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

The Passionate Pilgrim

The Passionate Pilgrim

I.
When my love swears that she is made of truth,
I do believe her, though I know she lies,
That she might think me some untutor'd youth,
Unskilful in the world's false forgeries,
Thus vainly thinking that she thinks me young,
Although I know my years be past the best,
I smiling credit her false-speaking tongue,
Outfacing faults in love with love's ill rest.
But wherefore says my love that she is young?
And wherefore say not I that I am old?
O, love's best habit is a soothing tongue,
And age, in love, loves not to have years told.
Therefore, I'll lie with love, and love with me,
Since that our faults in love thus smother'd be.
II.
Two loves I have, of comfort and despair,
That like two spirits do suggest me still;
My better angel is a man right fair,
My worser spirit a woman colour'd ill.
To win me soon to hell, my female evil
Tempteth my better angel from my side,
And would corrupt my saint to be a devil,
Wooing his purity with her fair pride.
And whether that my angel be turn'd fiend,
Suspect I may, yet not directly tell:
For being both to me, both to each friend,
I guess one angel in another's hell:
The truth I shall not know, but live in doubt,
Till my bad angel fire my good one out.
III.
Did not the heavenly rhetoric of thine eye,
'Gainst whom the world could not hold argument.
Persuade my heart to this false perjury?
Vows for thee broke deserve not punishment.
A woman I forswore; but I will prove,
Thou being a goddess, I forswore not thee:
My vow was earthly, thou a heavenly love:
Thy grace being gain'd cures all disgrace in me.
My vow was breath, and breath a vapour is;
Then, thou fair sun, that on this earth doth shine,
Exhale this vapour vow; in thee it is:
If broken, then it is no fault of mine.
If by me broke, what fool is not so wise
To break an oath, to win a paradise?
IV.
Sweet Cytherea, sitting by a brook
With young Adonis, lovely, fresh, and green,
Did court the lad with many a lovely look,

Such looks as none could look but beauty's queen,
She told him stories to delight his ear;
She show'd him favours to allure his eye;
To win his heart, she touch'd him here and there, --
Touches so soft still conquer chastity.
But whether unripe years did want conceit,
Or he refused to take her figured proffer,
The tender nibbler would not touch the bait,
But smile and jest at every gentle offer:
Then fell she on her back, fair queen, and toward:
He rose and ran away; ah, fool too froward!


V.
If love make me forsworn, how shall I swear to love?
O never faith could hold, if not to beauty vow'd:
Though to myself forsworn, to thee I'll constant prove;
Those thoughts, to me like oaks, to thee like osiers bow'd.
Study his bias leaves, and make his book thine eyes,
Where all those pleasures live that art can comprehend.
If knowledge be the mark, to know thee shall suffice;
Well learned is that tongue that well can thee commend;
All ignorant that soul that sees thee without wonder;
Which is to me some praise, that I thy parts admire:
Thy eye Jove's lightning seems, thy voice his dreadful thunder,
Which, not to anger bent, is music and sweet fire.
Celestial as thou art, O do not love that wrong,
To sing heaven's praise with such an earthly tongue.
VI.
Scarce had the sun dried up the dewy morn,
And scarce the herd gone to the hedge for shade,
When Cytherea, all in love forlorn,
A longing tarriance for Adonis made
Under an osier growing by a brook,
A brook where Adon used to cool his spleen:
Hot was the day; she hotter that did look
For his approach, that often there had been.
Anon he comes, and throws his mantle by,
And stood stark naked on the brook's green brim:
The sun look'd on the world with glorious eye,
Yet not so wistly as this queen on him.
He, spying her, bounced in, whereas he stood:
'O Jove,' quoth she, 'why was not I a flood!'
VII.
Fair is my love, but not so fair as fickle;
Mild as a dove, but neither true nor trusty;
Brighter than glass, and yet, as glass is brittle;
Softer than wax, and yet, as iron, rusty:
A lily pale, with damask dye to grace her,
None fairer, nor none falser to deface her.

Her lips to mine how often hath she joined,
Between each kiss her oaths of true love swearing!
How many tales to please me bath she coined,
Dreading my love, the loss thereof still fearing!
Yet in the midst of all her pure protestings,
Her faith, her oaths, her tears, and all were jestings.


She burn'd with love, as straw with fire flameth;
She burn'd out love, as soon as straw outburneth;
She framed the love, and yet she foil'd the framing;
She bade love last, and yet she fell a-turning.
Was this a lover, or a lecher whether?
Bad in the best, though excellent in neither.


VIII.
If music and sweet poetry agree,
As they must needs, the sister and the brother,
Then must the love be great 'twixt thee and me,
Because thou lovest the one, and I the other.
Dowland to thee is dear, whose heavenly touch
Upon the lute doth ravish human sense;
Spenser to me, whose deep conceit is such
As, passing all conceit, needs no defence.
Thou lovest to bear the sweet melodious sound
That Phoebus' lute, the queen of music, makes;
And I in deep delight am chiefly drown'd
Whenas himself to singing he betakes.
One god is god of both, as poets feign;
One knight loves both, and both in thee remain.
IX.
Fair was the morn when the fair queen of love,
Paler for sorrow than her milk-white dove,
For Adon's sake, a youngster proud and wild;
Her stand she takes upon a steep-up hill:
Anon Adonis comes with horn and hounds;
She, silly queen, with more than love's good will,
Forbade the boy he should not pass those grounds:
'Once,' quoth she, 'did I see a fair sweet youth
Here in these brakes deep-wounded with a boar,
Deep in the thigh, a spectacle of ruth!
See, in my thigh,' quoth she, 'here was the sore.
She showed hers: he saw more wounds than one,
And blushing fled, and left her all alone.
X.
Sweet rose, fair flower, untimely pluck'd, soon vaded,
Pluck'd in the bud, and vaded in the spring!
Bright orient pearl, alack, too timely shaded!
Fair creature, kill'd too soon by death's sharp sting!
Like a green plum that hangs upon a tree,
And falls, through wind, before the fall should he.

I weep for thee, and yet no cause I have;
For why thou left'st me nothing in thy will:
And yet thou left'st me more than I did crave;
For why I craved nothing of thee still:
O yes, dear friend, I pardon crave of thee,
Thy discontent thou didst bequeath to me.


XI.
Venus, with young Adonis sitting by her
Under a myrtle shade, began to woo him:
She told the youngling how god Mars did try her,
And as he fell to her, so fell she to him.
'Even thus,' quoth she, 'the warlike god embraced me,'
And then she clipp'd Adonis in her arms;
'Even thus,' quoth she, 'the warlike god unlaced me,'
As if the boy should use like loving charms;
'Even thus,' quoth she, 'he seized on my lips
And with her lips on his did act the seizure
And as she fetched breath, away he skips,
And would not take her meaning nor her pleasure.
Ah, that I had my lady at this bay,
To kiss and clip me till I run away!
XII.
Crabbed age and youth cannot live together
Youth is full of pleasance, age is full of care;
Youth like summer morn, age like winter weather;
Youth like summer brave, age like winter bare;
Youth is full of sport, age's breath is short;
Youth is nimble, age is lame;
Youth is hot and bold, age is weak and cold;
Youth is wild, and age is tame.
Age, I do abhor thee; youth, I do adore thee;
O, my love, my love is young!
Age, I do defy thee: O, sweet shepherd, hie thee,
For methinks thou stay'st too long.
XIII.
Beauty is but a vain and doubtful good;
A shining gloss that vadeth suddenly;
A flower that dies when first it gins to bud;
A brittle glass that's broken presently:
A doubtful good, a gloss, a glass, a flower,
Lost, vaded, broken, dead within an hour.
And as goods lost are seld or never found,
As vaded gloss no rubbing will refresh,
As flowers dead lie wither'd on the ground,
As broken glass no cement can redress,
So beauty blemish'd once's for ever lost,
In spite of physic, painting, pain and cost.



XIV.
Good night, good rest. Ah, neither be my share:
She bade good night that kept my rest away;
And daff'd me to a cabin hang'd with care,
To descant on the doubts of my decay.
'Farewell,' quoth she, 'and come again tomorrow:
Fare well I could not, for I supp'd with sorrow.
Yet at my parting sweetly did she smile,
In scorn or friendship, nill I construe whether:
'T may be, she joy'd to jest at my exile,
'T may be, again to make me wander thither:
'Wander,' a word for shadows like myself,
As take the pain, but cannot pluck the pelf.


XV.
Lord, how mine eyes throw gazes to the east!
My heart doth charge the watch; the morning rise
Doth cite each moving sense from idle rest.
Not daring trust the office of mine eyes,
While Philomela sits and sings, I sit and mark,
And wish her lays were tuned like the lark;
For she doth welcome daylight with her ditty,
And drives away dark dismal-dreaming night:
The night so pack'd, I post unto my pretty;
Heart hath his hope, and eyes their wished sight;
Sorrow changed to solace, solace mix'd with sorrow;
For why, she sigh'd and bade me come tomorrow.


Were I with her, the night would post too soon;
But now are minutes added to the hours;
To spite me now, each minute seems a moon;
Yet not for me, shine sun to succour flowers!
Pack night, peep day; good day, of night now borrow:
Short, night, to-night, and length thyself tomorrow.
343

Take, O take those Lips away

Take, O take those Lips away

TAKE, O take those lips away,
That so sweetly were forsworn;
And those eyes, the break of day,
Lights that do mislead the morn!
But my kisses bring again,
Bring again;
Seals of love, but seal'd in vain,
Seal'd in vain!
247

St. Crispin’s Day Speech: from Henry V

St. Crispin’s Day Speech: from Henry V

WESTMORELAND. O that we now had here
But one ten thousand of those men in England
That do no work to-day!


KING. What’s he that wishes so?
My cousin Westmoreland? No, my fair cousin;
If we are mark’d to die, we are enow
To do our country loss; and if to live,
The fewer men, the greater share of honour.
God’s will! I pray thee, wish not one man more.
By Jove, I am not covetous for gold,
Nor care I who doth feed upon my cost;
It yearns me not if men my garments wear;
Such outward things dwell not in my desires.
But if it be a sin to covet honour,
I am the most offending soul alive.
No, faith, my coz, wish not a man from England.
God’s peace! I would not lose so great an honour
As one man more methinks would share from me
For the best hope I have. O, do not wish one more!
Rather proclaim it, Westmoreland, through my host,
That he which hath no stomach to this fight,
Let him depart; his passport shall be made,
And crowns for convoy put into his purse;
We would not die in that man’s company
That fears his fellowship to die with us.
This day is call’d the feast of Crispian.
He that outlives this day, and comes safe home,
Will stand a tip-toe when this day is nam’d,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say “To-morrow is Saint Crispian.”
Then will he strip his sleeve and show his scars,
And say “These wounds I had on Crispian’s day.”
Old men forget; yet all shall be forgot,
But he’ll remember, with advantages,
What feats he did that day. Then shall our names,
Familiar in his mouth as household words-
Harry the King, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester-
Be in their flowing cups freshly rememb’red.
This story shall the good man teach his son;
And Crispin Crispian shall ne’er go by,
From this day to the ending of the world,
But we in it shall be remembered-
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne’er so vile,
This day shall gentle his condition;
And gentlemen in England now-a-bed
Shall think themselves accurs’d they were not here,



And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin’s day.
363

Spring

Spring


When daisies pied, and violets blue,
And lady-smocks all silver-white,
And cuckoo-buds of yellow hue
Do paint the meadows with delight,
The cuckoo then, on every tree,
Mocks married men, for thus sings he:
'Cuckoo!
Cuckoo, cuckoo!' O word of fear,
Unpleasing to a married ear.
When shepherds pipe on oaten straws,
And merry larks are ploughmen's clocks,
When turtles tread, and rooks, and daws,
And maidens bleach their summer smocks,
The cuckoo then, on every tree,
Mocks married men, for thus sings he:
'Cuckoo!
Cuckoo, cuckoo!' O word of fear,
Unpleasing to a married ear.
357

Sonnets XXX: When to the sessions of sweet silent thought

Sonnets XXX: When to the sessions of sweet silent thought

When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time's waste:
Then can I drown an eye, unus'd to flow,
For precious friends hid in death's dateless night,
And weep afresh love's long since cancell'd woe,
And moan th' expense of many a vanish'd sight;
Then can I grieve at grievances foregone,


And heavily from woe to woe tell o'er
The sad account of fore-bemoaned moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restor'd, and sorrows end.
1,035

Sonnets XVIII: Shall I compare thee to a summer's day?

Sonnets XVIII: Shall I compare thee to a summer's day?

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 dimm'd;
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd;
But thy eternal summer shall not fade


Nor lose possession of that fair thou ow'st;
Nor shall Death brag thou wander'st 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.
320

Sonnets XXIX: When, in disgrace with fortune and men's eyes

Sonnets XXIX: When, in disgrace with fortune and men's eyes

When, in disgrace with fortune and men's eyes,
I all alone beweep my outcast state
And trouble deaf heaven with my bootless cries
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featur'd like him, like him with friends possess'd,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,


Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love remember'd such wealth brings
That then I scorn to change my state with kings.
280

Sonnets xv

Sonnets xv

TO me, fair friend, you never can be old;
For as you were when first your eye I eyed,
Such seems your beauty still. Three Winters cold
Have from the forests shook three Summers' pride;
Three beauteous springs to yellow Autumn turn'd
In process of the seasons have I seen,
Three April perfumes in three hot Junes burn'd,
Since first I saw you fresh, which yet are green.
Ah! yet doth beauty, like a dial-hand,
Steal from his figure, and no pace perceived;
So your sweet hue, which methinks still doth stand,
Hath motion, and mine eye may be deceived:


For fear of which, hear this, thou age unbred:
Ere you were born was beauty's summer dead.
363

Sonnets xvii

Sonnets xvii

O NEVER say that I was false of heart,
Though absence seem'd my flame to qualify!
As easy might I from myself depart,
As from my soul, which in thy breast doth lie:
That is my home of love; if I have ranged,
Like him that travels I return again,
Just to the time, not with the time exchanged,
So that myself bring water for my stain.
Never believe, though in my nature reign'd
All frailties that besiege all kinds of blood,
That it could so prepost'rously be stain'd,
To leave for nothing all thy sum of good:


For nothing this wide Universe I call,
Save thou, my Rose; in it thou art my all.
323

Sonnets xix

Sonnets xix

TH' expense of Spirit in a waste of shame
Is lust in action; and till action, lust
Is perjured, murderous, bloody, full of blame,
Savage, extreme, rude, cruel, not to trust;
Enjoy'd no sooner but despised straight;
Past reason hunted; and, no sooner had,
Past reason hated, as a swallow'd bait
On purpose laid to make the taker mad:
Mad in pursuit, and in possession so;
Had, having, and in quest to have, extreme;
A bliss in proof, and proved, a very woe;
Before, a joy proposed; behind, a dream.


All this the world well knows; yet none knows well
To shun the heaven that leads men to this hell.
337

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