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 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

Sonnet 131: Thou art as tyrannous, so as thou art

Sonnet 131: Thou art as tyrannous, so as thou art

Thou art as tyrannous, so as thou art,
As those whose beauties proudly make them cruel;
For well thou know'st to my dear doting heart
Thou art the fairest and most precious jewel.
Yet, in good faith, some say that thee behold
Thy face hath not the power to make love groan;
To say they err I dare not be so bold,
Although I swear it to myself alone.
And to be sure that is not false I swear,
A thousand groans but thinking on thy face,
One on another's neck do witness bear
Thy black is fairest in my judgment's place.


In nothing art thou black save in thy deeds,
And thence this slander, as I think, proceeds.
398

Sonnet 13: O, that you were your self! But, love, you are

Sonnet 13: O, that you were your self! But, love, you are

O, that you were your self! But, love, you are

No longer yours than you yourself here live.

Against this coming end you should prepare,

And your sweet semblance to some other give.

So should that beauty which you hold in lease

Find no determination; then you were

Yourself again after yourself's decease,

When your sweet issue your sweet form should bear.

Who lets so fair a house fall to decay,

Which husbandry in honour might uphold

Against the stormy gusts of winter's day

And barren rage of death's eternal cold?
O, none but unthrifts! Dear my love, you know,
You had a father; let your son say so.
303

Sonnet 128: How oft, when thou, my music, music play'st

Sonnet 128: How oft, when thou, my music, music play'st

How oft, when thou, my music, music play'st,

Upon that blessèd wood whose motion sounds

With thy sweet fingers when thou gently sway'st

The wiry concord that mine ear confounds,

Do I envy those jacks that nimble leap

To kiss the tender inward of thy hand,

Whilst my poor lips, which should that harvest reap,

At the wood's boldness by thee blushing stand!

To be so tickled, they would change their state

And situation with those dancing chips

O'er whom thy fingers walk with gentle gait,

Making dead wood more blest than living lips.
Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss.
352

Sonnet 125: Were't aught to me I bore the canopy

Sonnet 125: Were't aught to me I bore the canopy

Were't aught to me I bore the canopy,
With my extern the outward honouring,
Or laid great bases for eternity,
Which proves more short than waste or ruining?
Have I not seen dwellers on form and favour
Lose all, and more, by paying too much rent
For compound sweet forgoing simple savour,
Pitiful thrivers in their gazing spent?
No, let me be obsequious in thy heart,
And take thou my oblation, poor but free,
Which is not mixed with seconds, knows no art
But mutual render, only me for thee.


Hence, thou suborned informer, a true soul
When most impeached stands least in thy control.
381

Sonnet 122: Thy gift, thy tables, are within my brain

Sonnet 122: Thy gift, thy tables, are within my brain

Thy gift, thy tables, are within my brain
Full charactered with lasting memory,
Which shall above that idle rank remain
Beyond all date even to eternity—
Or at the least, so long as brain and heart
Have faculty by nature to subsist;
Till each to razed oblivion yield his part
Of thee, thy record never can be missed.
That poor retention could not so much hold,
Nor need I tallies thy dear love to score;
Therefore to give them from me was I bold,
To trust those tables that receive thee more.


To keep an adjunct to remember thee
Were to import forgetfulness in me.
243

Sonnet 121:Tis better to be vile than vile esteemed

Sonnet 121:Tis better to be vile than vile esteemed

'Tis better to be vile than vile esteemed,
When not to be receives reproach of being;
And the just pleasure lost, which is so deemed
Not by our feeling, but by others' seeing:
For why should others' false adulterate eyes
Give salutation to my sportive blood?
Or on my frailties why are frailer spies,
Which in their wills count bad what I think good?
No, I am that I am, and they that level
At my abuses reckon up their own:
I may be straight though they themselves be bevel;
By their rank thoughts, my deeds must not be shown;
Unless this general evil they maintain,
All men are bad and in their badness reign.
312

Sonnet 118: Like as to make our appetite more keen

Sonnet 118: Like as to make our appetite more keen

Like as to make our appetite more keen

With eager compounds we our palate urge,

As to prevent our maladies unseen,

We sicken to shun sickness when we purge.

Even so being full of your ne'er-cloying sweetness,

To bitter sauces did I frame my feeding;

And, sick of welfare, found a kind of meetness

To be diseased ere that there was true needing.

Thus policy in love t' anticipate

The ills that were not, grew to faults assured,

And brought to medicine a healthful state

Which, rank of goodness, would by ill be cured.
But thence I learn and find the lesson true:
Drugs poison him that so fell sick of you.
472

Sonnet 12: When I do count the clock that tells the time

Sonnet 12: When I do count the clock that tells the time

When I do count the clock that tells the time,
And see the brave day sunk in hideous night;
When I behold the violet past prime,
And sable curls all silvered o'er with white;
When lofty trees I see barren of leaves
Which erst from heat did canopy the herd,
And summer's green all girded up in sheaves
Borne on the bier with white and bristly beard,
Then of thy beauty do I question make
That thou among the wastes of time must go,
Since sweets and beauties do themselves forsake
And die as fast as they see others grow;


And nothing 'gainst Time's scythe can make defence
Save breed, to brave him when he takes thee hence.
385

Sonnet 115: Those lines that I before have writ do lie

Sonnet 115: Those lines that I before have writ do lie

Those lines that I before have writ do lie,

Even those that said I could not love you dearer;

Yet then my judgment knew no reason why

My most full flame should afterwards burn clearer,

But reckoning Time, whose millioned accidents

Creep in 'twixt vows, and change decrees of kings,

Tan sacred beauty, blunt the sharp'st intents,

Divert strong minds to the course of alt'ring things—

Alas, why, fearing of Time's tyranny,

Might I not then say, "Now I love you best,"

When I was certain o'er incertainty,

Crowning the present, doubting of the rest?
Love is a babe; then might I not say so,
To give full growth to that which still doth grow.
330

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