William Shakespeare

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William Shakespeare
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Shakespeare's Biography
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Birth

• William Shakespeare was born in
  Stratford-upon-Avon, allegedly on April 23, 1564.
  
• Young William was born of John Shakespeare, a
  glover and leather merchant, and Mary Arden, a
  landed local heiress.
• William, according to the church register, was
  the third of eight children in the Shakespeare
  householdthree of whom died in childhood.
• John Shakespeare had a remarkable run of success
  as a merchant, alderman, and high bailiff of
  Stratford, during William's early childhood. His
  fortunes declined, however, in the late 1570s.

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Stratford upon-Avon(????????)

• Stratford upon-Avon Station

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Stratford upon-Avon Street
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Town Hall
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18?????God Save the King?
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Shakespeare's Birthplace
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Shakespeare's Birthplace ???
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Education
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• It is surmised by scholars that Shakespeare
  attended the free grammar school in Stratford,
  which at the time had a reputation to rival that
  of Eton??.
• While there are no records extant to prove this
  claim, Shakespeare's knowledge of Latin and
  Classical Greek would tend to support this
  theory.
• As the records do not exist, we do not know how
  long William attended the school, but certainly
  the literary quality of his works suggest a solid
  education.
• What is certain is that William Shakespeare
  never proceeded to university schooling, which
  has stirred some of the debate concerning the
  authorship?? of his works.

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Marriage
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• The next documented event in Shakespeare's life
  is his marriage to Anne Hathaway on November 28,
  1582.
• William was 18 at the time, and Anne was 26and
  pregnant.
• Their first daughter, Susanna, was born on May
  26, 1583. The couple later had twins, Hamnet and
  Judith, born February 2, 1585 and christened at
  Holy Trinity. Hamnet died in childhood at the age
  of 11, on August 11, 1596.

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Career
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• It is estimated that Shakespeare arrived in
  London around 1588 and began to establish himself
  as an actor and playwright.
• By 1594, he was not only acting and writing for
  the Lord Chamberlain's Men (called the King's Men
  after the ascension of James I in 1603), but was
  a managing partner in the operation as well.
• With Will Kempe, a master comedian, and Richard
  Burbage, a leading tragic actor of the day, the
  Lord Chamberlain's Men became a favorite London
  troupe, patronized by royalty and made popular by
  the theatre-going public.

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Death
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• William Shakespeare wrote his will in 1611,
  bequeathing?? his properties to his daughter
  Susanna .To his surviving daughter Judith, he
  left 300, and to his wife Anne left "my second
  best bed.
• " William Shakespeare allegedly died on his
  birthday, April 23, 1616. This is probably more
  of a romantic myth than reality, but Shakespeare
  was interred ??at Holy Trinity in Stratford on
  April 25.
• In 1623, two working companions of Shakespeare
  from the Lord Chamberlain's Men, John Heminges
  and Henry Condell, printed the First Folio?????
  edition of his collected plays, of which half
  were previously unpublished.

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Holy Trinity Church ????? (??????)
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Shakespeare's Works

• William Shakespeare, in terms of his life and his
  body of work, is the most written-about author in
  the history of Western civilization.
• His canon??? includes 38 plays, 154 sonnets, and
  2 epic narrative poems.
• The First Folio (cover shown at left) was
  published posthumously???in 1623 by two of
  Shakespeare's acting companions, John Heminges
  and Henry Condell.
• Ever since then, the works of Shakespeare have
  been studied, analyzed, and enjoyed as some of
  the finest masterpieces of the English language.

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• In his time, Shakespeare was the most popular
  playwright of London.
• As centuries have passed, his genius eclipses???
  all others of his age Jonson, Marlowe, Kyd,
  Greene, Dekker, Heywoodnone approach the craft
  or the humanity of character that marks the
  Bard's work.
• He took the art of dramatic verse and honed? it
  to perfection. He created the most vivid
  characters of the Elizabethan stage.
• His usage of language, both lofty and low, shows
  a remarkable wit and subtlety??. Most
  importantly, his themes are so universal that
  they transcend?? generations to stir the
  imaginations of audiences everywhere to this day.

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His plays generally fall into four categories

• Pre-1594 (Richard III, The Comedy of Errors)
• 15941600 (Henry V, Midsummer Night's Dream)
• 16001608 (Macbeth , King Lear )
• Post-1608 (Cymbeline , The Tempest)

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• The first period has its roots in Roman and
  medieval???dramathe construction of the plays,
  while good, is obvious and shows the author's
  hand more brusquely??? than the later works.
• The earliest Shakespeare also owes a debt to
  Christopher Marlowe, whose writing probably gave
  much inspiration at the onset of the Bard's??
  career.

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• The second period showed more growth in style,
  and the construction becoming less labored??????.
  
• The histories of this period are Shakespeare's
  best, portraying??the lives of kings and royalty
  in most human terms.
• He also begins the interweaving of comedy and
  tragedy, which would become one of his stylistic
  signatures.
• His comedies mature in this period as well,
  portraying a greater characterization???? in
  their subjects.

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• The third period marks the great tragedies, and
  the principal works which would earn the Bard his
  fame in later centuries.
• His tragic figures rival those of
  Sophocles???????, and might well have walked off
  the Greek stage straight onto the Elizabethan.
• Shakespeare is at his best in these tragedies.
  The comedies of this period, however, show
  Shakespeare at a literary crossroadsmoody and
  without the clear comic resolution of previous
  comedies. Hence, the term "problem plays" to
  describe them.

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• The fourth period encompasses romantic
  tragicomedy.
• Shakespeare at the end of his career seemed
  preoccupied with themes of redemption??.
• The writing is more serious yet more
  lyrical?????, and the plays show Shakespeare at
  his most symbolic.
• It is argued between scholars whether this period
  owed more to Shakespeare's maturity as a
  playwright or merely signified a changing trend
  in Elizabethan theatre (theater) at the time.

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??

• ???????(Romeo and Juliet)
• ???(Macbeth)???????????????
• ???(King Lear)
• ????(Hamlet)?????????????????????
• ???(Othello)?????
• ?????????(Titus Andronicus)
• ?????(Julius Caesar)
• ??????????(Antony and Cleopatra)
• ??????(Coriolanus)
• ??????(Troilus and Cressida)
• ?????(Timon of Athens)

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To throw, or not to throw, that is the question.
VS
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Ophelia(??????????)
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(No Transcript)
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??

• ???(The Comedy of Errors)?????????????
• ????(All's Well That Ends Well)????
• ????(As You Like It)
• ?????(A Midsummer Night's Dream)
• ????(Much Ado About Nothing)??????
• ?????(Measure for Measure)???????????????
• ???(The Tempest)
• ???(Taming of the Shrew)
• ????(Twelfth Night or What You Will)
• ?????(The Merchant of Venice)
• ???????(The Merry Wives of Windsor)
• ????(Love's Labour's Lost)
• ??????(The Two Gentlemen of Verona)?????
• ?????????(Pericles Prince of Tyre)
• ???(Cymbeline)
• ?????(The Winter's Tale)
• ???(The Tempest)

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(No Transcript)
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???

• ????,???(Henry IV, part 1)
• ????,???(Henry IV, part 2)
• ????(Henry V)
• ????,???(Henry VI, part 1)
• ????,???(Henry VI, part 2)
• ????,???(Henry VI, part 3)
• ????(Henry VIII)
• ???(King John)
• ????(Richard II)
• ????(Richard III)

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?

• ????(The Sonnets)
• ?????(A Lover's Complaint)?????
• ???????(The Rape of Lucrece)??????????
• ????????(Venus and Adonis)
• ??????(The Passionate Pilgrim)???????
• ?????(The Phoenix and the Turtle)

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The Sonnets
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Origin

• The sonnet was arguably???? the most popular
  bound verse form in England when Shakespeare was
  writing.
• Imported from Italy (as the Petrarchan or Italian
  sonnet), the form took on a distinctive English
  style of three distinctively rhymed quatrains
  capped by a rhymed couplet?? comprising 14 total
  lines of verse.
• This allowed the author to build a rising pattern
  of complication in a three-act movement, followed
  by the terse ???denouement ??of the final two
  lines.
• Conventional subject matter of the Elizabethan
  sonnet concerned love, beauty, and faith.

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Shakespeare's sonnets

• At some point in the early 1590s, Shakespeare
  began wring a compilation ??of sonnets.
• The first edition of these appeared in print in
  1609. However, Frances Meres mentions Shakespeare
  sharing at least some of them among friends as
  early as 1598, and two (138 and 144) appear as
  early versions in the 1599 folio The Passionate
  Pilgrim.
• Shakespeare's seeming ambivalence toward having
  the sonnets published stands in remarkable
  contrast to the poetic mastery they demonstrate.

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Form

• With only a few exceptionsSonnets 99, 126, and
  145Shakespeare's verses follow the established
  English form of the sonnet.
• Each is a fourteen-line poem in iambic
  pentameter, comprising four sections three
  quatrains, or groups of four lines, followed by a
  couplet of two lines.
• Traditionally, a differentthough relatedidea is
  expressed in each quatrain, and the argument or
  theme of the poem is summarized or generalized in
  the concluding couplet.

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• It should be noted that many of Shakespeare's
  couplets do not have this conventional effect.
  Shakespeare did, however, employ the traditional
  English sonnet rhyme-scheme
• abab, cdcd, efef, gg.

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141

• In faith I do not love thee with mine
  eyes,For they in thee a thousand errors
  noteBut tis my heart that loves what they
  despise,Who in despite of view is pleased to
  dote.Nor are mine ears with thy tongues tune
  delightedNor tender feeling to base touches
  prone,Nor taste, nor smell, desire to be
  invitedTo any sensual feast with thee alone.But
  my five wits, nor my five senses canDissuade one
  foolish heart from serving thee,Who leaves
  unswayed the likeness of a man,Thy proud hearts
  slave and vassal wretch to be.Only my plague
  thus far I count my gain,That she that makes me
  sin awards me pain.

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Content

• The sonnets are poignant??? expressions on love,
  beauty, mortality, and the effects of time.
• They also defy many expected conventions of the
  traditional sonnet by addressing praises of
  beauty and worth to the fair youth, or by using
  the third quatrain ???as part of the resolution
  of the poem.

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• Shakespeare's 154 sonnets, taken together, are
  frequently described as a sequence, and this is
  generally divided into two sections.
• Sonnets 1-126 focus on a young man and the
  speaker's friendship with him, and Sonnets 127-52
  focus on the speaker's relationship with a woman.
• However, in only a few of the poems in the first
  group is it clear that the person being addressed
  is a male.

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• And most of the poems in the sequence as a whole
  are not direct addresses to another person.
• The two concluding sonnets, 153 and 154, are free
  translations or adaptations of classical verses
  about Cupid some critics believe they serve a
  specific purposethough they disagree about what
  this may bebut many others view them as
  perfunctory.

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Sonnet 18

• Quatrain 1 (four-line stanza) 
• A  Shall I compare thee to a summer's DAY?
• (If I compared you to a summer day) 
•  B  Thou art more lovely and more temperATE
• (I'd have to say you are more beautiful and
  serene)
•   A   Rough winds do shake the darling buds of
  MAY
• (By comparison, summer is rough on budding life) 
•   B   And summer's lease hath all too short a
  DATE
• (And doesn't last long either)  

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Sonnet 18

• Quatrain 2 (four-line stanza) 
• C   Sometime too hot the eye of heaven SHINES
• (At times the summer sun heaven's eye is too
  hot)  
•  D   And often is his gold complexion DIMM'D
• (And at other times clouds dim its brilliance) 
•  C  And every fair from fair sometime deCLINES
• (Everything fair in nature becomes less fair
  from time to time)
•     D   By chance or nature's changing course
  unTRIMM'D
• (No one can change trim nature or chance)  

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Sonnet 18

• Quatrain 3 (four-line stanza) 
• E    But thy eternal summer shall not FADE
• (However, you yourself will not fade) 
• F    Nor lose possession of that fair thou
  OWEST
• (Nor lose ownership of your fairness) 
•   E    Nor shall Death brag thou wander'st in
  his SHADE
• (Not even death will claim you)  
• F    When in eternal lines to time thou
  GROWEST
• (Because these lines I write will
  immortalize you)  

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Sonnet 18

• Couplet (two rhyming lines) 
• G   So long as men can breathe or eyes can SEE
• (Your beauty will last as long as men
  breathe and see)  
• G    So long lives this and this gives life to
  THEE
• (As Long as this sonnet lives and gives you
  life)  
• The rhyme scheme is as follows  
  ............First stanza (quatrain) ABAB  
  ............Second stanza (quatrain) CDCD  
  ............Third stanza (quatrain) EFEF  
  ............Couplet GG. 

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Sonnet 23

• Quatrain 1 (four-line stanza) 
• As an unperfect actor on the stage
• Who with his fear is put besides his part,
• Or some fierce thing replete with too much
  rage,
• Whose strength's abundance weakens his own
  heart.
• Quatrain 2 (four-line stanza) 
• So I, for fear of trust, forget to say
• The perfect ceremony of love's rite,
• And in mine own love's strength seem to decay,
• O'ercharged with burden of mine own love's
  might.

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Sonnet 23

• Quatrain 3 (four-line stanza) 
• O, let my books be then the eloquence
• And dumb presagers of my speaking breast,
• Who plead for love and look for recompense
• More than that tongue that more hath more
  express'd.
• Couplet (two rhyming lines) 
• O, learn to read what silent love hath writ
• To hear with eyes belongs to love's fine wit.

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Sonnet 116

• Quatrain 1 (four-line stanza) 
• Let me not to the marriage of true minds
• Admit impediments. Love is not love
• Which alters when it alteration finds,
• Or bends with the remover to remove
• Quatrain 2 (four-line stanza) 
• O no! it is an ever-fixed mark
• That looks on tempests and is never shaken
• It is the star to every wandering bark,
• Whose worth's unknown, although his height be
  taken.

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Sonnet 116

• Quatrain 3 (four-line stanza) 
• Love's not Time's fool, though rosy lips and
  cheeks
• Within his bending sickle's compass come
• Love alters not with his brief hours and weeks,
• But bears it out even to the edge of doom.
• Couplet (two rhyming lines) 
• If this be error and upon me proved,
• I never writ, nor no man ever loved.

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Sonnet 152

• Quatrain 1 (four-line stanza) 
• In loving thee thou know'st I am forsworn,
• But thou art twice forsworn, to me love swearing,
• In act thy bed-vow broke and new faith torn,
• In vowing new hate after new love bearing.
• Quatrain 2 (four-line stanza)
• But why of two oaths' breach do I accuse thee,
• When I break twenty? I am perjured most
• For all my vows are oaths but to misuse thee
• And all my honest faith in thee is lost,

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Sonnet 152

• Quatrain 3 (four-line stanza) 
• For I have sworn deep oaths of thy deep kindness,
• Oaths of thy love, thy truth, thy constancy,
• And, to enlighten thee, gave eyes to blindness,
• Or made them swear against the thing they see
• Couplet (two rhyming lines) 
• For I have sworn thee fair more perjured I,
• To swear against the truth so foul a lie!

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Twelfth Night
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• In the kingdom of Illyria, a nobleman named
  Orsino lies around listening to music, pining
  away for the love of Lady Olivia. He cannot have
  her because she is in mourning for her dead
  brother and refuses to entertain any proposals of
  marriage.

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• Meanwhile, off the coast, a storm has caused a
  terrible shipwreck. A young, aristocratic-born
  woman named Viola is swept onto the Illyrian
  shore. Finding herself alone in a strange land,
  she assumes that her twin brother, Sebastian, has
  been drowned in the wreck, and tries to figure
  out what sort of work she can do.

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• A friendly sea captain tells her about Orsinos
  courtship of Olivia, and Viola says that she
  wishes she could go to work in Olivias home. But
  since Lady Olivia refuses to talk with any
  strangers, Viola decides that she cannot look for
  work with her. Instead, she decides to disguise
  herself as a man, taking on the name of Cesario,
  and goes to work in the household of Duke Orsino.

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• Viola (disguised as Cesario) quickly becomes a
  favorite of Orsino, who makes Cesario his page.
  Viola finds herself falling in love with Orsinoa
  difficult love to pursue, as Orsino believes her
  to be a man. But when Orsino sends Cesario to
  deliver Orsinos love messages to the disdainful
  Olivia, Olivia herself falls for the beautiful
  young Cesario, believing her to be a man. The
  love triangle is complete Viola loves Orsino,
  Orsino loves Olivia, and Olivia loves Cesarioand
  everyone is miserable.

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• Meanwhile, we meet the other members of Olivias
  household her rowdy drunkard of an uncle, Sir
  Toby his foolish friend, Sir Andrew Aguecheek,
  who is trying in his hopeless way to court
  Olivia Olivias witty and pretty
  waiting-gentlewoman, Maria Feste, the clever
  clown of the house and Malvolio, the dour,
  prudish steward of Olivias household. When Sir
  Toby and the others take offense at Malvolios
  constant efforts to spoil their fun, Maria
  engineers a practical joke to make Malvolio think
  that Olivia is in love with him.

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• She forges a letter, supposedly from Olivia,
  addressed to her beloved (whose name is signified
  by the letters M.O.A.I.), telling him that if he
  wants to earn her favor, he should dress in
  yellow stockings and crossed garters, act
  haughtily, smile constantly, and refuse to
  explain himself to anyone. Malvolio finds the
  letter, assumes that it is addressed to him, and,
  filled with dreams of marrying Olivia and
  becoming noble himself, happily follows its
  commands. He behaves so strangely that Olivia
  comes to think that he is mad.

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• Meanwhile, Sebastian, who is still alive after
  all but believes his sister Viola to be dead,
  arrives in Illyria along with his friend and
  protector, Antonio. Antonio has cared for
  Sebastian since the shipwreck and is passionately
  (and perhaps sexually) attached to the young
  manso much so that he follows him to Orsinos
  domain, in spite of the fact that he and Orsino
  are old enemies.

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• Sir Andrew, observing Olivias attraction to
  Cesario (still Viola in disguise), challenges
  Cesario to a duel. Sir Toby, who sees the
  prospective duel as entertaining fun, eggs Sir
  Andrew on. However, when Sebastianwho looks just
  like the disguised Violaappears on the scene,
  Sir Andrew and Sir Toby end up coming to blows
  with Sebastian, thinking that he is Cesario.

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• Olivia enters amid the confusion. Encountering
  Sebastian and thinking that he is Cesario, she
  asks him to marry her.
• He is baffled, since he has never seen her
  before. He sees, however, that she is wealthy and
  beautiful, and he is therefore more than willing
  to go along with her.

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• Meanwhile, Antonio has been arrested by Orsinos
  officers and now begs Cesario for help, mistaking
  him for Sebastian. Viola denies knowing Antonio,
  and Antonio is dragged off, crying out that
  Sebastian has betrayed him. Suddenly, Viola has
  newfound hope that her brother may be alive.

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• Malvolios supposed madness has allowed the
  gleeful Maria, Toby, and the rest to lock
  Malvolio into a small, dark room for his
  treatment, and they torment him at will. Feste
  dresses up as "Sir Topas," a priest, and pretends
  to examine Malvolio, declaring him definitely
  insane in spite of his protests. However, Sir
  Toby begins to think better of the joke, and they
  allow Malvolio to send a letter to Olivia, in
  which he asks to be released.

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• Eventually, Viola (still disguised as Cesario)
  and Orsino make their way to Olivias house,
  where Olivia welcomes Cesario as her new husband,
  thinking him to be Sebastian, whom she has just
  married. Orsino is furious, but then Sebastian
  himself appears on the scene, and all is
  revealed.

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• The siblings are joyfully reunited, and Orsino
  realizes that he loves Viola, now that he knows
  she is a woman, and asks her to marry him. We
  discover that Sir Toby and Maria have also been
  married privately. Finally, someone remembers
  Malvolio and lets him out of the dark room. The
  trick is revealed in full, and the embittered
  Malvolio storms off, leaving the happy couples to
  their celebration.

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Analysis
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Love as a Cause of Suffering

• At one point, Orsino depicts love dolefully as an
  appetite that he wants to satisfy and cannot
  at another point, he calls his desires fell and
  cruel hounds . Olivia more bluntly describes
  love as a plague from which she suffers
  terribly . These metaphors contain an element of
  violence, further painting the love-struck as
  victims of some random force in the universe.
  Even the less melodramatic Viola sighs unhappily
  that My state is desperate for my masters love
  . This desperation has the potential to result in
  violence, when Orsino threatens to kill Cesario
  because he thinks that -Cesario has forsaken him
  to become Olivias lover.

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• Malvolio, who has pursued Olivia, must ultimately
  face the realization that he is a fool, socially
  unworthy of his noble mistress.
• Antonio is in a more difficult situation, as
  social norms do not allow for the gratification
  of his apparently sexual attraction to Sebastian.

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The Uncertainty of Gender

• Gender is one of the most obvious and
  much-discussed topics in the play. Twelfth Night
  is one of Shakespeares so-called transvestite
  comedies, in which a female characterin this
  case, Violadisguises herself as a man. This
  situation creates a sexual mess Viola falls in
  love with Orsino but cannot tell him, because he
  thinks she is a man, while Olivia, the object of
  Orsinos affection, falls for Viola in her guise
  as Cesario.

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• There is a clear homoerotic subtext here Olivia
  is in love with a woman, even if she thinks he is
  a man, and Orsino often remarks on Cesarios
  beauty, suggesting that he is attracted to Viola
  even before her male disguise is removed. This
  latent homoeroticism finds an explicit echo in
  the minor character of Antonio, who is clearly in
  love with his male friend, Sebastian.

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• Even after Orsino knows that Viola is a woman, he
  says to her, Boy, thou hast said to me a
  thousand times / Thou never shouldst love woman
  like to me. Similarly, in his last lines, Orsino
  declares, Cesario, come / For so you shall be
  while you are a man / But when in other habits
  you are seen, / Orsinos mistress, and his
  fancys queen. Even once everything is revealed,
  Orsino continues to address Viola by her male
  name. We can thus only wonder whether Orsino is
  truly in love with Viola, or if he is more
  enamoured of her male persona.

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The Folly of Ambition

• The character of Malvolio, the steward, who seems
  to be a competent servant, if prudish and dour,
  but proves to be, in fact, a supreme egotist,
  with tremendous ambitions to rise out of his
  social class. Maria plays on these ambitions when
  she forges a letter from Olivia that makes
  Malvolio believe that Olivia is in love with him
  and wishes to marry him.

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• Sir Toby and the others find this fantasy
  hysterically funny, of coursenot only because of
  Malvolios unattractive personality but also
  because Malvolio is not of noble blood. In the
  class system of Shakespeares time, a noblewoman
  would generally not sully her reputation by
  marrying a man of lower social status.