William Shakespeare

William Shakespeare

1564–1616 · lived 52 years GB GB

William Shakespeare is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. His vast body of work, including tragedies, comedies, histories, and sonnets, explores the complexities of human nature with unparalleled depth and linguistic richness. His plays continue to be performed and studied globally, making him a timeless figure in literature and theatre.

n. 1564-04-23, Stratford-upon-Avon · m. 1616-04-23, Stratford-upon-Avon

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Shall I compare thee to a summer's day? (Sonnet 18)

Shall I compare thee to a summer's day? (Sonnet 18)

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimmed;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wand'rest in his shade,
When in eternal lines to Time thou grow'st.


So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
Read full poem
Bio

Identification and basic context

William Shakespeare is the most celebrated playwright and poet in the English language. He is often referred to by his pseudonyms, though none were widely adopted during his lifetime. He was born and died in Stratford-upon-Avon, England. His father was a glover and alderman, placing him in a respectable social standing within the town. Shakespeare was an English national and wrote exclusively in English.

Childhood and education

Details of Shakespeare's childhood are scarce, but it is generally assumed he attended the Stratford grammar school, where he would have received a solid grounding in Latin and classical literature. This formal education, supplemented by his keen observation of life and his prodigious reading, laid the foundation for his literary genius. He did not pursue higher education at university.

Literary trajectory

Shakespeare began his career in London in the late 1580s or early 1590s, likely as an actor and adapter of plays before establishing himself as a playwright. His career spanned roughly two decades, during which he wrote approximately 39 plays, 154 sonnets, and several longer poems. His work evolved over time, moving from early comedies and historical plays to his great tragedies and later romances. He was a key member of the acting company the Lord Chamberlain's Men (later the King's Men) and a shareholder in the Globe Theatre.

Works, style, and literary characteristics

Shakespeare's major works encompass tragedies ('Hamlet', 'Othello', 'King Lear', 'Macbeth', 'Romeo and Juliet'), comedies ('A Midsummer Night's Dream', 'Twelfth Night', 'As You Like It'), history plays ('Richard III', 'Henry V'), and his sonnets. His dominant themes are universal and enduring: love, death, ambition, jealousy, revenge, fate, appearance versus reality, and the nature of power. He masterfully employed various forms, including blank verse (iambic pentameter) and rhyming couplets, experimenting with structure and pacing. His poetic devices are legendary, utilizing metaphor, simile, personification, and wordplay with extraordinary skill to create rich imagery and profound meaning. His tone varies dramatically, from the profound despair of tragedy to the lighthearted wit of comedy. His poetic voice is multifaceted, capable of capturing the inner lives of kings, commoners, lovers, and fools. His language is renowned for its richness, inventiveness, and rhetorical power, coining countless words and phrases that have entered common usage.

Cultural and historical context

Shakespeare lived during the Elizabethan and Jacobean eras, a period of significant cultural, political, and economic change in England. His plays reflect the political machinations of the court, the exploration of new territories, and the prevailing religious and social anxieties of the time. He was part of a vibrant London theatre scene, interacting with contemporaries like Christopher Marlowe and Ben Jonson. His work engages with Renaissance humanism, the concept of divine right of kings, and evolving ideas about psychology and human nature.

Personal life

While much of Shakespeare's personal life remains private, he married Anne Hathaway and had three children: Susanna, and twins Hamnet and Judith. The death of his son Hamnet at a young age is speculated to have influenced themes in plays like 'Hamlet'. His friendships within the theatre world were crucial to his career. He maintained strong ties to his hometown of Stratford-upon-Avon, where he eventually retired and purchased property. His religious beliefs are a subject of scholarly debate, but his works often engage with Christian morality and theology.

Recognition and reception

Shakespeare achieved considerable fame and financial success during his lifetime, though perhaps not the same level of academic reverence as he enjoys today. His plays were popular with audiences across social classes. Posthumously, his reputation grew exponentially, and he came to be recognized as the pre-eminent figure in English literature. His works are continuously performed, studied, and celebrated worldwide, solidifying his place in the global literary canon.

Influences and legacy

Shakespeare drew inspiration from classical Roman and Greek literature (Plutarch, Ovid, Seneca), medieval morality plays, and earlier English chronicles and romances. His influence on subsequent literature, theatre, and language is immeasurable. He has inspired countless playwrights, poets, novelists, and artists across centuries and cultures. His works have been translated into virtually every major language and continue to be a cornerstone of literary education and theatrical production. His inventive use of language has permanently enriched the English lexicon.

Interpretation and critical analysis

Shakespeare's plays have been subjected to endless critical interpretation, exploring themes of political power, social justice, gender roles, psychology, and existentialism. Scholars and critics continue to debate character motivations, historical accuracy, and the philosophical underpinnings of his works. His texts are constantly re-examined through new critical lenses, including feminist, post-colonial, and psychoanalytic approaches.

Curiosities and lesser-known aspects

Shakespeare's handwriting is notoriously difficult to decipher, with only a few authenticated signatures surviving. His acting career is less documented than his playwriting. The authorship question, suggesting someone else wrote the plays attributed to him, persists despite overwhelming scholarly consensus supporting Shakespeare of Stratford. His knowledge of legal matters and Italian settings in his plays has also been a subject of curiosity.

Death and memory

William Shakespeare died on April 23, 1616, in Stratford-upon-Avon. He was buried in the chancel of Holy Trinity Church. His will famously leaves his 'second-best bed' to his wife. His enduring memory is primarily preserved through the continuous performance and study of his plays and poems, the preservation of his birthplace and home, and his monumental impact on the English language and global culture.

Poems

206

Sonnet 149: Canst thou, O cruel, say I love thee not

Sonnet 149: Canst thou, O cruel, say I love thee not

Canst thou, O cruel, say I love thee not,
When I against my self with thee partake?
Do I not think on thee when I forgot
Am of my self, all tyrant, for thy sake?
Who hateth thee that I do call my friend?
On whom frown'st thou that I do fawn upon?
Nay, if thou lour'st on me, do I not spend
Revenge upon my self with present moan?
What merit do I in my self respect,
That is so proud thy service to despise,
When all my best doth worship thy defect,
Commanded by the motion of thine eyes?


But, love, hate on, for now I know thy mind:
Those that can see thou lov'st, and I am blind.
212

Sonnet 146:

Sonnet 146:

Poor soul, the centre of my sinful earth,
[……] these rebel powers that thee array,
Why dost thou pine within and suffer dearth,
Painting thy outward walls so costly gay?
Why so large cost, having so short a lease,
Dost thou upon thy fading mansion spend?
Shall worms, inheritors of this excess,
Eat up thy charge? Is this thy body's end?
Then soul, live thou upon thy servant's loss
And let that pine to aggravate thy store;
Buy terms divine in selling hours of dross;
Within be fed, without be rich no more.
So shalt thou feed on Death, that feeds on men,
And, Death once dead, there's no more dying then.
290

Sonnet 147: My love is as a fever, longing still

Sonnet 147: My love is as a fever, longing still

My love is as a fever, longing still
For that which longer nurseth the disease,
Feeding on that which doth preserve the ill,
Th' uncertain sickly appetite to please.
My reason, the physician to my love,
Angry that his prescriptions are not kept,
Hath left me, and I desperate now approve
Desire is death, which physic did except.
Past cure I am, now reason is past care,
And frantic-mad with evermore unrest;
My thoughts and my discourse as mad men's are,
At random from the truth vainly expressed.


For I have sworn thee fair, and thought thee bright,
Who art as black as hell, as dark as night.
333

Sonnet 145:

Sonnet 145:

Those lips that Love's own hand did make
Breath'd forth the sound that said I hate
To me that languish'd for her sake:
But when she saw my woeful state,
Straight in her heart did mercy come.
Chiding that tongue, that ever sweet
Was used in giving gentle doom:
And taught it thus anew to greet:
'I hate' she alter'd with an end
That follow'd it as gentle day
Doth follow night, who like a fiend
From heaven to hell is flown away.
'I hate' from hate away she threw,
And sav'd my life, saying 'not you'
313

Sonnet 143: Lo, as a careful huswife runs to catch

Sonnet 143: Lo, as a careful huswife runs to catch

Lo, as a careful huswife runs to catch
One of her feathered creatures broke away,
Sets down her babe and makes all swift dispatch
In pursuit of the thing she would have stay,
Whilst her neglected child holds her in chase,
Cries to catch her whose busy care is bent
To follow that which flies before her face,
Not prizing her poor infant's discontent:
So runn'st thou after that which flies from thee,
Whilst I, thy babe, chase thee afar behind;
But if thou catch thy hope turn back to me,
And play the mother's part: kiss me, be kind.


So will I pray that thou mayst have thy Will,
If thou turn back and my loud crying still.
263

Sonnet 14: Not from the stars do I my judgement pluck

Sonnet 14: Not from the stars do I my judgement pluck

Not from the stars do I my judgement pluck,
And yet methinks I have astronomy—
But not to tell of good or evil luck,
Of plagues, of dearths, or seasons' quality;
Nor can I fortune to brief minutes tell,
'Pointing to each his thunder, rain, and wind,
Or say with princes if it shall go well
By oft predict that I in heaven find.
But from thine eyes my knowledge I derive,
And, constant stars, in them I read such art
As truth and beauty shall together thrive
If from thy self to store thou wouldst convert;


Or else of thee this I prognosticate:
Thy end is truth's and beauty's doom and date.
305

Sonnet 141: In faith, I do not love thee with mine eyes

Sonnet 141: In faith, I do not love thee with mine eyes

In faith, I do not love thee with mine eyes,

For they in thee a thousand errors note;

But 'tis my heart that loves what they despise,

Who in despite of view is pleased to dote.

Nor are mine cars with thy tongue's tune delighted,

Nor tender feeling to base touches prone,

Nor taste, nor smell, desire to be invited

To any sensual feast with thee alone;

But my five wits, nor my five senses can

Dissuade one foolish heart from serving thee,

Who leaves unswayed the likeness of a man,

Thy proud heart's slave and vassal wretch to be.
Only my plague thus far I count my gain,
That she that makes me sin awards me pain.
307

Sonnet 139: O, call not me to justify the wrong

Sonnet 139: O, call not me to justify the wrong

O, call not me to justify the wrong

That thy unkindness lays upon my heart

Wound me not with thine eye but with thy tongue;

Use power with power, and slay me not by art.

Tell me thou lov'st elsewhere, but in my sight,

Dear heart forbear to glance thine eye aside;

What need'st thou wound with cunning when thy might

Is more than my o'erpressed defence can bide?

Let me excuse thee: "Ah, my love well knows,

Her pretty looks have been mine enemies,

And therefore from my face she turns my foes,

That they elsewhere might dart their injuries."
Yet do not so; but since I am near slain,
Kill me outright with looks and rid my pain.
323

Sonnet 137: Thou blind fool, Love, what dost thou to mine eyes

Sonnet 137: Thou blind fool, Love, what dost thou to mine eyes

Thou blind fool, Love, what dost thou to mine eyes
That they behold and see not what they see?
They know what beauty is, see where it lies,
Yet what the best is, take the worst to be.
If eyes corrupt by overpartial looks,
Be anchored in the bay where all men ride,
Why of eyes' falsehood hast thou forgèd hooks,
Whereto the judgment of my heart is tied?
Why should my heart think that a several plot
Which my heart knows the wide world's common place?
Or mine eyes seeing this, say this is not
To put fair truth upon so foul a face?


In things right true my heart and eyes have erred,
And to this false plague are they now transferred.
338

Sonnet 133: Beshrew that heart that makes my heart to groan

Sonnet 133: Beshrew that heart that makes my heart to groan

Beshrew that heart that makes my heart to groan
For that deep wound it gives my friend and me!
Is't not enough to torture me alone,
But slave to slavery my sweet'st friend must be?
Me from my self thy cruel eye hath taken,
And my next self thou harder hast engrossed.
Of him, myself, and thee I am forsaken—
A torment thrice threefold thus to be crossed.
Prison my heart in thy steel bosom's ward,
But then my friend's heart let my poor heart bail;
Whoe'er keeps me, let my heart be his guard,
Thou canst not then use rigour in my jail.


And yet thou wilt; for I, being pent in thee,
Perforce am thine, and all that is in me.
310

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