
tragicomedy The Tempest (1611?) are often
interpreted as Shakespeare’s own farewell to
the theater. The play is thought to be the last
written solely by Shakespeare. It tells the
story of Prospero, magician and former duke of
Milan, who has been exiled and shipwrecked
on an island. The Tempest is a masterful
meditation on authorship and the process of
creation, and on the ephemeral nature of art
and life. As Prospero turns and addresses the
audience in the epilogue, the voices of
character, actor, and author emerge and
intertwine. open The fourth period of
Shakespeare’s work includes his principal
romantic tragicomedies. Toward the end of his
career, Shakespeare created several plays
that, through the intervention of magic, art,
compassion, or grace, often suggest
redemptive hope for the human condition.
These plays are written with a grave quality
differing considerably from Shakespeare’s
earlier comedies, but they end happily with
reunions or final reconciliations. The
tragicomedies depend for part of their appeal
upon the lure of a distant time or place, and all
seem more obviously symbolic than most of
Shakespeare’s earlier works. To many critics,
the tragicomedies signify a final ripeness in
Shakespeare’s own outlook, but other
authorities believe that the change reflects
only a change in fashion in the drama of the
period. Shakespeare created several plays that
... suggest redemptive hope for the human
condition. The romantic tragicomedy Pericles,
Prince of Tyre (1608?) concerns the painful
loss of the title character’s wife and the
persecution of his daughter. After many exotic
adventures, Pericles is reunited with his loved
ones.In Cymbeline (1610?) and The Winter’s
Tale (1610?), characters suffer great loss and
pain but are reunited. Perhaps the most
successful product of this particular vein of
creativity, however, is what may be
Shakespeare’s last complete play, The
Tempest (1611?), in which the resolution
suggests the beneficial effects of the union of
wisdom and power. In this play a duke,
deprived of his dukedom and banished to an
island, confounds his usurping brother by
employing magical powers and furthering a
love match between his daughter and the
usurper’s son. Shakespeare’s poetic power
reached great heights in this beautiful, lyrical
play. Two final plays, sometimes ascribed to
Shakespeare, presumably are the products of
collaboration. A historical drama, Henry VIII
(1613?) was probably written with English
dramatist John Fletcher (see Beaumont and
Fletcher), as was The Two Noble Kinsmen
(1613?; published 1634), a story of the love of
two friends for one woman. ELiterary
Reputation Elegy Tabbed as Shakespeare
Work The following report is from a February
1996 article in the Encarta Yearbook. open
Until the 18th century, Shakespeare was
generally thought to have been no more than a
rough and untutored genius. Theories were
advanced that his plays had actually been
written by someone more educated, perhaps
statesman and philosopher Sir Francis Bacon
or the earl of Southampton, who was
Shakespeare’s patron. However, he was
celebrated in his own time by English writer
Ben Jonson and others who saw in him a
brilliance that would endure. Since the 19th
century, Shakespeare’s achievements have
been more consistently recognized, and
throughout the Western world he has come to
be regarded as the greatest dramatist ever.
further reading These sources provide
additional information on Shakespeare,
William.

Report
 with
subject:
„Live and Work of William
Shakespeare”

Executed by:

Sîrbu Alexei
Chişinău 2006