William Shakespeare (–1616)
Author of Hamlet
About the Author
William Shakespeare, 1564 - 1616 Although there are many myths and mysteries surrounding William Shakespeare, a great deal is actually known about his life. He was born in Stratford-Upon-Avon, son of John Shakespeare, a prosperous merchant and local politician and Mary Arden, who had the wealth to show more send their oldest son to Stratford Grammar School. At 18, Shakespeare married Anne Hathaway, the 27-year-old daughter of a local farmer, and they had their first daughter six months later. He probably developed an interest in theatre by watching plays performed by traveling players in Stratford while still in his youth. Some time before 1592, he left his family to take up residence in London, where he began acting and writing plays and poetry. By 1594 Shakespeare had become a member and part owner of an acting company called The Lord Chamberlain's Men, where he soon became the company's principal playwright. His plays enjoyed great popularity and high critical acclaim in the newly built Globe Theatre. It was through his popularity that the troupe gained the attention of the new king, James I, who appointed them the King's Players in 1603. Before retiring to Stratford in 1613, after the Globe burned down, he wrote more than three dozen plays (that we are sure of) and more than 150 sonnets. He was celebrated by Ben Jonson, one of the leading playwrights of the day, as a writer who would be "not for an age, but for all time," a prediction that has proved to be true. Today, Shakespeare towers over all other English writers and has few rivals in any language. His genius and creativity continue to astound scholars, and his plays continue to delight audiences. Many have served as the basis for operas, ballets, musical compositions, and films. While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. At the height of his career, he wrote an average of two plays a year as well as dozens of poems, songs, and possibly even verses for tombstones and heraldic shields, all while he continued to act in the plays performed by the Lord Chamberlain's Men. This staggering output is even more impressive when one considers its variety. Except for the English history plays, he never wrote the same kind of play twice. He seems to have had a good deal of fun in trying his hand at every kind of play. Shakespeare wrote 154 sonnets, all published on 1609, most of which were dedicated to his patron Henry Wriothsley, The Earl of Southhampton. He also wrote 13 comedies, 13 histories, 6 tragedies, and 4 tragecomedies. He died at Stratford-upon-Avon April 23, 1616, and was buried two days later on the grounds of Holy Trinity Church in Stratford. His cause of death was unknown, but it is surmised that he knew he was dying. (Bowker Author Biography) show less
Image credit: Wikipedia
Series
Works by William Shakespeare
4 Plays: A Midsummer Night's Dream; The Taming of the Shrew; The Tempest; Twelfth Night (1600) 438 copies, 2 reviews
Shakespeare Made Easy: Julius Caesar (modern version by Alan Durband, side by side with full original text) (1984) 378 copies
The Portable Shakespeare: Seven Plays, the Songs, the Sonnets, Selections from the Other Plays (1944) 348 copies
The Annotated Shakespeare: The Comedies, Histories, Sonnets and Other Poems, Tragedies and Romances Complete (1978) 300 copies, 8 reviews
4 Plays: As You Like It; A Midsummer Night's Dream; The Tempest; Twelfth Night (1599) 296 copies, 1 review
4 Plays: The Merchant of Venice; A Midsummer Night's Dream; The Taming of the Shrew; Twelfth Night (1980) 294 copies, 3 reviews
The Complete Works of William Shakespeare All the Plays, All the Poems (Book Club Edition, Volume 1) (1853) 285 copies, 1 review
The Complete Works of William Shakespeare, All the Plays, All the Poems, Arranged in Their Chronological Order (Vol. 2) (1967) 198 copies
4 Plays: As You Like It; A Midsummer Night's Dream; The Taming of the Shrew; Twelfth Night (1994) 137 copies
A Dictionary of Quotations from Shakespeare: A Topical Guide to Over 3,000 Great Passages from the Plays, Sonnets, and Narrative Poems (1992) 110 copies
3 Plays: Love's Labour's Lost; The Merry Wives of Windsor; The Two Gentlemen of Verona (1986) 109 copies, 1 review
Shakespeare: The Bard's Guide To Abuses And Affronts (Running Press Miniature Editions) (2001) 89 copies, 4 reviews
3 Plays: All's Well That Ends Well; Measure for Measure; Troilus and Cressida (1988) 86 copies, 1 review
The Poems: Venus and Adonis, The Rape of Lucrece, The Phoenix and the Turtle, The Passionate Pilgrim (The New Cambridge Shakespeare) (1992) 85 copies
Shakespeare Set Free: Teaching Romeo & Juliet, Macbeth & A Midsummer Night's Dream (The Folger Library) (1993) 83 copies
Shakespeare Set Free: Teaching Hamlet and Henry IV, Part 1 (Teaching Hamlet & Henry IV, Vol. 2) (1994) 69 copies
5 Plays: As You Like It; The Merry Wives of Windsor; A Midsummer Night's Dream; Much Ado About Nothing; Twelfth Night (1941) 68 copies
Shakespeare in Autumn (Seasons Edition -- Fall): Select Plays and the Complete Sonnets (2021) 56 copies
William Shakespeare on The Art of Love: The Illustrated Edition of the Most Beautiful Love Passages in Shakespeare's Plays and Poetry (The Art of Wisdom) (2008) 51 copies
Complete Sonnets and Poems: The Oxford ShakespeareThe ^AComplete Sonnets and Poems (Oxford World's Classics) (2017) 43 copies
Five Revenge Tragedies: The Spanish Tragedy; Hamlet; Antonio's Revenge; The Tragedy of Hoffman; The Reve nger's Tragedy (Penguin Classics) (2012) 42 copies
3 Plays: The Merry Wives of Windsor; A Midsummer Night's Dream; Twelfth Night (1994) — Author — 40 copies
The Shakespeare apocrypha; being a collection of fourteen plays which have been ascribed to Shakespeare (1968) 35 copies
The Reduced Shakespeare Company's the Complete Works of William Shakespeare (abridged) 31 copies, 1 review
The Complete Works of William Shakespeare Volume 5 King Lear Macbeth Antony and Cleopatra Pericles Cymbeline Coriolanus (1988) 31 copies
The Complete Plays: Early Comedies 28 copies
Queen Mab 24 copies
5 Plays: Hamlet; Love's Labour's Lost; A Midsummer Night's Dream; Romeo and Juliet; The Two Gentlemen of Verona (1998) 24 copies
The Complete Works of William Shakespeare Volume 4 Julius Caesar Twelth Night Troilus and Cressida All's Well That Ends (1980) 23 copies
Grolier Classics: Scarlet Letter, History of Herodotus, Utilitarianism and On Liberty, Sonnets (1956) 21 copies
GCSE Shakespeare Macbeth Complete Play (with Notes): "Macbeth" - The Complete Play Pt. 1 & 2 (Gcse English Annotated Text) (2002) 21 copies
The Ultimate Audition Book for Teens Volume 5: 111 Shakespeare Monologues (Young Actors Series) (2003) 20 copies
Masterworks of the British Cinema: Brief Encounter / Henry V / The Lady Vanishes (1974) — Screenplay — 19 copies
5 Plays: The Comedy of Errors; Love's Labours Lost; A Midsummer Night's Dream; The Taming of the Shrew; The Two Gentlemen of Verona (1990) 19 copies
The Comedies of Shakespeare - Volume One (of 2-volume set), Complete & Unabridged (Modern Library Books, Comedies of Sha (1964) 18 copies
Shakespeare's Original Pronunciation: Speeches and Scenes Performed as Shakespeare Would Have Heard Them (2012) — Author — 18 copies, 1 review
As you Like it: A Frankly Annotated First Folio Edition (Old English Edition) (2011) 18 copies, 9 reviews
Poetry Collection Box Set: 5 Beautifully Illustrated Books of Poetry: William Shakespeare : Walt Whitman : Carl Sandburg : Robert Frost : Emily Dickinson (2019) 17 copies
The Tragedy of Julius Caesar: With Related Readings (Global Shakespeare Series) (1997) 17 copies, 1 review
Thames Shakespeare Collection: Macbeth / Romeo & Juliet / Twelfth Night / King Lear (2006) — Writer — 15 copies
Quotable Shakespeare: A Knowledge Cards™ Deck from the Plays of William Shakespeare (2005) 15 copies
Shakespeare's Plays in Quarto, A Facsimile Edition of Copies Primarily from the Henry E. Huntington Library (1981) 14 copies
The mystery of Hamlet, King of Denmark; or, What we will, a tetralogy with prelude and postlude (1950) 14 copies, 1 review
Shakespeare Alive!: 2-minute Speeches And Monologues For Study, Audition, And Performance (Monologue Audition Series) (2005) 14 copies
4 Plays: All's Well That Ends Well; Hamlet; Measure for Measure; Troilus and Cressida (1990) 14 copies
Négy dráma 12 copies
William Shakespeare Complete Works The Tragedies: Based on the First Folio of James Heminges and Henry Condell (Gothic Fantasy) (2025) 12 copies
Classic BBC Radio Shakespeare: Tragedies: Hamlet; Macbeth; Romeo and Juliet (2016) 12 copies, 3 reviews
Opere scelte 12 copies
Tutto il teatro.Re Giovanni.Riccardo II.Enrico IV.Enrico V.Enrico VI.Ricardo III.Enrico VIII (1989) 12 copies
Macbeth In Plain and Simple English: A Modern Translation and the Original Version (Bookcaps) (2012) 12 copies, 1 review
Cornelsen Senior English Library - Literatur - Ab 11. Schuljahr: Macbeth - Textband mit Annotationen (2005) 11 copies
Romeow and Juliet (Classic Tails 3): Beautifully illustrated classics, as told by the finest breeds! (2017) 11 copies, 1 review
Shakespeare: The Tragedies (Collector's Edition) (The 100 Greatest Books Ever Written) (1980) 11 copies
Oeuvres complètes... 11 copies
Reading & Training : William Shakespeare : Hamlet [book + sound recording] (1999) — Writer — 11 copies
Stories from Shakespeare's Histories: 3100 Headwords (Oxford Progressive English Readers) (1995) 10 copies
Shakespeare's Romeo and Juliet in the original and modern English: A parallel text edition (1985) 10 copies
Romeo and Juliet In Plain and Simple English: (A Modern Translation and the Original Version) (2012) 10 copies
4 Plays: As You Like It; The Merry Wives of Windsor; A Midsummer Night's Dream; Much Ado about Nothing (1950) 10 copies
Bell's edition of Shakspere, Prolegomena to the Dramatick Writings of Will Shakspere (1969) 10 copies
A New Variorum Edition Of Shakespeare: The Tragedie Of Anthonie, And Cleopatra. 1907 (1990) 10 copies
The Leopold Shakspere. The poet's works in chronological order from the text of Professor Delius, with The two noble kinsmen and Edward III (2018) 10 copies
Henry V [videorecording] 9 copies
Julius Caesar 9 copies
William Shakespeare Complete Works The Histories: Based on the First Folio of John Heminges and Henry Condell (Gothic Fantasy) (2025) 9 copies
2 Plays: Othello; Twelfth Night 9 copies
The London Shakespeare; a new annotated and critical edition of the complete works in six volumes (1957) 9 copies
Shakespeares dramatiska arbeten 9 copies
Ajalookroonikad. 2. 9 copies
Sonnet 130 9 copies
Discover...Topics for Advanced Learners: Discover: William Shakespeare: Macbeth: Schülerheft (1999) 9 copies
Ein Sommernachtstraum / Der Kaufmann von Venedig / Viel Lärm um nichts / Wie es euch gefällt / Die lustigen Weiber von (1979) 9 copies
As alegres comadres de Windsor ; Medida por medida ; O sonho de uma noite de verão ; O mercador de Veneza ; A megera domada ; Sonetos 9 copies, 1 review
Obras completas. Tomo I 8 copies
William Shakespeare's Romeo and Juliet (unabridged text, comic strip format) (1983) 8 copies, 1 review
Shakespeare's tragedies (Everyman's library, edited by Ernest Rhys. Poetry and the drama) (1953) 8 copies
The Winter's Tale In Plain and Simple English: A Modern Translation and the Original Version (2012) 8 copies
The First Quarto of Romeo and Juliet (The New Cambridge Shakespeare: The Early Quartos) (2007) 8 copies
Classic BBC Radio Shakespeare: Comedies: The Taming of the Shrew; A Midsummer Night's Dream; Twelfth Night (2016) 8 copies, 3 reviews
Sonnet 29 8 copies
All's well that ends well ; The comedy of errors ; Love's labour's lost ; The taming of the shrew (1950) 8 copies
Reading & Training : William Shakespeare : A midsummer night's dream {Step 4} [book + sound recording] (2003) — Writer — 8 copies
Reading & Training : Love in Shakespeare : Five stories [book + sound recording] (2011) — Writer — 8 copies
Reading & Training : William Shakespeare : Macbeth [book + sound recording] (2008) — Writer — 8 copies
Romeo & Juliet 7 copies
Romeo and Juliet (w/Audio), Level 3, Pearson English Readers (2nd Edition) (Pearson English Graded Readers) (2012) 7 copies
Hardcover. Minor wear to the dust jacket. No cover wear. Clean unmarked text. Tight binding. Every order is shipped same day or within 24 hours. (2006) 7 copies
Teatro. Vol. II: I due gentiluomini di Verona, Pene d'amor perdute, Sogno d'una notte d'estate, Romeo e Giulietta, Ricca (1988) 7 copies
Shakespeare's Tragedies 7 copies
Patrick Stewart Performs the Complete Sonnets of William Shakespeare: With Original Commentary by Patrick Stewart (2026) 7 copies
The Merry Wives of Windsor In Plain and Simple English: A Modern Translation and the Original Version (2012) 7 copies
Shakespeare's Hamlet: A New Version 7 copies
The Poems of William Shakespeare, Vol. 1 (The Complete Works of William Shakespeare) (1993) 7 copies, 1 review
The Poems of William Shakespeare, Vol. 2 (The Complete Works of William Shakespeare) (1993) 7 copies, 1 review
The Essential Shakespeare Tragedies Collection: Hamlet, Macbeth, Romeo & Juliet, King Lear, Othello (2021) 7 copies
Shakespeare's Masterpieces 7 copies
Classic BBC Radio Shakespeare: Romances: The Winter's Tale, Pericles, The Tempest (2016) 7 copies, 2 reviews
TRAGEDIAS (de Shakespeare) Hamlet - Macbeth - El rey Lear - Otelo, el moro de venecia - Romeo y Julieta - Julio Cesar (1996) 6 copies
The Works of William Shakespeare from the Text of Clark and Wright with a Copious Glossary (1909) 6 copies
The Works of William Shakespeare Vol 3: King Henry IV part 1; King Henry IV part 2; King Henry V; King Henry VI part 1; (1975) 6 copies
Drammi 6 copies
FOUR GREAT TRAGEDIES; FOUR GREAT COMEDIES; FOUR GREAT HISORICAL PLAYS. Collector's Edition. (1948) 6 copies
Teatro. Vol. III: Re Giovanni, Il Mercante di Venezia, Giulio Cesare, Molto rumore per nulla, Come vi piace, La Dodicesi (1964) 6 copies
Richard III 6 copies
Shakspere's dramatiska arbeten Bd 7, Timon af Athen ; Så tuktas en argbigga ; Trettondagsafton 6 copies
Sonette, Epen und die kleineren Dichtungen. Vollständige zweisprachige Ausgabe. Englisch / Deutsch (1992) 6 copies
3 Plays: Hamlet; King Lear; Othello 6 copies
William Shakespeare Complete Works The Comedies: Based on the First Folio of John Heminges and Henry Condell (Gothic Fantasy) (2025) 6 copies
4 Plays: The Merchant of Venice; Much Ado about Nothing; The Taming of the Shrew; The Two Gentlemen of Verona (2004) 6 copies
Romeo and Juliet: in Full Colour, Cartoon Illustrated Format (Shakespeare Comic Books) (2010) 6 copies
FIVE PLAYS OF WILLIAM SHAKESPEARE Julius Caesar, MacBeth, Merchant of Venice, As You like It, Hamlet (1926) 6 copies
King Lear [unknown video recording] 5 copies
De werken van William Shakespeare. 4e dl.: Koning Hendrik de Zesde I ; Koning Hendrik de Zesde II ; Koning Hendrik de Zesde III (1983) 5 copies
4 Plays: A Midsummer Night's Dream; King Lear; Romeo and Juliet; The Taming of the Shrew (1995) 5 copies
Dramas, comedias 5 copies
WILLIAM SHAKESPEARE OBRAS MAESTRAS 5 copies
Teatro. Vol. I : Re Enrico VI - Riccardo III - Tito Andronico - La Bisbetica domata - La commedia degli errori. (1997) 5 copies
The Complete Dramatic Works of William Shakespeare [BBC TV Shakespeare Collection] — Author — 5 copies
Hamlet [unknown director] 5 copies
Sonnet 55 5 copies
Shakespearean prompt-books of the seventeenth century, Vol. VII: Part i (Introduction to the Smock Alley A Midsummer Night's Dream Collations (1997) 5 copies
Macbeth (Annotated): Shakespeare's tragedy with introduction, footnotes and glossary (2023) 5 copies
4 Plays: Love's Labour's Lost; A Midsummer Night's Dream; Richard III; The Taming of the Shrew 5 copies
The Merchant of Venice (With the Adventure of Giannetto and Other Illustrative Pieces) (1891) 5 copies
The London Prodigall. As it was plaide by the Kings Maiesties seruants (2016) — attributed author — 5 copies
Julius Caesar In Plain and Simple English: A Modern Translation and the Original Version (2012) 5 copies
The Henry Irving Shakespeare (Cambridge Library Collection - Shakespeare and Renaissance Drama) (2009) 5 copies
The Complete Works of William Shakespeare-Volume IV-Julius Caesar, Twelfth Night, Troilus and Cressida, (1988) 5 copies
The Cambridge Shakespeare (Cambridge Library Collection - Shakespeare and Renaissance Drama) (2009) 5 copies
Reading & Training : William Shakespeare : The taming of the shrew [book + sound recording] (2008) — Writer — 5 copies
Once More unto the Speech, Dear Friends: Volume I: The Comedies (Speak the Speech, I Pray You) (2006) 5 copies
Reading & Training : William Shakespeare : Twelfth Night [book + sound recording] (2008) — Writer — 5 copies
If you have tears, prepare to shed them now (Julius Caesar, III/ii); Shakespeare on pollution (1971) 5 copies
Sonnet 129 5 copies
Sonnet 60 5 copies
Tragic Tales from Shakespeare 5 copies
A Collection of Shakespeare's Plays 5 copies
Shakespeare 5 copies
Sonnet 30 5 copies
Merchant of Venice (w/Audio), The, Level 4, Pearson English Readers (2nd Edition) (Pearson English Readers, Level 4) (2011) 5 copies
Shakespeare's The Tempest — Author — 4 copies
5 Plays: Love's Labour's Lost; Macbeth; Measure for Measure; Richard II; Richard III (1975) 4 copies
Shakspere's dramatiska arbeten Bd 1, En midsommarnattsdröm ; Coriolanus ; Hamlet, prins af Danmark 4 copies
Tria d'obres: Romeu i Julieta, Com us plagui, Otel·lo, Macbeth, La tempesta (A TOT VENT-RÚST) (2017) 4 copies
4 Plays: The Comedy of Errors; The Merry Wives of Windsor; A Midsummer Night's Dream; The Taming of the Shrew (2016) 4 copies
La fierecilla domada; La comedia de las equivocaciones (Biblioteca Edaf) (Spanish Edition) (2002) 4 copies
Hry 4 copies
Reading & Training : William Shakespeare : Much ado about nothing [book + sound recording] (2003) — Writer — 4 copies
Verzameld werk Dl. 1 Komedies 4 copies
The Collected Sonnets of William Shakespeare, Zombie (Contributions to Zombie Studies) (2018) 4 copies
The Works of Shakspere. With notes by Charles Knight with illustrations on Steel. Comedies. Sec.I. Imperial edition. (1873) 4 copies
The Merchant of Venice In Plain and Simple English: A Modern Translation and the Original Version (2012) 4 copies
The Tempest (Tales from Shakespeare) 4 copies
As You Like It: Including Stage Directions for All Levels of Experience (The 30-Minute Shakespeare) (2010) 4 copies
2 Plays: Cymbeline; Pericles 4 copies
The Works of William Shakespeare : Volume 1 : All's Well That Ends Well, Antony And Cleopatra, As You Like it, the Comed (1975) 4 copies
A Shakespeare Anthology. The beauties of Shakespeare ... With ... illustrations. [Selected by William Dodd.] (2010) 4 copies
Sonnet 98 4 copies
Midsummer Night's Dream [DVD] 4 copies
Dramas históricos. Teatro completo de William Shakespeare III: Teatro completo III (Spanish Edition) (2015) 4 copies
Four Tragedies 4 copies
William Shakespeare Hamlet (an authoritative test intellectual backgrounds extracts from the sources essays in criticism) (1963) 4 copies
The Works of Shakespeare : Volume 3 4 copies
The Works of Shakespeare: Vol 3 4 copies
Sonnet 146 4 copies
Pyramus and Thisbe: a mock-opera. Written by Shakespeare. Set to musick by Mr. Lampe (2003) 4 copies
Verzameld werk Dl. 3 Tragedies 4 copies
The Tempest 4 copies
Twelfth Night [DVD] 4 copies
La bisbetica domata IL mercante di Venezia Giuio Cesare Le allegre comari di Windsor Re Lear Macbeth Antonio e Cleopatra (1988) 4 copies
Les Tragédies 4 copies
Cambridge School Shakespeare Macbeth 4 copies
Sonnet 144 4 copies
Shakespeare series 4 copies
Julius Caesar [DVD] 4 copies
Davenant's Macbeth from the Yale manuscript; an edition with a discussion of the relation of Davenant's text to Shakes (1969) 4 copies
As You Like It [DVD] 4 copies
Romeo y Julieta. Prologo con resena critica de la obra, vida y obra del autor, y marco historico. (Spanish Edition) (2013) 4 copies
Othello [CASSETTE] 4 copies
Twenty of the plays of Shakespeare : being the whole number printed in Quarto during his life-time, or before the Restor (2010) 4 copies, 1 review
SONHO DE UMA NOITE DE VERÃO 4 copies
Coriolanus (Video Yesteryear; 1951) 4 copies
Hamlet [DVD] [2009] 4 copies
Complete Works of Shakespeare, Comprising His Plays and Poems, Also The History of His Life and His Will (1930) 4 copies
Teatro. Vol.IV:Troilo e Cressida, Tutto è bene..., Misura per misura, Otello, Re Lear, Macbeth, Timone d'Atene (1997) — Author — 4 copies
The Works of Shakespeare - Histories Poems & Sonnets / Tragedies / Comedies Memoir & Essays (2007) 4 copies
Measure for Measure In Plain and Simple English: A Modern Translation and the Original Version (2012) 4 copies
A most pleasant comedy of Mucedorus the Kings sonne of Valentia, and Amadine the Kings daughter of Aragon With the merry conceits of Mouse. Amplified with new additions, as it was… (2010) — probable reviser — 4 copies, 1 review
Othello (Graphic Shakespeare) 4 copies
Popular Shakespearian quotations 4 copies
Songs and poems 4 copies
King Henry VIII In Plain and Simple English: A Modern Translation and the Original Version (2012) 4 copies
Much Ado About Nothing In Plain and Simple English: A Modern Translation and the Original Version (2012) 4 copies
Troilus and Cressida In Plain and Simple English: A Modern Translation and the Original Version (2012) 3 copies
Leikrit Vol. 3 3 copies
Shakspere's dramatiska arbeten Bd 12, Julius Caesar ; Antonius och Cleopatra ; Köpmannen i Venedig 3 copies
Leikrit VI 3 copies
Poems And Sonnets. Two Gentlemen Of Verona. With Introductions, Notes, Glossary, Critical Comments And Method Of Study (2011) 3 copies
Anthology 3 copies
Othello Retold In Plain and Simple English: A Modern Translation and the Original Version (2012) 3 copies
Plays and sonnets, vol. II 3 copies
THE WINDSOR SHAKESPEARE Volume XI: King Henry the Fourth, Part I; King Henry the Fourth, Part II (1900) 3 copies, 1 review
Shakespeare Illustrated 3 copies
Sonnet 17 3 copies
Shakespeare Proverbs: Or the Wise Saws of Our Wisest Poet Collected Into a Modern Instance (Classic Reprint) (2017) 3 copies
William Shakespeare Collected Plays 3 copies
The lovers' Shakspere 3 copies
Shakspere's Sonnets : The first quarto, 1609, a facsimile in photo-lithography (from the copy in the British museum) (2017) 3 copies
Sonnet 90 3 copies
Romeu e Julieta, Macbeth, Hamlet - Príncipe da Dinamarca, Otelo o Mouro de Veneza - Clássicos Abril 3 copies
Sonnet 94 3 copies
Tragédie 3 copies
Coffret Shakespeare comédies 3 volumes [ Bibliotheque de la Pleiade ] Boxed Set (French Edition) (2016) 3 copies
Sämtliche Werke. 4. Tragödien 3 copies
Sämtliche Werke. 1. Komödien 3 copies
Tragödien 3 copies
Verzameld werk Koningsdrama's 3 copies
Riverside Shakespeare Vol. I, The 3 copies
Pericles, Prince of Tyre In Plain and Simple English (A Modern Translation and the Original Version) (2012) 3 copies
Macbeth 3 copies
The Pictorial Edition of the Works of Shakspere-Doubtful Plays, Etc. -Shakespeare (1839) 3 copies, 1 review
Hamlet. Prologo con resena critica de la obra, vida y obra del autor, y marco historico. (Spanish Edition) (2013) 3 copies
The works of Mr. William Shakespear, Volume 9: Poems, Venus and Adonis, Tarquin and Lucrece, &c. (2010) 3 copies
Le grandi tragedie: Riccardo III-Romeo e Giulietta-Giulio Cesare-Macbeth-Amleto-Re Lear-Otello-Antonio e Cleopatra. Ediz. integrale (2012) 3 copies
Frühe Komödien — Author — 3 copies
TRAGEDIAS: Romeo y Julieta, Julio César, Macbeth, Hamlet, El rey Lear, Otelo, Antonio y Cleopatra 3 copies, 1 review
Výbor z dramat I 3 copies
Výbor z dramat II. 3 copies
Reading & Training : William Shakespeare : Othello [book + sound recording] (2001) — Writer — 3 copies
Titus Andronicus In Plain and Simple English: A Modern Translation and the Original Version (2012) 3 copies, 1 review
The Plays and Sonnets 3 copies
Reading & Training : William Shakespeare : The tempest [book + sound recording] (2017) — Writer — 3 copies
An American Family Shakespeare Entertainment, Vol. 2: Based on Charles & Mary Lambs Tales from Shakespeare, with scenes, soliloquies and music from Shakespeares plays. (Library) (2009) — Author — 3 copies
HAMLET / MACBETH / ROMEO Y JULIETA / EL MERCADER DE VENECIA / SUEÑO DE UNA NOCHE DE VERANO (2019) 3 copies
The vvhole contention betvveene the tvvo famous houses, Lancaster and Yorke. : With the tragicall ends of the good Duke Humfrey, Richard Duke of Yorke, and King Henrie the sixt.… 3 copies, 3 reviews
Dogberry Charges the Watch 3 copies
Seduction by Shakespeare: Advice, Observations, and Quotes on Love, Lust, Beauty, and Desire (2006) 3 copies
Five Shakespeare Songs. Second Set. Op. 23. [No. 1.] Fear no more the heat o' the sun. [No. 2.] Under the greenwood tree — Lyrics — 3 copies
Love's Labour's Lost [DVD] 3 copies
William Shakespeare's A Midsummer Night's Dream (Adapted by Everett Quinton) (1995) — Author — 3 copies
Shakspere's dramatiska arbeten Bd 8, Titus Andronicus ; Troilus och Cressida ; En vintersaga 3 copies
Mr. William Shakespeare's comedies, histories & poems, tragedies; (The Riverside Shakespeare) (1901) 3 copies, 1 review
THE WINDSOR SHAKESPEARE Volume IX: King Henry the Sixth, Part III; King Richard the Third (1900) 3 copies, 1 review
Shakespeare drámák III. [ A Velencei kalmár, Lear király, Szeget szeggel, IV. Henrik 1, rész, IV. Henrik 2, rész,] (2018) 3 copies
Canseiras de Amor Baldadas 3 copies
Julius Caesar ; and, a midsummer-night's dream (Prose and poetry individualized program) (1942) 3 copies
Macbeth [dvd] 3 copies
Commedie scelte 3 copies
Classics For Holidays - Ultimate Collection: 150 Timeless Masterpieces of World Literature in One Volume (Kindle) (2019) 3 copies
Monologhi 3 copies
The Works of William Shakespeare - Volume 1 — Author — 3 copies
Songs of Shakespeare 3 copies
Reading & Training : William Shakespeare : Romeo and Juliet [book + sound recording] (2008) — Writer — 3 copies
Works (Classic Lib. Vol. 7). Romeo & Juliet. Taming of the Shrew. Tempest. Timon of Athens. Titus Andronicus (1975) 3 copies
Reading & Training : William Shakespeare : Julius Caesar [book + sound recording] (2008) — Writer — 3 copies
The Works of Shakespeare (volume 7) 3 copies
A Quintet of Shakespeare Tragedies: Romeo and Juliet, Hamlet, Macbeth, Othello, and King Lear (2018) 3 copies
Works (Classic Lib. Vol. 8). Troilus and Cressida. Twelfth Night. Two Gentlemen of Verona. Winter's Tale. (1975) 3 copies
AMLETO OTELLO MACBETH RE LEAR. 3 copies
Shakespeare: The Tempest 2 copies
Hamlet / Otelo 2 copies
Pericles Prince of Tyre 2 copies
Three histories: Henry IV, part I; Henry IV, part II; Henry V (Great illustrated classics) (1966) 2 copies
Hamlet 2 copies
Venicile Vyapari 2 copies
Teatro I 2 copies
Hamlet - Col. Clássicos Para Todos 2 copies
Shakespeares Dramatische Werke Dritter Band / Meyers Klassiker (Königsdramen) — Author — 2 copies
Shakspere's tragedy of Julius Cæsar 2 copies
The Merchant of Venice William Shakespeare 1911 Riverside edition Annotated For School Use by Samuel Thurber (1911) 2 copies
The new Shaksperian dictionary of quotations. (With marginal classification and reference.) 2 copies
The Complete Dramatic And Poetic Works Of William Shakespeare Red Letter Edition (With Concordance) (1952) 2 copies
Hamburger Lesehefte : William Shakespeare : Der Kaufmann von Venedig + The Merchant of Venice (2023) — Text — 2 copies
Hamburger Lesehefte : William Shakespeare : The Merchant of Venice [English] (2017) — Text — 2 copies
Opere complete vol. 7 - Timon din Atena. Regele Lear. Macbeth. Antoniu si Cleopatra. Coriolan 2 copies
Shakespeare's Dramatic Works Vol. V 2 copies
Kroniki 2 copies
Twelfth Night 2 copies
Tragedie: Amleto, Otello, Mcbeth, Romeo e Giulietta e le altre (Radici) (Italian Edition) (2013) 2 copies, 1 review
Comédia dos Equívocos Livro 1 2 copies
Poems: Written by Shakespear 2 copies
Shakespeare’s Henriad Collection: Richard II, Henry IV, Part 1, Henry IV, Part 2, Henry V 2 copies, 1 review
Romeo y Julieta, Otelo 2 copies
The Two Gentlemen of Verona 2 copies
Shakespeare comedies, histories, & tragedies; being a reproduction in facsimile of the first folio edition, 1623 (1955) 2 copies
Pequeños poemas 2 copies
The Tragedie of Macbeth by William Shakespeare: A Graphic Novel by Stewart Kenneth Moore (Prague Shakespeare) (Volume 1) (2016) 2 copies
A Selection of Sonnets 2 copies
SHAKESPEARE'S ENGLAND By the Editors of Horizon Magazine In consultation with Louis B.Wright... (1965) 2 copies
シェイクスピア物語 2 copies
MACBETH: CARTOONS 2 copies
Four great comedies 2 copies
Hamlet: Prince of Denmark, Part 1 2 copies
The Programmed Classics: The Complete Works of William Shakespeare, arranged in their chronological order: Vol. II 2 copies, 2 reviews
Richard III In Plain and Simple English (A Modern Translation and the Original Version) (2012) 2 copies
William Shakespeare Comedies 2 copies
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Nahum Tate and the Coriolanus tradition in English drama with a critical edition of Tate's The ingratitude of a common-wealth (1987) 1 copy
Homage to Shakespeare — Author — 1 copy
London unwrapped : Aurora Orchestra with Iestyn Davies : The New Elizabethans : 25 September 2021 [text and translations] (2021) — Text — 1 copy
The King's Story Book — Contributor — 1 copy
Kiss Me, Kate [catch-all] — Original play — 1 copy
Roméo et Juliette de Shakespeare Profil Bac n°301 par Marinette Faerber (2007) — Contributor — 1 copy
Measure for Measure [1994 TV movie] — Original play — 1 copy
Cricket Magazine, Vol. 6, No. 4, December 1978 — Contributor — 1 copy
The shipwreck, altered from Shakespeare and Dryden, with the original music by Smith, as performed at the Patagonian Theatre, Exeter-'Change — Contributor, some editions — 1 copy
Vaughan Williams : Fantasia on 'Greensleeves' + Serenade to music + Symphony no.5 + Toward the unknown region + The Wasps : Overture [sound recording] (2008) — Lyricist — 1 copy
An Evening of poetry at the Skinners' Hall : for the benefit of the Royal Hospital and Home for Incurables, 15th June 1973 — Contributor — 1 copy
Anthony and Cleopatra [2006 film] — Orignal play — 1 copy
King & Country: Shakespeare's Great Cycle of Kings - Music & Speeches (2015) — Original play — 1 copy
Tagged
Common Knowledge
- Legal name
- 莎士比亞,威廉
- Birthdate
- c. 1564-04-26
- Date of death
- 1616-04-23
- Gender
- male
- Education
- King Edward VI School
- Occupations
- poet
playwright
actor - Organizations
- Lord Chamberlain's Men (later renamed "The King's Men")
Globe Theatre - Relationships
- Hall, John (son-in-law)
- Cause of death
- unknown illness
- Nationality
- England
- Birthplace
- Stratford-upon-Avon, Warwickshire, England
- Places of residence
- Stratford-upon-Avon, Warwickshire, England
London, Middlesex, England - Place of death
- Stratford-upon-Avon, Warwickshire, England
- Burial location
- Holy Trinity Church, Stratford-on-Avon, Warwickshire, England, UK
- Map Location
- England, UK
Members
Discussions
Happy Birthday, Shakespeare! in Book talk (April 24)
LEC Shakespeare in George Macy devotees (April 2025)
LE: Shakespeare - The Complete Plays coming in September in Folio Society Devotees (March 2024)
SHAKESPEARE'S FIRST FOLIO in Book talk (February 2024)
Macbeth by William Shakespeare – LIMITED EDITIONS CLUB 1939 in George Macy devotees (October 2023)
First Folio of Shakespeare : Norton Facsimile 1996 in Folio Society Devotees (October 2023)
OT The Shakespeare First Folio - Times article of 18 Feb 2023 in Folio Society Devotees (October 2023)
First Folio of Shakespeare : Norton Facsimile 1996 in Fine Press Forum (August 2023)
New Shakespeare LE coming in November in Folio Society Devotees (July 2023)
Shakespeare in MOOC (Massive Open Online Courses), and other Online Presences in The Globe: Shakespeare, his Contemporaries, and Context (April 2023)
OT: Shakespeare First Folio for sale in Folio Society Devotees (October 2022)
July Shakespeare Cat: Justice in 2022 Category Challenge (July 2022)
June ShakespeareCAT: The Roman plays / ancient history in 2022 Category Challenge (July 2022)
May ShakespeareCAT: Shakespeare's Kings & Medieval History in 2022 Category Challenge (July 2022)
Richard III Act 1 in The Globe: Shakespeare, his Contemporaries, and Context (April 2022)
February Shakespeare CAT: Much Ado About Nothing - Romantic Comedy in 2022 Category Challenge (March 2022)
The Sonnets - revisited in The Globe: Shakespeare, his Contemporaries, and Context (February 2022)
January ShakespeareCAT: King Lear and Its Themes in 2022 Category Challenge (February 2022)
Richard III Act 5--closing thoughts in The Globe: Shakespeare, his Contemporaries, and Context (January 2022)
Richard III Act 4 in The Globe: Shakespeare, his Contemporaries, and Context (January 2022)
Richard III Act 3 in The Globe: Shakespeare, his Contemporaries, and Context (January 2022)
Richard III Act 2 in The Globe: Shakespeare, his Contemporaries, and Context (January 2022)
Richard III Group Read January 2022 Housekeeping in The Globe: Shakespeare, his Contemporaries, and Context (January 2022)
Group Read? in The Globe: Shakespeare, his Contemporaries, and Context (November 2021)
What sparked your interest in Shakespeare? in The Globe: Shakespeare, his Contemporaries, and Context (November 2021)
Troilus and Cressida in The Globe: Shakespeare, his Contemporaries, and Context (September 2021)
Shakespeare-Owned Book Found? in The Globe: Shakespeare, his Contemporaries, and Context (May 2021)
(under construction) What Shakespeare's Sonnets tell us about their author in The Globe: Shakespeare, his Contemporaries, and Context (May 2021)
Views on "Othello" in Edward De Vere and The Shakespeare Authorship Mystery (May 2021)
books about WS, etc. in The Globe: Shakespeare, his Contemporaries, and Context (June 2019)
W Shakespeare did he write his own plays and are they actually any good? in Book talk (May 2017)
The Sonnets by William Shakespeare - cynara tutoring rosalita in 75 Books Challenge for 2012 (November 2016)
FSD BookClub... MARCH 2014: A Midsummer Night's Dream by Shakespeare (Book 1) in Folio Society Devotees (March 2014)
OT - The Shakespeare Thread in Folio Society Devotees (December 2013)
BBC R4 In Our Time: The Tempest in The Globe: Shakespeare, his Contemporaries, and Context (November 2013)
Reading Group #23 (Hamlet) in Gothic Literature (September 2013)
Chat about... The Tempest by William Shakespeare in The SF&F Book Chat (September 2012)
Methinks the word doth rhyme with "woe" in Crambo! (February 2012)
some words about the Comic Character Malvolio in Twelfth Night in Book talk (June 2011)
Wikipedia (groan) in The Globe: Shakespeare, his Contemporaries, and Context (May 2010)
Shakespeare's Othello in BBC Radio 4 Listeners (February 2010)
Reviews
An uneven and incomplete play, failing to find either thematic juice or dramatic zest, Timon of Athens is, because of these middling qualities, sometimes excused as a collaboration between Shakespeare and one of his less-talented peers. Interestingly, the Introduction to the Arden edition I read disregards this theory, instead seeing Timon as a project that Shakespeare drafted but found too difficult to work up into a genuine, workable piece of drama.
And no wonder: there's no natural charm show more in a protagonist who is, first, a sucker for benefactors and unwittingly gives all his money away to shameless supplicants, and then, secondly, having fallen low due to his errors, becomes a bitter and unrepentant misanthrope. Despite a few moments that stir, such as Timon's initial eloquent invective against the low-grade temper of much of mankind, the concept has no natural structure or dramatic beats that emerge. Even a writer of genius like Shakespeare struggles to find them. It's a seed that proves to be a stone.
With this in mind, my Arden edition's claim that Timon was a Shakespeare attempt that ended up screwed up in the Tudor equivalent of a wastepaper basket not only becomes more plausible, but even appealing. The thought of the great Bard of the English language hitting the buffers, revising character motivations, reshaping scenes and working drafted lines up into iambic pentameter, is an interesting one. Shakespeare at his desk, labouring on a doomed WIP, is more fascinating to imagine than any reading of the actual play of Timon of Athens brings, but it does give the experience some worth. show less
And no wonder: there's no natural charm show more in a protagonist who is, first, a sucker for benefactors and unwittingly gives all his money away to shameless supplicants, and then, secondly, having fallen low due to his errors, becomes a bitter and unrepentant misanthrope. Despite a few moments that stir, such as Timon's initial eloquent invective against the low-grade temper of much of mankind, the concept has no natural structure or dramatic beats that emerge. Even a writer of genius like Shakespeare struggles to find them. It's a seed that proves to be a stone.
With this in mind, my Arden edition's claim that Timon was a Shakespeare attempt that ended up screwed up in the Tudor equivalent of a wastepaper basket not only becomes more plausible, but even appealing. The thought of the great Bard of the English language hitting the buffers, revising character motivations, reshaping scenes and working drafted lines up into iambic pentameter, is an interesting one. Shakespeare at his desk, labouring on a doomed WIP, is more fascinating to imagine than any reading of the actual play of Timon of Athens brings, but it does give the experience some worth. show less
As You Like It is a complex contraption with a simple key to unlock it; or, if not to unlock it, to at least give the door a budge. The contraption is the almost impossibly intricate lattice of characters, arcs and themes that make up the play. The key is the play's most famous passage: "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" (pg. 59).
Taken literally, it is very difficult to show more divine a purpose for the play. The conflicts which start the play (between the competing dukes, and also the two competing brothers Orlando and Oliver) are both later resolved off-stage, in a way that would be unsatisfying for a plot-driven (or even character-driven) production. The ending gets rather drawn out. And in between this beginning and end we follow a bewildering network of characters as they romp about the fantastical Forest of Arden.
But it is that interplay of characters which is the purpose of As You Like It. The play is a play of parallels and intersections; the Forest of Arden the stage, and its trees the sieve between which the characters must be filtered and altered. The characters are players, with their exits and entrances, and they all play many parts. Everyone here, it seems, has moments of cynicism and moments where they swoon; all of them are moving through this forest. The only characters who don't change are the two who, throughout the play and also at its end, are outcasts: Touchstone and Jaques. Both are, in their way, 'fools' to the other characters, who are at least willing to risk all for love. These two, in contrast, are not willing to play the game: the game of life, with all its parts and players and exits and entrances. Touchstone is even called out on this by Jaques – but then again, Jaques is no better: he weeps over the deer without knowing why. He can "moralize… into a thousand similes" (pg. 46), but he won't truly feel; he won't truly risk himself in this life.
This, perhaps, is the reason for the pastoral theme, which would otherwise be difficult to square. You have to go out from conventional life in the city in order to risk all in nature; you have to risk failure in order to find love. You have to play the game. The conventional use of a pastoral is to juxtapose the stolidity and artificiality of city life, or civilization in general, with the harmony and freedom of natural, country life. At first, Shakespeare seems to play this straight, with plenty of exuberant remarks by various characters about "this life more sweet", frolicking in the forest and finding "sermons in stones, and good in everything" (pg. 45). But, being Shakespeare, he can't help but be clever and dexterous: he inverts it, turns it upside down and inside out, explores its dimensions and sublimates themes, sometimes so quickly or discreetly or prolifically that your mind cannot keep up and doesn't even register that things are moving, like the frame-rate of a film reel. I've often thought that, in his comedies, perhaps Shakespeare was too clever for his own good. The audience can't always keep up, and the intricate latticework can only be fully appreciated by a madman or a genius.
Because Shakespeare does query the pastoral theme as much as he reinforces it. The city has its merits: Orlando states proudly that he is "inland bred, And know some nurture" (pg. 58). In this passage, he seeks to prove that he can treat with a duke as a man of civility, rather than as a rutting nature-dweller. Similarly, Shakespeare remarks how the exiled duke and his men seem content with their overthrow, and "fleet the time carelessly" in the forest "as they did in the golden world" (pg. 32). That is, they abandon the responsibilities of the city, of proper governance (and perhaps this can be further expanded to mean proper governance of their own desires). For Shakespeare, the characters can be seen as intruders on the Forest; in killing deer – the "native burghers" of this land – for food, Jaques considers them more usurpers than the duke who banished them (pg. 45).
These connections are, in truth, difficult to reason out with any certainty, and at times you can no more draw out a lucid, complete theme from As You Like It than you could reconstitute flour, sugar and eggs from a baked cake. Consider the following disconnected observations I made, which warrant mention but which I struggle to organise into a coherent, flowing review:
1) Jaques rhapsodizes about the spoiled sanctity of the forest but, as I mentioned earlier, calls out Touchstone for wanting to get "married under a bush like a beggar" rather than in a church (pg. 75). What does this mean for the topsy-turvy pastoral country/city theme? Touchstone, the jester, ends up agreeing (cynically) to marry in a church, but the 'true' lovers, Rosalind and Orlando, exchange vows in the forest (pg. 85).
2) Is the natural Forest of Arden the proving ground for ardent love? The unloved wife strays; it's a 'foolish' woman who "cannot make her fault her husband's occasion" (pg. 86). Kill love and you become the cuckold: "What shall he have that killed the deer? His leather skin and horns to wear" (pg. 87) – horns being a Tudor sign of a cuckold.
3) Adam warns Orlando that his brother is plotting against him and will "burn the lodging where you use to lie, And you within it" (pg. 48). Does this relate to the deer, mentioned above, being driven from its own habitat by interlopers?
4) Adam is a minor character who seems to be dismissed by most critics, but I wonder if he's not the most important character. An old servant torn between two brothers, does he not embody more than anyone the pastoral struggle between city and country? Adam, having already loved, doesn't need to risk going back into the Forest of Arden like the other characters do, and he suffers for it. He seems to be forgotten about in the play itself, and has no fate: but is he not perhaps the "old religious man" beneath a tree who resolves the conflicts offstage (pp91, 105)? Oliver claims to be the man beneath the tree in the first instance, but his recounting of the story is vague; perhaps when he speaks of "his brother, his elder brother" (pg. 91), it is in the Christian sense that all men are brothers and to mistreat one is to mistreat all?
5) Further to that previous point, is the Forest of Arden analogous to the Garden of Eden? Surely it's not a coincidence that the character's name is Adam, that (if he is indeed the 'old religious man') he dispenses wisdom from beneath a tree (the Tree of Life?) and has a serpent around his neck (pp90-91)? What are we to make of the speculation that Adam was played, in initial performances of the play, by Shakespeare himself? The playwright – the creator?
6) Shakespeare's mother's maiden name was Arden; is she analogous to Mother Nature? Does this have something to do with the cross-dressing dynamics of Rosalind in the play? Males (boy actors playing female characters in Tudor times) getting in touch with their female side? Men returning to the forest, the mother they first came from?
You begin to see, I hope, how prolifically connections of this sort can be made, and how frustrating it can be to identify them but struggle to apply them to the whole. The play itself doesn't codify them, which is why As You Like It doesn't rank as highly as Shakespeare's more accessible tragedies, or some of his more rigorously-constructed comedies and satires. I've written more than 1,500 words in this review, and scarcely even mentioned Rosalind and the gender dynamics and the other more commonly discussed aspects of the play. Perhaps, as I said earlier, Shakespeare is too clever for his own good and only a madman or a genius can appreciate the variety here. In modesty, of the two I'd have to lay a tentative claim to some madness.
The play is a strange thing to wrestle with. It is superficially frustrating and metaphysically thrilling. Perhaps the fantastical craziness is intended; the only hope in this crazy stage-world of many entrances and exits is ardency; to, as Rosalind resolves, "prove a busy actor in their play" (pg. 77). Perhaps this is why, daringly enough, she is the closest As You Like It has to a hero. The title of the play might well be an instruction, a stage direction from the playwright to the audience rather than the actors. We're carried along by the world-stage and struggle to make sense of it, even when we find connections and catch glimpses of its underlying sense, engineered by its madman-genius creator. What matters is that we take part, we play the game. What we catch along the way, or see slip by, is of secondary importance. The perception is the key; the awareness that the game is being played, that the play has started. You can engage or withdraw, as you like it. The play takes place in spring, and you can either perceive that season as following winter or preceding summer. show less
Taken literally, it is very difficult to show more divine a purpose for the play. The conflicts which start the play (between the competing dukes, and also the two competing brothers Orlando and Oliver) are both later resolved off-stage, in a way that would be unsatisfying for a plot-driven (or even character-driven) production. The ending gets rather drawn out. And in between this beginning and end we follow a bewildering network of characters as they romp about the fantastical Forest of Arden.
But it is that interplay of characters which is the purpose of As You Like It. The play is a play of parallels and intersections; the Forest of Arden the stage, and its trees the sieve between which the characters must be filtered and altered. The characters are players, with their exits and entrances, and they all play many parts. Everyone here, it seems, has moments of cynicism and moments where they swoon; all of them are moving through this forest. The only characters who don't change are the two who, throughout the play and also at its end, are outcasts: Touchstone and Jaques. Both are, in their way, 'fools' to the other characters, who are at least willing to risk all for love. These two, in contrast, are not willing to play the game: the game of life, with all its parts and players and exits and entrances. Touchstone is even called out on this by Jaques – but then again, Jaques is no better: he weeps over the deer without knowing why. He can "moralize… into a thousand similes" (pg. 46), but he won't truly feel; he won't truly risk himself in this life.
This, perhaps, is the reason for the pastoral theme, which would otherwise be difficult to square. You have to go out from conventional life in the city in order to risk all in nature; you have to risk failure in order to find love. You have to play the game. The conventional use of a pastoral is to juxtapose the stolidity and artificiality of city life, or civilization in general, with the harmony and freedom of natural, country life. At first, Shakespeare seems to play this straight, with plenty of exuberant remarks by various characters about "this life more sweet", frolicking in the forest and finding "sermons in stones, and good in everything" (pg. 45). But, being Shakespeare, he can't help but be clever and dexterous: he inverts it, turns it upside down and inside out, explores its dimensions and sublimates themes, sometimes so quickly or discreetly or prolifically that your mind cannot keep up and doesn't even register that things are moving, like the frame-rate of a film reel. I've often thought that, in his comedies, perhaps Shakespeare was too clever for his own good. The audience can't always keep up, and the intricate latticework can only be fully appreciated by a madman or a genius.
Because Shakespeare does query the pastoral theme as much as he reinforces it. The city has its merits: Orlando states proudly that he is "inland bred, And know some nurture" (pg. 58). In this passage, he seeks to prove that he can treat with a duke as a man of civility, rather than as a rutting nature-dweller. Similarly, Shakespeare remarks how the exiled duke and his men seem content with their overthrow, and "fleet the time carelessly" in the forest "as they did in the golden world" (pg. 32). That is, they abandon the responsibilities of the city, of proper governance (and perhaps this can be further expanded to mean proper governance of their own desires). For Shakespeare, the characters can be seen as intruders on the Forest; in killing deer – the "native burghers" of this land – for food, Jaques considers them more usurpers than the duke who banished them (pg. 45).
These connections are, in truth, difficult to reason out with any certainty, and at times you can no more draw out a lucid, complete theme from As You Like It than you could reconstitute flour, sugar and eggs from a baked cake. Consider the following disconnected observations I made, which warrant mention but which I struggle to organise into a coherent, flowing review:
1) Jaques rhapsodizes about the spoiled sanctity of the forest but, as I mentioned earlier, calls out Touchstone for wanting to get "married under a bush like a beggar" rather than in a church (pg. 75). What does this mean for the topsy-turvy pastoral country/city theme? Touchstone, the jester, ends up agreeing (cynically) to marry in a church, but the 'true' lovers, Rosalind and Orlando, exchange vows in the forest (pg. 85).
2) Is the natural Forest of Arden the proving ground for ardent love? The unloved wife strays; it's a 'foolish' woman who "cannot make her fault her husband's occasion" (pg. 86). Kill love and you become the cuckold: "What shall he have that killed the deer? His leather skin and horns to wear" (pg. 87) – horns being a Tudor sign of a cuckold.
3) Adam warns Orlando that his brother is plotting against him and will "burn the lodging where you use to lie, And you within it" (pg. 48). Does this relate to the deer, mentioned above, being driven from its own habitat by interlopers?
4) Adam is a minor character who seems to be dismissed by most critics, but I wonder if he's not the most important character. An old servant torn between two brothers, does he not embody more than anyone the pastoral struggle between city and country? Adam, having already loved, doesn't need to risk going back into the Forest of Arden like the other characters do, and he suffers for it. He seems to be forgotten about in the play itself, and has no fate: but is he not perhaps the "old religious man" beneath a tree who resolves the conflicts offstage (pp91, 105)? Oliver claims to be the man beneath the tree in the first instance, but his recounting of the story is vague; perhaps when he speaks of "his brother, his elder brother" (pg. 91), it is in the Christian sense that all men are brothers and to mistreat one is to mistreat all?
5) Further to that previous point, is the Forest of Arden analogous to the Garden of Eden? Surely it's not a coincidence that the character's name is Adam, that (if he is indeed the 'old religious man') he dispenses wisdom from beneath a tree (the Tree of Life?) and has a serpent around his neck (pp90-91)? What are we to make of the speculation that Adam was played, in initial performances of the play, by Shakespeare himself? The playwright – the creator?
6) Shakespeare's mother's maiden name was Arden; is she analogous to Mother Nature? Does this have something to do with the cross-dressing dynamics of Rosalind in the play? Males (boy actors playing female characters in Tudor times) getting in touch with their female side? Men returning to the forest, the mother they first came from?
You begin to see, I hope, how prolifically connections of this sort can be made, and how frustrating it can be to identify them but struggle to apply them to the whole. The play itself doesn't codify them, which is why As You Like It doesn't rank as highly as Shakespeare's more accessible tragedies, or some of his more rigorously-constructed comedies and satires. I've written more than 1,500 words in this review, and scarcely even mentioned Rosalind and the gender dynamics and the other more commonly discussed aspects of the play. Perhaps, as I said earlier, Shakespeare is too clever for his own good and only a madman or a genius can appreciate the variety here. In modesty, of the two I'd have to lay a tentative claim to some madness.
The play is a strange thing to wrestle with. It is superficially frustrating and metaphysically thrilling. Perhaps the fantastical craziness is intended; the only hope in this crazy stage-world of many entrances and exits is ardency; to, as Rosalind resolves, "prove a busy actor in their play" (pg. 77). Perhaps this is why, daringly enough, she is the closest As You Like It has to a hero. The title of the play might well be an instruction, a stage direction from the playwright to the audience rather than the actors. We're carried along by the world-stage and struggle to make sense of it, even when we find connections and catch glimpses of its underlying sense, engineered by its madman-genius creator. What matters is that we take part, we play the game. What we catch along the way, or see slip by, is of secondary importance. The perception is the key; the awareness that the game is being played, that the play has started. You can engage or withdraw, as you like it. The play takes place in spring, and you can either perceive that season as following winter or preceding summer. show less
Edition: Arkangel Shakespeare
King Lear had been one of my favorite Shakespeare dramas ever since I read it for the first time in my early teens in Bulgarian (I read it a few years later in English as well) Back then I never realized that there is a problem with its texts - for all intents and purposes, there are two separate King Lear plays - while most of the plays suffer from this, Kind Lear has the largest differences (or one of the largest) between its Quatro1 and Folio texts (in show more addition to the inevitable changes and rewrites the Q has 285 lines that the F does not have and F has 115 completely new lines). And they are not just fillers - there are crucial differences between the two - including the end (oh, Lear dies - that does not change but what he believes when he dies is a different story). Each editor picks up their own way through the two texts although a conflated text had become the norm -- but that conflation can be very different between editions.
But let's talk about the play itself: Shakespeare takes a existing story from various sources (including Holinshed's Chronicles) and gives it a new life - and a new ending.
The king of Britain is getting old and has no sons so he decides to split the kingdom between his three daughters: Goneril, Regan and Cordelia - nothing unusual in this and for anyone in 1606 that would have sounded absolutely correct - primogeniture had been the law of the land and when there is no son, the daughters are equal heiresses under the law. Except that Lear decides to test his daughters and asks them how much they love him - and as his youngest, Cordelia, refuses to pay lip service to him, she is disinherited and leaves with her new husband for France. Except that as usual, lip service and real attachment are different things and as soon as they get the power, the two older daughters try to take away everything else from Lear - who is not very happy about that and flees.
But the play is not just the story of one family - it is the story of two of them - Gloucester and his sons (the legitimate Edgar and the illegitimate Edmund) and the dynamic between them is parallel to the dissolving of Lear's family. The two sons of Gloucester and the 3 daughters of Lear exist in parallel but scarily similar lines. Evil and choices become important for the downfalls of both men - the betrayals always having their own blood. But so do the redeemers.
And that's where the story of the two men diverge - Gloucester gets his son back early on (even if he does not know it), Lear needs to wait a lot longer. Both learn about their mistakes before they die and both try to make up for them but at the end just one of the children will be still standing.
I used to think of King Lear as the play where everyone dies. Not that this does not happen in other Shakespeare dramas but here the number of the survivors at the end is extremely low, even for Shakespeare and a lot lower than it is in the sources of this play.
The double end I was talking about earlier comes almost at the end - when Lear dies. In one version he is the cause for Cordelia's death, he knows and he knows that he had not managed to save her; in the other he dies before the final confirmation that she is dead, just when he thinks he sees her moving. One of the ends hints at redemption (Lear is the one who saves her even if he is also the reason for her being killed to start it), the other one is eternal damnation. While this may mean like not much of a difference now, the 17th century drama goer would have considered that a huge difference. The rest of the differences between the versions of the play are less impactful (even though some well known scenes such as the fake trial of the daughters is nowhere to be seen in the later versions). And then there is of course the Victorian version of the play that decided that the play is too dark so gave it a happy end...
The two older sisters and Edmund are evil personified - and in the case of the sisters, it has no explanation. The sources do - so one wonders if Shakespeare had relied on people knowing the story so decided not to add the scenes needed to explain it. And at the same time some of the positive characters (Kent, Edgar and even the Fool (who is the moral compass of the story for the first part of it... and then disappears altogether)) are almost one-tone as well - too good to be true. But then... it is a play, what more can you do in such a short time. The play works -- especially because being good or bad does not spell your end - you are as likely to have a "he dies" queue regardless of where you are on the good/bad scale...
Almost 3 centuries later, a novel will begin with a now well known sentence: "All happy families are alike; each unhappy family is unhappy in its own way". King Lear makes me think about that exact sentiment.
The Arkangel Shakespeare version of the play uses the Pelican text of the play (the one from the now older edition - they are reissuing again and I am not sure how much the current text is changed compared to the old one). It is a conflated text so most of the missing scenes are added and the end is the one with hope - Lear thinks that Cordelia may be alive. It is a masterful performance led by Trevor Peacock and with a host of other known actors including David Tennant as Edgar, Samantha Bond as Regan and Clive Merrison as Gloucester. If you had never listened to the play before, this is a good version although if you do not know the play, it can get a bit confusing - too many characters with somewhat intersecting goals can lead to confusion.
And if you are going to listen and read along, picking up the correct version of the printed play is crucial, especially in this play - or you may get a bit lost. show less
King Lear had been one of my favorite Shakespeare dramas ever since I read it for the first time in my early teens in Bulgarian (I read it a few years later in English as well) Back then I never realized that there is a problem with its texts - for all intents and purposes, there are two separate King Lear plays - while most of the plays suffer from this, Kind Lear has the largest differences (or one of the largest) between its Quatro1 and Folio texts (in show more addition to the inevitable changes and rewrites the Q has 285 lines that the F does not have and F has 115 completely new lines). And they are not just fillers - there are crucial differences between the two - including the end (oh, Lear dies - that does not change but what he believes when he dies is a different story). Each editor picks up their own way through the two texts although a conflated text had become the norm -- but that conflation can be very different between editions.
But let's talk about the play itself: Shakespeare takes a existing story from various sources (including Holinshed's Chronicles) and gives it a new life - and a new ending.
The king of Britain is getting old and has no sons so he decides to split the kingdom between his three daughters: Goneril, Regan and Cordelia - nothing unusual in this and for anyone in 1606 that would have sounded absolutely correct - primogeniture had been the law of the land and when there is no son, the daughters are equal heiresses under the law. Except that Lear decides to test his daughters and asks them how much they love him - and as his youngest, Cordelia, refuses to pay lip service to him, she is disinherited and leaves with her new husband for France. Except that as usual, lip service and real attachment are different things and as soon as they get the power, the two older daughters try to take away everything else from Lear - who is not very happy about that and flees.
But the play is not just the story of one family - it is the story of two of them - Gloucester and his sons (the legitimate Edgar and the illegitimate Edmund) and the dynamic between them is parallel to the dissolving of Lear's family. The two sons of Gloucester and the 3 daughters of Lear exist in parallel but scarily similar lines. Evil and choices become important for the downfalls of both men - the betrayals always having their own blood. But so do the redeemers.
And that's where the story of the two men diverge - Gloucester gets his son back early on (even if he does not know it), Lear needs to wait a lot longer. Both learn about their mistakes before they die and both try to make up for them but at the end just one of the children will be still standing.
I used to think of King Lear as the play where everyone dies. Not that this does not happen in other Shakespeare dramas but here the number of the survivors at the end is extremely low, even for Shakespeare and a lot lower than it is in the sources of this play.
The double end I was talking about earlier comes almost at the end - when Lear dies. In one version he is the cause for Cordelia's death, he knows and he knows that he had not managed to save her; in the other he dies before the final confirmation that she is dead, just when he thinks he sees her moving. One of the ends hints at redemption (Lear is the one who saves her even if he is also the reason for her being killed to start it), the other one is eternal damnation. While this may mean like not much of a difference now, the 17th century drama goer would have considered that a huge difference. The rest of the differences between the versions of the play are less impactful (even though some well known scenes such as the fake trial of the daughters is nowhere to be seen in the later versions). And then there is of course the Victorian version of the play that decided that the play is too dark so gave it a happy end...
The two older sisters and Edmund are evil personified - and in the case of the sisters, it has no explanation. The sources do - so one wonders if Shakespeare had relied on people knowing the story so decided not to add the scenes needed to explain it. And at the same time some of the positive characters (Kent, Edgar and even the Fool (who is the moral compass of the story for the first part of it... and then disappears altogether)) are almost one-tone as well - too good to be true. But then... it is a play, what more can you do in such a short time. The play works -- especially because being good or bad does not spell your end - you are as likely to have a "he dies" queue regardless of where you are on the good/bad scale...
Almost 3 centuries later, a novel will begin with a now well known sentence: "All happy families are alike; each unhappy family is unhappy in its own way". King Lear makes me think about that exact sentiment.
The Arkangel Shakespeare version of the play uses the Pelican text of the play (the one from the now older edition - they are reissuing again and I am not sure how much the current text is changed compared to the old one). It is a conflated text so most of the missing scenes are added and the end is the one with hope - Lear thinks that Cordelia may be alive. It is a masterful performance led by Trevor Peacock and with a host of other known actors including David Tennant as Edgar, Samantha Bond as Regan and Clive Merrison as Gloucester. If you had never listened to the play before, this is a good version although if you do not know the play, it can get a bit confusing - too many characters with somewhat intersecting goals can lead to confusion.
And if you are going to listen and read along, picking up the correct version of the printed play is crucial, especially in this play - or you may get a bit lost. show less
I listened to this and the murder of Julius Caesar took place as the last act of CD1. So he spends half the play missing in action, but casts a mighty long shadow. Like most people, I knew the outline of the story, this puts some personalities into the picture. The conspirators get involved for a number of reasons. You see them gathering and the sounding out that happens. Then comes the crisis point and the play turns. The second half sees the conspirators fall out amongst themselves and show more make some odd decisions that turn out for the worse. Mark Antony doesn't come across as an honest upright man, he put me in mind of a modern spin doctor, stirring up the crowd to his point of view. And it ends badly for most of the cast that we've followed thus far. I did wince a couple of times, and that was listening to it. Not sure I'd want to see parts of this - I'd be watching through my fingers.
Having said that, it is quite enthralling, the interplay of morals and ambition. It is interesting that no-one really comes out of it all sparkling, they all stand in shades of grey. There are no heroes and villains, they all seem to be people making flawed decisions. show less
Having said that, it is quite enthralling, the interplay of morals and ambition. It is interesting that no-one really comes out of it all sparkling, they all stand in shades of grey. There are no heroes and villains, they all seem to be people making flawed decisions. show less
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