william shakespeare

 

  • In the early 17th century, Shakespeare wrote the so-called “problem plays” Measure for Measure, Troilus and Cressida, and All’s Well That Ends Well and a number of his best
    known tragedies.

  • [127][128][129] This period begins and ends with two tragedies: Romeo and Juliet, the famous romantic tragedy of sexually charged adolescence, love, and death;[130][131] and
    Julius Caesar— based on Sir Thomas North’s 1579 translation of Plutarch’s Parallel Lives—which introduced a new kind of drama.

  • Of the tributes from fellow authors, one refers to his relatively sudden death: “We wondered, Shakespeare, that thou went’st so soon / From the world’s stage to the grave’s
    tiring room.

  • [47] The First Folio of 1623, however, lists Shakespeare as one of “the Principal Actors in all these Plays”, some of which were first staged after Volpone, although one cannot
    know for certain which roles he played.

  • [106] The first recorded works of Shakespeare are Richard III and the three parts of Henry VI, written in the early 1590s during a vogue for historical drama.

  • [154] Performances Main article: Shakespeare in performance It is not clear for which companies Shakespeare wrote his early plays.

  • However, in 1623, John Heminges and Henry Condell, two fellow actors and friends of Shakespeare’s, published a more definitive text known as the First Folio, a posthumous
    collected edition of Shakespeare’s dramatic works that included all but two of his plays.

  • In 1599, two early drafts of sonnets 138 and 144 appeared in The Passionate Pilgrim, published under Shakespeare’s name but without his permission.

  • [g] After the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592.

  • Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain’s Men, later known
    as the King’s Men.

  • [18] John Shakespeare’s house, believed to be Shakespeare’s birthplace, in Stratford-upon-Avon Although no attendance records for the period survive, most biographers agree
    that Shakespeare was probably educated at the King’s New School in Stratford,[19][20][21] a free school chartered in 1553,[22] about a quarter-mile (400 m) from his home.

  • [35] Later traditions maintain that he also played Adam in As You Like It, and the Chorus in Henry V,[61][62] though scholars doubt the sources of that information.

  • [172] Nor did Shakespeare plan or expect his works to survive in any form at all; those works likely would have faded into oblivion but for his friends’ spontaneous idea,
    after his death, to create and publish the First Folio.

  • [191] Style Shakespeare’s first plays were written in the conventional style of the day.

  • Shakespeare’s plays are difficult to date precisely, however,[107][108] and studies of the texts suggest that Titus Andronicus, The Comedy of Errors, The Taming of the Shrew,
    and The Two Gentlemen of Verona may also belong to Shakespeare’s earliest period.

  • [126] After the lyrical Richard II, written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the late 1590s, Henry IV, parts 1 and 2, and
    Henry V. His characters become more complex and tender as he switches deftly between comic and serious scenes, prose and poetry, and achieves the narrative variety of his mature work.

  • [104][105] Plays Most playwrights of the period typically collaborated with others at some point, as critics agree Shakespeare did, mostly early and late in his career.

  • [89][90] The Halls had one child, Elizabeth, who married twice but died without children in 1670, ending Shakespeare’s direct line.

  • [40][41] London and theatrical career It is not known definitively when Shakespeare began writing, but contemporary allusions and records of performances show that several
    of his plays were on the London stage by 1592.

  • [115][116] Like The Two Gentlemen of Verona, in which two friends appear to approve of rape,[117][118][119] the Shrew’s story of the taming of a woman’s independent spirit
    by a man sometimes troubles modern critics, directors, and audiences.

  • Although the performance records are patchy, the King’s Men performed seven of Shakespeare’s plays at court between 1 November 1604, and 31 October 1605, including two performances
    of The Merchant of Venice.

  • [47][48][49] After 1594, Shakespeare’s plays were performed only by the Lord Chamberlain’s Men, a company owned by a group of players, including Shakespeare, that soon became
    the leading playing company in London.

  • [32] Scholars refer to the years between 1585 and 1592 as Shakespeare’s “lost years”.

  • [80] His last three plays were collaborations, probably with John Fletcher,[81] who succeeded him as the house playwright of the King’s Men.

  • The blank verse of his early plays is quite different from that of his later ones.

  • [43][46] Greene’s attack is the earliest surviving mention of Shakespeare’s work in the theatre.

  • [54] Some of Shakespeare’s plays were published in quarto editions, beginning in 1594, and by 1598, his name had become a selling point and began to appear on the title pages.

  • [91][92] Shakespeare’s will scarcely mentions his wife, Anne, who was probably entitled to one-third of his estate automatically.

  • [2][3][4] In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights.

  • [112][113][114] The Comedy of Errors was also based on classical models, but no source for The Taming of the Shrew has been found, though it is related to a separate play
    of the same name and may have derived from a folk story.

  • [67][68] Later years and death Shakespeare’s funerary monument in Stratford-upon-Avon Nicholas Rowe was the first biographer to record the tradition, repeated by Samuel Johnson,
    that Shakespeare retired to Stratford “some years before his death”.

  • [198] By the time of Romeo and Juliet, Richard II, and A Midsummer Night’s Dream in the mid-1590s, Shakespeare had begun to write a more natural poetry.

  • Half a century later, John Ward, the vicar of Stratford, wrote in his notebook: “Shakespeare, Drayton, and Ben Jonson had a merry meeting and, it seems, drank too hard, for
    Shakespeare died of a fever there contracted”,[82][83] not an impossible scenario since Shakespeare knew Jonson and Drayton.

  • [45] The italicised phrase parodying the line “Oh, tiger’s heart wrapped in a woman’s hide” from Shakespeare’s Henry VI, Part 3, along with the pun “Shake-scene”, clearly
    identify Shakespeare as Greene’s target.

  • His plays have been translated into every major living language and are performed more often than those of any other playwright.

  • [132][133] According to Shakespearean scholar James Shapiro, in Julius Caesar, “the various strands of politics, character, inwardness, contemporary events, even Shakespeare’s
    own reflections on the act of writing, began to infuse each other”.

  • [147][148][149] In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: Cymbeline, The Winter’s Tale, and The Tempest, as well
    as the collaboration, Pericles, Prince of Tyre.

  • [51] “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 …” —As You Like
    It, Act II, Scene 7, 139–142[52] In 1599, a partnership of members of the company built their own theatre on the south bank of the River Thames, which they named the Globe.

  • Rashly— And prais’d be rashness for it—let us know Our indiscretion sometimes serves us well … — Hamlet, Act 5, Scene 2, 4–8[200] After Hamlet, Shakespeare varied his poetic
    style further, particularly in the more emotional passages of the late tragedies.

  • Shakespeare is also supposed to have taken his revenge on Lucy by writing a scurrilous ballad about him.

  • Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles.

  • [94][95][96] Some scholars see the bequest as an insult to Anne, whereas others believe that the second-best bed would have been the matrimonial bed and therefore rich in
    significance.

  • Shakespeare uses it, for example, to convey the turmoil in Hamlet’s mind:[200] Sir, in my heart there was a kind of fighting That would not let me sleep.

  • The grand speeches in Titus Andronicus, in the view of some critics, often hold up the action, for example; and the verse in The Two Gentlemen of Verona has been described
    as stilted.

  • The 1616 edition of Ben Jonson’s Works names him on the cast lists for Every Man in His Humour (1598) and Sejanus His Fall (1603).

  • [42] By then, he was sufficiently known in London to be attacked in print by the playwright Robert Greene in his Groats-Worth of Wit: … there is an upstart Crow, beautified
    with our feathers, that with his Tiger’s heart wrapped in a Player’s hide, supposes he is as well able to bombast out a blank verse as the best of you: and being an absolute Johannes factotum, is in his own conceit the only Shake-scene in
    a country.

  • [34][35] Another 18th-century story has Shakespeare starting his theatrical career minding the horses of theatre patrons in London.

  • The title page of the 1594 edition of Titus Andronicus reveals that the play had been acted by three different troupes.

  • The titular hero of one of Shakespeare’s greatest tragedies, Hamlet, has probably been discussed more than any other Shakespearean character, especially for his famous soliloquy
    which begins “To be or not to be; that is the question”.

  • [150] Some commentators have seen this change in mood as evidence of a more serene view of life on Shakespeare’s part, but it may merely reflect the theatrical fashion of
    the day.

  • Burbage played the leading role in the first performances of many of Shakespeare’s plays, including Richard III, Hamlet, Othello, and King Lear.

  • [58] The absence of his name from the 1605 cast list for Jonson’s Volpone is taken by some scholars as a sign that his acting career was nearing its end.

  • [202] The late romances, with their shifts in time and surprising turns of plot, inspired a last poetic style in which long and short sentences are set against one another,
    clauses are piled up, subject and object are reversed, and words are omitted, creating an effect of spontaneity.

  • [69][70] He was still working as an actor in London in 1608; in an answer to the sharers’ petition in 1635, Cuthbert Burbage stated that after purchasing the lease of the
    Blackfriars Theatre in 1608 from Henry Evans, the King’s Men “placed men players” there, “which were Heminges, Condell, Shakespeare, etc.”.

  • [79] After 1610, Shakespeare wrote fewer plays, and none are attributed to him after 1613.

  • Most of Shakespeare’s greatest post-1599 plays were written for the Globe, including Hamlet, Othello, and King Lear.

  • [151][152][153] Shakespeare collaborated on two further surviving plays, Henry VIII and The Two Noble Kinsmen, probably with John Fletcher.

  • It remains unclear if these figures represent real individuals, or if the authorial “I” who addresses them represents Shakespeare himself, though Wordsworth believed that
    with the sonnets “Shakespeare unlocked his heart”.

  • [156] Londoners flocked there to see the first part of Henry IV, Leonard Digges recording, “Let but Falstaff come, Hal, Poins, the rest … and you scarce shall have a room”.

  • In 1623, John Heminges and Henry Condell, two of Shakespeare’s friends from the King’s Men, published the First Folio, a collected edition of Shakespeare’s plays.

  • was, despite numerous theories, or whether Shakespeare even authorised the publication.

  • [185][186] Even before the two unauthorised sonnets appeared in The Passionate Pilgrim in 1599, Francis Meres had referred in 1598 to Shakespeare’s “sugred Sonnets among his
    private friends”.

  • [188] He seems to have planned two contrasting series: one about uncontrollable lust for a married woman of dark complexion (the “dark lady”), and one about conflicted love
    for a fair young man (the “fair youth”).

  • Scholars are not certain when each of the 154 sonnets was composed, but evidence suggests that Shakespeare wrote sonnets throughout his career for a private readership.

  • [169] On 29 June, however, a cannon set fire to the thatch of the Globe and burned the theatre to the ground, an event which pinpoints the date of a Shakespeare play with
    rare precision.

  • It is not known whether this was written by Shakespeare himself or by the publisher, Thomas Thorpe, whose initials appear at the foot of the dedication page; nor is it known
    who Mr. W.H.

  • [187] Few analysts believe that the published collection follows Shakespeare’s intended sequence.

  • As used here, Johannes Factotum (“Jack of all trades”) refers to a second-rate tinkerer with the work of others, rather than the more common “universal genius”.

  • He then wrote mainly tragedies until 1608, among them Hamlet, Romeo and Juliet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English
    language.

  • In the case of King Lear, however, while most modern editions do conflate them, the 1623 folio version is so different from the 1608 quarto that the Oxford Shakespeare prints
    them both, arguing that they cannot be conflated without confusion.

 

Works Cited

[‘His monument states that he was in his 53rd year at death, i.e. 52 years old.
2. ^ The concept that Shakespeare was born on 23 April, contrary to belief, is a tradition, and not a fact; see the section on Shakespeare’s life below.
3. ^ Dates follow
the Julian calendar, used in England throughout Shakespeare’s lifespan, but with the start of the year adjusted to 1 January (see Old Style and New Style dates). Under the Gregorian calendar, adopted in Catholic countries in 1582, Shakespeare died
on 3 May.[1]
4. ^ The “national cult” of Shakespeare, and the “bard” identification, dates from September 1769, when the actor David Garrick organised a week-long carnival at Stratford to mark the town council awarding him the freedom of the town.
In addition to presenting the town with a statue of Shakespeare, Garrick composed a doggerel verse, lampooned in the London newspapers, naming the banks of the Avon as the birthplace of the “matchless Bard”.[6]
5. ^ The exact figures are unknown.
See Shakespeare’s collaborations and Shakespeare Apocrypha for further details.
6. ^ Individual play dates and precise writing span are unknown. See Chronology of Shakespeare’s plays for further details.
7. ^ The crest is a silver falcon supporting
a spear, while the motto is Non Sanz Droict (French for “not without right”). This motto is still used by Warwickshire County Council, in reference to Shakespeare.
8. ^ Inscribed in Latin on his funerary monument: AETATIS 53 DIE 23 APR (In his 53rd
year he died 23 April).
9. ^ Verse by James Mabbe printed in the First Folio.[84]
10. ^ Charles Knight, 1842, in his notes on Twelfth Night.[93]
11. ^ In the scribal abbreviations ye for the (3rd line) and yt for that (3rd and 4th lines) the
letter y represents th: see thorn.
12. ^ Grady cites Voltaire’s Philosophical Letters (1733); Goethe’s Wilhelm Meister’s Apprenticeship (1795); Stendhal’s two-part pamphlet Racine et Shakespeare (1823–25); and Victor Hugo’s prefaces to Cromwell
(1827) and William Shakespeare (1864).[240]
13. ^ For example, A.L. Rowse, the 20th-century Shakespeare scholar, was emphatic: “He died, as he had lived, a conforming member of the Church of England. His will made that perfectly clear—in facts,
puts it beyond dispute, for it uses the Protestant formula.”[268]
14. Schoenbaum 1987, p. xv.
15. ^ Jump up to:a b Greenblatt 2005, p. 11.
16. ^ Jump up to:a b Bevington 2002, pp. 1–3.
17. ^ Jump up to:a b Wells 1997, p. 399.
18. ^ Dobson
1992, pp. 185–186.
19. ^ McIntyre 1999, pp. 412–432.
20. ^ Craig 2003, p. 3.
21. ^ Shapiro 2005, pp. xvii–xviii.
22. ^ Schoenbaum 1991, pp. 41, 66, 397–398, 402, 409.
23. ^ Taylor 1990, pp. 145, 210–223, 261–265.
24. ^ Chambers 1930a,
pp. 270–271.
25. ^ Taylor 1987, pp. 109–134.
26. ^ Jump up to:a b Greenblatt & Abrams 2012, p. 1168.
27. ^ Schoenbaum 1987, pp. 14–22.
28. ^ Schoenbaum 1987, pp. 24–26.
29. ^ Schoenbaum 1987, pp. 24, 296.
30. ^ Honan 1998, pp. 15–16.
31. ^
Schoenbaum 1987, pp. 23–24.
32. ^ Schoenbaum 1987, pp. 62–63.
33. ^ Ackroyd 2006, p. 53.
34. ^ Wells et al. 2005, pp. xv–xvi.
35. ^ Baldwin 1944, p. 464.
36. ^ Baldwin 1944, pp. 179–180, 183.
37. ^ Cressy 1975, pp. 28–29.
38. ^ Baldwin
1944, p. 117.
39. ^ Schoenbaum 1987, pp. 77–78.
40. ^ Wood 2003, p. 84.
41. ^ Schoenbaum 1987, pp. 78–79.
42. ^ Schoenbaum 1987, p. 93.
43. ^ Schoenbaum 1987, p. 94.
44. ^ Schoenbaum 1987, p. 224.
45. ^ Bate 2008, p. 314.
46. ^ Schoenbaum
1987, p. 95.
47. ^ Schoenbaum 1987, pp. 97–108.
48. ^ Jump up to:a b Rowe 1709.
49. ^ Schoenbaum 1987, pp. 144–145.
50. ^ Schoenbaum 1987, pp. 110–111.
51. ^ Honigmann 1999, p. 1.
52. ^ Wells et al. 2005, p. xvii.
53. ^ Honigmann 1999,
pp. 95–117.
54. ^ Wood 2003, pp. 97–109.
55. ^ Chambers 1930a, pp. 287, 292.
56. ^ Jump up to:a b c Greenblatt 2005, p. 213.
57. ^ Schoenbaum 1987, p. 153.
58. ^ Ackroyd 2006, p. 176.
59. ^ Schoenbaum 1987, p. 151–153.
60. ^ Jump up
to:a b Wells 2006, p. 28.
61. ^ Schoenbaum 1987, pp. 144–146.
62. ^ Chambers 1930a, p. 59.
63. ^ Schoenbaum 1987, p. 184.
64. ^ Chambers 1923, pp. 208–209.
65. ^ Wells et al. 2005, p. 666.
66. ^ Chambers 1930b, pp. 67–71.
67. ^ Bentley
1961, p. 36.
68. ^ Schoenbaum 1987, p. 188.
69. ^ Kastan 1999, p. 37.
70. ^ Knutson 2001, p. 17.
71. ^ Adams 1923, p. 275.
72. ^ Schoenbaum 1987, p. 200.
73. ^ Schoenbaum 1987, pp. 200–201.
74. ^ Ackroyd 2006, p. 357.
75. ^ Jump up
to:a b Wells et al. 2005, p. xxii.
76. ^ Schoenbaum 1987, pp. 202–203.
77. ^ Jump up to:a b Hales 1904, pp. 401–402.
78. ^ Honan 1998, p. 121.
79. ^ Shapiro 2005, p. 122.
80. ^ Honan 1998, p. 325.
81. ^ Greenblatt 2005, p. 405.
82. ^
Jump up to:a b Ackroyd 2006, p. 476.
83. ^ Wood 1806, pp. ix–x, lxxii.
84. ^ Smith 1964, p. 558.
85. ^ Ackroyd 2006, p. 477.
86. ^ Barroll 1991, pp. 179–182.
87. ^ Bate 2008, pp. 354–355.
88. ^ Honan 1998, pp. 382–383.
89. ^ Honan 1998,
p. 326.
90. ^ Ackroyd 2006, pp. 462–464.
91. ^ Schoenbaum 1987, pp. 272–274.
92. ^ Honan 1998, p. 387.
93. ^ Jump up to:a b Schoenbaum 1987, p. 279.
94. ^ Honan 1998, pp. 375–378.
95. ^ Schoenbaum 1991, p. 78.
96. ^ Rowse 1963, p. 453.
97. ^
Jump up to:a b Kinney 2012, p. 11.
98. ^ Schoenbaum 1987, p. 287.
99. ^ Jump up to:a b Schoenbaum 1987, pp. 292–294.
100. ^ Schoenbaum 1987, p. 304.
101. ^ Honan 1998, pp. 395–396.
102. ^ Chambers 1930b, pp. 8, 11, 104.
103. ^ Schoenbaum
1987, p. 296.
104. ^ Chambers 1930b, pp. 7, 9, 13.
105. ^ Schoenbaum 1987, pp. 289, 318–319.
106. ^ Schoenbaum 1991, p. 275.
107. ^ Ackroyd 2006, p. 483.
108. ^ Frye 2005, p. 16.
109. ^ Greenblatt 2005, pp. 145–146.
110. ^ Schoenbaum
1987, pp. 301–303.
111. ^ Schoenbaum 1987, pp. 306–307.
112. ^ Wells et al. 2005, p. xviii.
113. ^ BBC News 2008.
114. ^ Schoenbaum 1987, p. 306.
115. ^ Schoenbaum 1987, pp. 308–310.
116. ^ Cooper 2006, p. 48.
117. ^ Westminster Abbey
n.d.
118. ^ Southwark Cathedral n.d.
119. ^ Thomson 2003, p. 49.
120. ^ Jump up to:a b Frye 2005, p. 9.
121. ^ Honan 1998, p. 166.
122. ^ Schoenbaum 1987, pp. 159–161.
123. ^ Dutton & Howard 2003, p. 147.
124. ^ Ribner 2005, pp. 154–155.
125. ^
Frye 2005, p. 105.
126. ^ Ribner 2005, p. 67.
127. ^ Bednarz 2004, p. 100.
128. ^ Honan 1998, p. 136.
129. ^ Schoenbaum 1987, p. 166.
130. ^ Frye 2005, p. 91.
131. ^ Honan 1998, pp. 116–117.
132. ^ Werner 2001, pp. 96–100.
133. ^ Friedman
2006, p. 159.
134. ^ Ackroyd 2006, p. 235.
135. ^ Wood 2003, pp. 161–162.
136. ^ Wood 2003, pp. 205–206.
137. ^ Honan 1998, p. 258.
138. ^ Ackroyd 2006, p. 359.
139. ^ Ackroyd 2006, pp. 362–383.
140. ^ Shapiro 2005, p. 150.
141. ^
Gibbons 1993, p. 1.
142. ^ Ackroyd 2006, p. 356.
143. ^ Wood 2003, p. 161.
144. ^ Honan 1998, p. 206.
145. ^ Ackroyd 2006, pp. 353, 358.
146. ^ Shapiro 2005, pp. 151–153.
147. ^ Shapiro 2005, p. 151.
148. ^ Bradley 1991, p. 85.
149. ^
Muir 2005, pp. 12–16.
150. ^ Bradley 1991, p. 94.
151. ^ Bradley 1991, p. 86.
152. ^ Bradley 1991, pp. 40, 48.
153. ^ Bradley 1991, pp. 42, 169, 195.
154. ^ Greenblatt 2005, p. 304.
155. ^ Bradley 1991, p. 226.
156. ^ Ackroyd 2006, p.
423.
157. ^ Kermode 2004, pp. 141–142.
158. ^ McDonald 2006, pp. 43–46.
159. ^ Bradley 1991, p. 306.
160. ^ Ackroyd 2006, p. 444.
161. ^ McDonald 2006, pp. 69–70.
162. ^ Eliot 1934, p. 59.
163. ^ Dowden 1881, p. 57.
164. ^ Dowden 1881,
p. 60.
165. ^ Frye 2005, p. 123.
166. ^ McDonald 2006, p. 15.
167. ^ Wells et al. 2005, pp. 1247, 1279.
168. ^ Wells et al. 2005, p. xx.
169. ^ Wells et al. 2005, p. xxi.
170. ^ Shapiro 2005, p. 16.
171. ^ Jump up to:a b Foakes 1990,
p. 6.
172. ^ Shapiro 2005, pp. 125–131.
173. ^ Nagler 1958, p. 7.
174. ^ Shapiro 2005, pp. 131–132.
175. ^ Foakes 1990, p. 33.
176. ^ Ackroyd 2006, p. 454.
177. ^ Holland 2000, p. xli.
178. ^ Ringler 1997, p. 127.
179. ^ Schoenbaum
1987, p. 210.
180. ^ Chambers 1930a, p. 341.
181. ^ Shapiro 2005, pp. 247–249.
182. ^ Jump up to:a b Wells et al. 2005, p. 1247.
183. ^ Wells et al. 2005, p. xxxvii.
184. ^ Jump up to:a b Wells et al. 2005, p. xxxiv.
185. ^ Jump up to:a
b Pollard 1909, p. xi.
186. ^ Mays & Swanson 2016.
187. ^ Maguire 1996, p. 28.
188. ^ Bowers 1955, pp. 8–10.
189. ^ Wells et al. 2005, pp. xxxiv–xxxv.
190. ^ Wells et al. 2005, pp. 909, 1153.
191. ^ Roe 2006, p. 21.
192. ^ Frye 2005,
p. 288.
193. ^ Roe 2006, pp. 3, 21.
194. ^ Jump up to:a b Roe 2006, p. 1.
195. ^ Jackson 2004, pp. 267–294.
196. ^ Jump up to:a b Honan 1998, p. 289.
197. ^ Schoenbaum 1987, p. 327.
198. ^ Wood 2003, p. 178.
199. ^ Jump up to:a b Schoenbaum
1987, p. 180.
200. ^ Jump up to:a b Honan 1998, p. 180.
201. ^ Schoenbaum 1987, p. 268.
202. ^ Mowat & Werstine n.d.
203. ^ Schoenbaum 1987, pp. 268–269.
204. ^ Wood 2003, p. 177.
205. ^ Clemen 2005a, p. 150.
206. ^ Frye 2005, pp. 105,
177.
207. ^ Clemen 2005b, p. 29.
208. ^ de Sélincourt 1909, p. 174.
209. ^ Brooke 2004, p. 69.
210. ^ Bradbrook 2004, p. 195.
211. ^ Clemen 2005b, p. 63.
212. ^ Frye 2005, p. 185.
213. ^ Jump up to:a b Wright 2004, p. 868.
214. ^ Bradley
1991, p. 91.
215. ^ Jump up to:a b McDonald 2006, pp. 42–46.
216. ^ McDonald 2006, pp. 36, 39, 75.
217. ^ Gibbons 1993, p. 4.
218. ^ Gibbons 1993, pp. 1–4.
219. ^ Gibbons 1993, pp. 1–7, 15.
220. ^ McDonald 2006, p. 13.
221. ^ Meagher
2003, p. 358.
222. ^ Chambers 1944, p. 35.
223. ^ Levenson 2000, pp. 49–50.
224. ^ Clemen 1987, p. 179.
225. ^ Steiner 1996, p. 145.
226. ^ Foundation, Poetry (6 January 2023). “On Shakespeare. 1630 by John Milton”. Poetry Foundation. Retrieved
6 January 2023.
227. ^ Bryant 1998, p. 82.
228. ^ Gross 2003, pp. 641–642.
229. ^ Paraisz 2006, p. 130.
230. ^ Bloom 1995, p. 346.
231. ^ Cercignani 1981.
232. ^ Crystal 2001, pp. 55–65, 74.
233. ^ Wain 1975, p. 194.
234. ^ Johnson
2002, p. 12.
235. ^ Crystal 2001, p. 63.
236. ^ “How Shakespeare was turned into a German”. DW.com. 22 April 2016.
237. ^ “Unser Shakespeare: Germans’ mad obsession with the Bard”. The Local. 22 April 2016.
238. ^ “Simon Callow: What the
Dickens? Well, William Shakespeare was the greatest after all…” The Independent. Retrieved 2 September 2020.
239. ^ “William Shakespeare:Ten startling Great Bard-themed world records”. Guinness World Records. 23 April 2014.
240. ^ Jump up to:a
b Jonson 1996, p. 10.
241. ^ Dominik 1988, p. 9.
242. ^ Grady 2001b, p. 267.
243. ^ Grady 2001b, p. 265.
244. ^ Greer 1986, p. 9.
245. ^ Grady 2001b, p. 266.
246. ^ Grady 2001b, p. 269.
247. ^ Dryden 1889, p. 71.
248. ^ “John Dryden
(1631-1700). Shakespeare. Beaumont and Fletcher. Ben Jonson. Vol. III. Seventeenth Century. Henry Craik, ed. 1916. English Prose”. www.bartleby.com. Retrieved 20 July 2022.
249. ^ Grady 2001b, pp. 270–272.
250. ^ Levin 1986, p. 217.
251. ^ Grady
2001b, p. 270.
252. ^ Grady 2001b, pp. 272–74.
253. ^ Grady 2001b, pp. 272–274.
254. ^ Levin 1986, p. 223.
255. ^ Sawyer 2003, p. 113.
256. ^ Carlyle 1841, p. 161.
257. ^ Schoch 2002, pp. 58–59.
258. ^ Grady 2001b, p. 276.
259. ^ Grady
2001a, pp. 22–26.
260. ^ Grady 2001a, p. 24.
261. ^ Grady 2001a, p. 29.
262. ^ Drakakis 1985, pp. 16–17, 23–25.
263. ^ Bloom 2008, p. xii.
264. ^ Boyce 1996, pp. 91, 193, 513..
265. ^ Kathman 2003, p. 629.
266. ^ Boyce 1996, p. 91.
267. ^
Edwards 1958, pp. 1–10.
268. ^ Snyder & Curren-Aquino 2007.
269. ^ Schanzer 1963, pp. 1–10.
270. ^ Boas 1896, p. 345.
271. ^ Schanzer 1963, p. 1.
272. ^ Bloom 1999, pp. 325–380.
273. ^ Berry 2005, p. 37.
274. ^ Shapiro 2010, pp. 77–78.
275. ^
Gibson 2005, pp. 48, 72, 124.
276. ^ McMichael & Glenn 1962, p. 56.
277. ^ The New York Times 2007.
278. ^ Kathman 2003, pp. 620, 625–626.
279. ^ Love 2002, pp. 194–209.
280. ^ Schoenbaum 1991, pp. 430–440.
281. ^ Rowse 1988, p. 240.
282. ^
Pritchard 1979, p. 3.
283. ^ Wood 2003, pp. 75–78.
284. ^ Ackroyd 2006, pp. 22–23.
285. ^ Jump up to:a b Wood 2003, p. 78.
286. ^ Jump up to:a b Ackroyd 2006, p. 416.
287. ^ Jump up to:a b Schoenbaum 1987, pp. 41–42, 286.
288. ^ Wilson
2004, p. 34.
289. ^ Shapiro 2005, p. 167.
290. ^ Lee 1900, p. 55.
291. ^ Casey 1998.
292. ^ Pequigney 1985.
293. ^ Evans 1996, p. 132.
294. ^ Fort 1927, pp. 406–414.
295. ^ Cooper 2006, pp. 48, 57.
296. ^ Schoenbaum 1981, p. 190.
b. Ackroyd,
Peter (2006). Shakespeare: The Biography. London: Vintage. ISBN 978-0-7493-8655-9.
c. Adams, Joseph Quincy (1923). A Life of William Shakespeare. Boston: Houghton Mifflin. OCLC 1935264.
d. Baldwin, T.W. (1944). William Shakspere’s Small Latine
& Lesse Greek. Vol. 1. Urbana, Ill: University of Illinois Press. OCLC 359037.
e. Barroll, Leeds (1991). Politics, Plague, and Shakespeare’s Theater: The Stuart Years. Ithaca: Cornell University Press. ISBN 978-0-8014-2479-3.
f. Bate, Jonathan
(2008). The Soul of the Age. London: Penguin. ISBN 978-0-670-91482-1.
g. “Bard’s ‘cursed’ tomb is revamped”. BBC News. 28 May 2008. Retrieved 23 April 2010.
h. Bednarz, James P. (2004). “Marlowe and the English literary scene”. In Cheney, Patrick
Gerard (ed.). The Cambridge Companion to Christopher Marlowe. Cambridge: Cambridge University Press. pp. 90–105. doi:10.1017/CCOL0521820340. ISBN 978-0-511-99905-5 – via Cambridge Core.
i. Bentley, G.E. (1961). Shakespeare: A Biographical Handbook.
New Haven: Yale University Press. ISBN 978-0-313-25042-2. OCLC 356416.
j. Berry, Ralph (2005). Changing Styles in Shakespeare. London: Routledge. ISBN 978-0-415-35316-8.
k. Bevington, David (2002). Shakespeare. Oxford: Blackwell. ISBN 978-0-631-22719-9.
l. Bloom,
Harold (1995). The Western Canon: The Books and School of the Ages. New York: Riverhead Books. ISBN 978-1-57322-514-4.
m. Bloom, Harold (1999). Shakespeare: The Invention of the Human. New York: Riverhead Books. ISBN 978-1-57322-751-3.
n. Bloom,
Harold (2008). Heims, Neil (ed.). King Lear. Bloom’s Shakespeare Through the Ages. Bloom’s Literary Criticism. ISBN 978-0-7910-9574-4.
o. Boas, Frederick S. (1896). Shakspere and His Predecessors. The University series. New York: Charles Scribner’s
Sons. hdl:2027/uc1.32106001899191. OL 20577303M.
p. Bowers, Fredson (1955). On Editing Shakespeare and the Elizabethan Dramatists. Philadelphia: University of Pennsylvania Press. OCLC 2993883.
q. Boyce, Charles (1996). Dictionary of Shakespeare.
Ware, Herts, UK: Wordsworth. ISBN 978-1-85326-372-9.
r. Bradbrook, M.C. (2004). “Shakespeare’s Recollection of Marlowe”. In Edwards, Philip; Ewbank, Inga-Stina; Hunter, G.K. (eds.). Shakespeare’s Styles: Essays in Honour of Kenneth Muir. Cambridge:
Cambridge University Press. pp. 191–204. ISBN 978-0-521-61694-2.
s. Bradley, A.C. (1991). Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. London: Penguin. ISBN 978-0-14-053019-3.
t. Brooke, Nicholas (2004). “Language
and Speaker in Macbeth”. In Edwards, Philip; Ewbank, Inga-Stina; Hunter, G.K. (eds.). Shakespeare’s Styles: Essays in Honour of Kenneth Muir. Cambridge: Cambridge University Press. pp. 67–78. ISBN 978-0-521-61694-2.
u. Bryant, John (1998). “Moby-Dick
as Revolution”. In Levine, Robert Steven (ed.). The Cambridge Companion to Herman Melville. Cambridge: Cambridge University Press. pp. 65–90. doi:10.1017/CCOL0521554772. ISBN 978-1-139-00037-6 – via Cambridge Core.
v. Carlyle, Thomas (1841). On
Heroes, Hero-Worship, and The Heroic in History. London: James Fraser. hdl:2027/hvd.hnlmmi. OCLC 17473532. OL 13561584M.
w. Casey, Charles (1998). “Was Shakespeare gay? Sonnet 20 and the politics of pedagogy”. College Literature. 25 (3): 35–51.
JSTOR 25112402.
x. Cercignani, Fausto (1981). Shakespeare’s Works and Elizabethan Pronunciation. Oxford: Clarendon Press. ISBN 978-0-19-811937-1.
y. Chambers, E.K. (1923). The Elizabethan Stage. Vol. 2. Oxford: Clarendon Press. ISBN 978-0-19-811511-3.
OCLC 336379.
z. Chambers, E.K. (1930a). William Shakespeare: A Study of Facts and Problems. Vol. 1. Oxford: Clarendon Press. ISBN 978-0-19-811774-2. OCLC 353406.
aa. Chambers, E.K. (1930b). William Shakespeare: A Study of Facts and Problems. Vol.
2. Oxford: Clarendon Press. ISBN 978-0-19-811774-2. OCLC 353406.
bb. Chambers, E.K. (1944). Shakespearean Gleanings. Oxford: Oxford University Press. ISBN 978-0-8492-0506-4. OCLC 2364570.
cc. Clemen, Wolfgang (1987). Shakespeare’s Soliloquies.
London: Routledge. ISBN 978-0-415-35277-2.
dd. Clemen, Wolfgang (2005a). Shakespeare’s Dramatic Art: Collected Essays. New York: Routledge. ISBN 978-0-415-35278-9.
ee. Clemen, Wolfgang (2005b). Shakespeare’s Imagery. London: Routledge. ISBN
978-0-415-35280-2.
ff. Cooper, Tarnya (2006). Searching for Shakespeare. Yale University Press. ISBN 978-0-300-11611-3.
gg. Craig, Leon Harold (2003). Of Philosophers and Kings: Political Philosophy in Shakespeare’s Macbeth and King Lear. Toronto:
University of Toronto Press. ISBN 978-0-8020-8605-1.
hh. Cressy, David (1975). Education in Tudor and Stuart England. New York: St Martin’s Press. ISBN 978-0-7131-5817-5. OCLC 2148260.
ii. Crystal, David (2001). The Cambridge Encyclopedia of
the English Language. Cambridge: Cambridge University Press. ISBN 978-0-521-40179-1.
jj. Dobson, Michael (1992). The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769. Oxford: Oxford University Press. ISBN 978-0-19-818323-5.
kk. Dominik,
Mark (1988). Shakespeare–Middleton Collaborations. Beaverton, OR: Alioth Press. ISBN 978-0-945088-01-1.
ll. Dowden, Edward (1881). Shakspere. New York: D. Appleton & Company. OCLC 8164385. OL 6461529M.
mm. Drakakis, John (1985). “Introduction”.
In Drakakis, John (ed.). Alternative Shakespeares. New York: Methuen. pp. 1–25. ISBN 978-0-416-36860-4.
nn. Dryden, John (1889). Arnold, Thomas (ed.). Dryden: An Essay of Dramatic Poesy. Oxford: Clarendon Press. hdl:2027/umn.31951t00074232s. ISBN
978-81-7156-323-4. OCLC 7847292. OL 23752217M.
oo. Dutton, Richard; Howard, Jean E. (2003). A Companion to Shakespeare’s Works: The Histories. Vol. II. Oxford: Blackwell. ISBN 978-0-631-22633-8.
pp. Edwards, Phillip (1958). Shakespeare’s Romances:
1900–1957. Shakespeare Survey. Vol. 11. Cambridge: Cambridge University Press. pp. 1–18. doi:10.1017/CCOL0521064244.001. ISBN 978-1-139-05291-7 – via Cambridge Core.
qq. Eliot, T.S. (1934). Elizabethan Essays. London: Faber & Faber. ISBN 978-0-15-629051-7.
OCLC 9738219.
rr. Evans, G. Blakemore, ed. (1996). The Sonnets. The New Cambridge Shakespeare. Vol. 26. Cambridge: Cambridge University Press. ISBN 978-0-521-22225-9.
ss. Foakes, R.A. (1990). “Playhouses and players”. In Braunmuller, A.R.; Hattaway,
Michael (eds.). The Cambridge Companion to English Renaissance Drama. Cambridge: Cambridge University Press. pp. 1–52. ISBN 978-0-521-38662-3.
tt. Fort, J.A. (October 1927). “The Story Contained in the Second Series of Shakespeare’s Sonnets”. The
Review of English Studies. Original Series. III (12): 406–414. doi:10.1093/res/os-III.12.406. ISSN 0034-6551 – via Oxford Journals.
uu. Friedman, Michael D. (2006). “‘I’m not a feminist director but…’: Recent Feminist Productions of The Taming
of the Shrew”. In Nelsen, Paul; Schlueter, June (eds.). Acts of Criticism: Performance Matters in Shakespeare and his Contemporaries. New Jersey: Fairleigh Dickinson University Press. pp. 159–174. ISBN 978-0-8386-4059-3.
vv. Frye, Roland Mushat
(2005). The Art of the Dramatist. London; New York: Routledge. ISBN 978-0-415-35289-5.
ww. Gibbons, Brian (1993). Shakespeare and Multiplicity. Cambridge: Cambridge University Press. doi:10.1017/CBO9780511553103. ISBN 978-0-511-55310-3 – via Cambridge
Core.
xx. Gibson, H.N. (2005). The Shakespeare Claimants: A Critical Survey of the Four Principal Theories Concerning the Authorship of the Shakespearean Plays. London: Routledge. ISBN 978-0-415-35290-1.
yy. Grady, Hugh (2001a). “Modernity, Modernism
and Postmodernism in the Twentieth Century’s Shakespeare”. In Bristol, Michael; McLuskie, Kathleen (eds.). Shakespeare and Modern Theatre: The Performance of Modernity. New York: Routledge. pp. 20–35. ISBN 978-0-415-21984-6.
zz. Grady, Hugh (2001b).
“Shakespeare criticism, 1600–1900”. In de Grazia, Margreta; Wells, Stanley (eds.). The Cambridge Companion to Shakespeare. Cambridge: Cambridge University Press. pp. 265–278. doi:10.1017/CCOL0521650941.017. ISBN 978-1-139-00010-9 – via Cambridge Core.
aaa. Greenblatt,
Stephen (2005). Will in the World: How Shakespeare Became Shakespeare. London: Pimlico. ISBN 978-0-7126-0098-9.
bbb. Greenblatt, Stephen; Abrams, Meyer Howard, eds. (2012). Sixteenth/Early Seventeenth Century. The Norton Anthology of English Literature.
Vol. 2. W.W. Norton. ISBN 978-0-393-91250-0.
ccc. Greer, Germaine (1986). Shakespeare. Oxford: Oxford University Press. ISBN 978-0-19-287538-9.
ddd. Hales, John W. (26 March 1904). “London Residences of Shakespeare”. The Athenaeum. No. 3987. London:
John C. Francis. pp. 401–402.
eee. Holland, Peter, ed. (2000). Cymbeline. London: Penguin. ISBN 978-0-14-071472-2.
fff. Honan, Park (1998). Shakespeare: A Life. Oxford: Clarendon Press. ISBN 978-0-19-811792-6.
ggg. Honigmann, E.A.J. (1999).
Shakespeare: The ‘Lost Years’ (Revised ed.). Manchester: Manchester University Press. ISBN 978-0-7190-5425-9.
hhh. Jackson, MacDonald P. (2004). Zimmerman, Susan (ed.). “A Lover’s Complaint revisited”. Shakespeare Studies. XXXII. ISSN 0582-9399
– via The Free Library.
iii. Johnson, Samuel (2002) [first published 1755]. Lynch, Jack (ed.). Samuel Johnson’s Dictionary: Selections from the 1755 Work that Defined the English Language. Delray Beach, FL: Levenger Press. ISBN 978-1-84354-296-4.
jjj. Jonson,
Ben (1996) [first published 1623]. “To the memory of my beloued, The AVTHOR MR. WILLIAM SHAKESPEARE: AND what he hath left vs”. In Hinman, Charlton (ed.). The First Folio of Shakespeare (2nd ed.). New York: W.W. Norton & Company. ISBN 978-0-393-03985-6.
kkk. Kastan,
David Scott (1999). Shakespeare After Theory. London: Routledge. ISBN 978-0-415-90112-3.
lll. Kermode, Frank (2004). The Age of Shakespeare. London: Weidenfeld & Nicolson. ISBN 978-0-297-84881-3.
mmm. Kinney, Arthur F., ed. (2012). The Oxford
Handbook of Shakespeare. Oxford: Oxford University Press. ISBN 978-0-19-956610-5.
nnn. Knutson, Roslyn (2001). Playing Companies and Commerce in Shakespeare’s Time. Cambridge: Cambridge University Press. doi:10.1017/CBO9780511486043. ISBN 978-0-511-48604-3
– via Cambridge Core.
ooo. Lee, Sidney (1900). Shakespeare’s Life and Work. London: Smith, Elder & Co. OL 21113614M.
ppp. Levenson, Jill L., ed. (2000). Romeo and Juliet. Oxford: Oxford University Press. ISBN 978-0-19-281496-8.
qqq. Levin,
Harry (1986). “Critical Approaches to Shakespeare from 1660 to 1904”. In Wells, Stanley (ed.). The Cambridge Companion to Shakespeare Studies. Cambridge: Cambridge University Press. ISBN 978-0-521-31841-9.
rrr. Love, Harold (2002). Attributing Authorship:
An Introduction. Cambridge: Cambridge University Press. doi:10.1017/CBO9780511483165. ISBN 978-0-511-48316-5 – via Cambridge Core.
sss. Maguire, Laurie E. (1996). Shakespearean Suspect Texts: The ‘Bad’ Quartos and Their Contexts. Cambridge: Cambridge
University Press. doi:10.1017/CBO9780511553134. ISBN 978-0-511-55313-4 – via Cambridge Core.
ttt. Mays, Andrea; Swanson, James (20 April 2016). “Shakespeare Died a Nobody, and then Got Famous by Accident”. New York Post. Archived from the original
on 21 April 2016. Retrieved 31 December 2017.
uuu. McDonald, Russ (2006). Shakespeare’s Late Style. Cambridge: Cambridge University Press. doi:10.1017/CBO9780511483783. ISBN 978-0-511-48378-3 – via Cambridge Core.
vvv. McIntyre, Ian (1999). Garrick.
Harmondsworth, England: Allen Lane. ISBN 978-0-14-028323-5.
www. McMichael, George; Glenn, Edgar M. (1962). Shakespeare and his Rivals: A Casebook on the Authorship Controversy. New York: Odyssey Press. OCLC 2113359.
xxx. Meagher, John C. (2003).
Pursuing Shakespeare’s Dramaturgy: Some Contexts, Resources, and Strategies in his Playmaking. New Jersey: Fairleigh Dickinson University Press. ISBN 978-0-8386-3993-1.
yyy. Mowat, Barbara; Werstine, Paul (n.d.). “Sonnet 18”. Folger Digital Texts.
Folger Shakespeare Library. Retrieved 20 March 2021.
zzz. Muir, Kenneth (2005). Shakespeare’s Tragic Sequence. London: Routledge. ISBN 978-0-415-35325-0.
aaaa. Nagler, A.M. (1958). Shakespeare’s Stage. New Haven, CT: Yale University Press. ISBN
978-0-300-02689-4.
bbbb. “Did He or Didn’t He? That Is the Question”. The New York Times. 22 April 2007. Retrieved 31 December 2017.
cccc. Paraisz, Júlia (2006). “The Author, the Editor and the Translator: William Shakespeare, Alexander Chalmers
and Sándor Petofi or the Nature of a Romantic Edition”. Editing Shakespeare. Shakespeare Survey. Vol. 59. Cambridge: Cambridge University Press. pp. 124–135. doi:10.1017/CCOL0521868386.010. ISBN 978-1-139-05271-9 – via Cambridge Core.
dddd. Pequigney,
Joseph (1985). Such Is My Love: A Study of Shakespeare’s Sonnets. Chicago: University of Chicago Press. ISBN 978-0-226-65563-5.
eeee. Pollard, Alfred W. (1909). Shakespeare Quartos and Folios: A Study in the Bibliography of Shakespeare’s Plays,
1594–1685. London: Methuen. OCLC 46308204.
ffff. Pritchard, Arnold (1979). Catholic Loyalism in Elizabethan England. Chapel Hill: University of North Carolina Press. ISBN 978-0-8078-1345-4.
gggg. Ribner, Irving (2005). The English History Play
in the Age of Shakespeare. London: Routledge. ISBN 978-0-415-35314-4.
hhhh. Ringler, William, Jr. (1997). “Shakespeare and His Actors: Some Remarks on King Lear”. In Ogden, James; Scouten, Arthur Hawley (eds.). In Lear from Study to Stage: Essays
in Criticism. New Jersey: Fairleigh Dickinson University Press. pp. 123–134. ISBN 978-0-8386-3690-9.
iiii. Roe, John, ed. (2006). The Poems: Venus and Adonis, The Rape of Lucrece, The Phoenix and the Turtle, The Passionate Pilgrim, A Lover’s Complaint.
The New Cambridge Shakespeare (2nd revised ed.). Cambridge: Cambridge University Press. ISBN 978-0-521-85551-8.
jjjj. Rowe, Nicholas (1997) [first published 1709]. Gray, Terry A. (ed.). Some Account of the Life &c of Mr. William Shakespear. Retrieved
30 July 2007.
kkkk. Rowse, A.L. (1963). William Shakespeare; A Biography. New York: Harper & Row. OL 21462232M.
llll. Rowse, A.L. (1988). Shakespeare: the Man. Macmillan. ISBN 978-0-333-44354-5.
mmmm. Sawyer, Robert (2003). Victorian Appropriations
of Shakespeare. New Jersey: Fairleigh Dickinson University Press. ISBN 978-0-8386-3970-2.
nnnn. Schanzer, Ernest (1963). The Problem Plays of Shakespeare. London: Routledge and Kegan Paul. ISBN 978-0-415-35305-2. OCLC 2378165.
oooo. Schoch, Richard
W. (2002). “Pictorial Shakespeare”. In Wells, Stanley; Stanton, Sarah (eds.). The Cambridge Companion to Shakespeare on Stage. Cambridge: Cambridge University Press. pp. 58–75. doi:10.1017/CCOL0521792959.004. ISBN 978-0-511-99957-4 – via Cambridge
Core.
pppp. Schoenbaum, S. (1981). William Shakespeare: Records and Images. Oxford: Oxford University Press. ISBN 978-0-19-520234-2.
qqqq. de Sélincourt, Basil (1909). William Blake. The library of art. London: Duckworth & co. hdl:2027/mdp.39015066033914.
OL 26411508M.
rrrr. Schoenbaum, S. (1987). William Shakespeare: A Compact Documentary Life (Revised ed.). Oxford: Oxford University Press. ISBN 978-0-19-505161-2.
ssss. Schoenbaum, S. (1991). Shakespeare’s Lives. Oxford: Oxford University Press.
ISBN 978-0-19-818618-2.
tttt. Shapiro, James (2005). 1599: A Year in the Life of William Shakespeare. London: Faber and Faber. ISBN 978-0-571-21480-8.
uuuu. Shapiro, James (2010). Contested Will: Who Wrote Shakespeare?. New York: Simon & Schuster.
ISBN 978-1-4165-4162-2.
vvvv. Smith, Irwin (1964). Shakespeare’s Blackfriars Playhouse. New York: New York University Press.
wwww. Snyder, Susan; Curren-Aquino, Deborah, eds. (2007). The Winter’s Tale. Cambridge: Cambridge University Press.
ISBN 978-0-521-22158-0.
xxxx. “Shakespeare Memorial”. Southwark Cathedral. Archived from the original on 4 March 2016. Retrieved 2 April 2016.
yyyy. Steiner, George (1996). The Death of Tragedy. New Haven: Yale University Press. ISBN 978-0-300-06916-7.
zzzz. Taylor,
Gary (1987). William Shakespeare: A Textual Companion. Oxford: Oxford University Press. ISBN 978-0-19-812914-1.
aaaaa. Taylor, Gary (1990). Reinventing Shakespeare: A Cultural History from the Restoration to the Present. London: Hogarth Press. ISBN
978-0-7012-0888-2.
bbbbb. Wain, John (1975). Samuel Johnson. New York: Viking. ISBN 978-0-670-61671-8.
ccccc. Wells, Stanley; Taylor, Gary; Jowett, John; Montgomery, William, eds. (2005). The Oxford Shakespeare: The Complete Works (2nd ed.). Oxford:
Oxford University Press. ISBN 978-0-19-926717-0.
ddddd. Wells, Stanley (1997). Shakespeare: A Life in Drama. New York: W.W. Norton. ISBN 978-0-393-31562-2.
eeeee. Wells, Stanley (2006). Shakespeare & Co. New York: Pantheon. ISBN 978-0-375-42494-6.
fffff. Wells,
Stanley; Orlin, Lena Cowen, eds. (2003). Shakespeare: An Oxford Guide. Oxford: Oxford University Press. ISBN 978-0-19-924522-2.
1. Gross, John (2003). “Shakespeare’s Influence”. In Wells, Stanley; Orlin, Lena Cowen (eds.). Shakespeare: An Oxford
Guide. Oxford: Oxford University Press. ISBN 978-0-19-924522-2.
2. Kathman, David (2003). “The Question of Authorship”. In Wells, Stanley; Orlin, Lena Cowen (eds.). Shakespeare: an Oxford Guide. Oxford Guides. Oxford: Oxford University Press. pp.
620–632. ISBN 978-0-19-924522-2.
3. Thomson, Peter (2003). “Conventions of Playwriting”. In Wells, Stanley; Orlin, Lena Cowen (eds.). Shakespeare: An Oxford Guide. Oxford: Oxford University Press. ISBN 978-0-19-924522-2.
ggggg. Werner, Sarah (2001).
Shakespeare and Feminist Performance. London: Routledge. ISBN 978-0-415-22729-2.
hhhhh. “Visiting the Abbey”. Westminster Abbey. Archived from the original on 3 April 2016. Retrieved 2 April 2016.
iiiii. Wilson, Richard (2004). Secret Shakespeare:
Studies in Theatre, Religion and Resistance. Manchester: Manchester University Press. ISBN 978-0-7190-7024-2.
jjjjj. Wood, Manley, ed. (1806). The Plays of William Shakespeare with Notes of Various Commentators. Vol. I. London: George Kearsley.
kkkkk. Wood,
Michael (2003). Shakespeare. New York: Basic Books. ISBN 978-0-465-09264-2.
lllll. Wright, George T. (2004). “The Play of Phrase and Line”. In McDonald, Russ (ed.). Shakespeare: An Anthology of Criticism and Theory, 1945–2000. Oxford: Blackwell.
ISBN 978-0-631-23488-3.

Photo credit: https://www.flickr.com/photos/seven_of9/4604272150/’]