STRATFORD-UPON-AVON IN WARWICKSHIRE (ENGLAND)
The town is a popular tourist destination owing to its status as birthplace of the playwright and poet William Shakespeare, often regarded as the world's greatest playwright of all time, receiving about 4.9 million visitors a year from all over the world. The Royal Shakespeare Company resides in Stratford's Royal Shakespeare Theatre, one of Britain's most important cultural venues.
Stratford-upon-Avon, known locally as Stratford, is a market town and civil parish in south Warwickshire, England. It lies on the River Avon, 22 miles (35 km) south east of Birmingham and 8 miles (13 km) south west of Warwick. It is the largest and most populous town of the non-metropolitan district Stratford-on-Avon, which uses the term "on" rather than "upon" to distinguish it from the town itself. Four electoral wards make up the urban town of Stratford; Alveston, Avenue and New Town, Mount Pleasant and Guild and Hathaway. The estimated total population for those wards in 2007 was 25,505.
- History: Stratford has Anglo-Saxon origins, and developed as a market town during the medieval period. The original charters of the town were granted in 1196, making Stratford over 800 years old. The name is a combination of the Old English strǣt, meaning "street", and ford, indicating a site at which a road forded a river. The "street" was a smaller Roman road connecting the larger roads Fosse Way and Icknield Street.
In 1769 the actor David Garrick staged a major Shakespeare Jubilee over three days which saw the construction of a large rotunda and the influx of many visitors. This contributed to the growing phenomenon of Bardolatry which made Stratford a tourist destination.
- Geography: Stratford is close to the Cotswolds, with Chipping Campden 10 miles (16 km) to the south. The Cotswolds was a major sheep producing area, up until the latter part of the 19th century, with Stratford as one of its main centres for the processing, marketing, and distribution of sheep and wool. Consequently Stratford also became a centre for tanning during the 15th–17th centuries. Both the river and the Roman road served as trade routes for the town.
Suburbs and areas of Stratford-on-Avon include Shottery, Bishopton, Bridgetown, Tiddington, and Old Town.
- Tourism: The regular large influx of tourists is the major source of the town's prosperity. Stratford is a major English tourist town due to it being the birthplace of William Shakespeare, who is often recognised worldwide as the greatest playwright of all time. In 2010 the District Council spent £298,000 on tourism promotion and supports an official open-top tour bus service. In 2010 Stratford-on-Avon District Council launched a re-branded official tourism website for the Stratford area called Discover Stratford after opening a new tourist information centre on Henley Street in May 2010, which has since moved back to the original location on Bridgefoot.
- Economy: Apart from tourism, which is a major employer, especially in the hotel, hospitality industry and catering sectors, other industries in the town include boat building and maintenance, bicycles, mechanical and electrical engineering, food manufacture, Information Technology, call centre and service sector activities, a large motor sales sector, industrial plant hire, building suppliers, market gardening, farming, storage and transport logistics, finance and insurance, and a large retail sector.
Major employers in the town include the NFU Mutual Insurance Company (and Avon Insurance), AMEC, Sitel, Tesco, Morrisons, Marks & Spencer, Debenhams, B & Q and Pashley Cycles. There are, nominally, three theatres run by the prestigious Royal Shakespeare Company, which attract large audiences and income for the town.
MAIN SIGHTS AND ATTRACTIONS
- Theatre: The first real theatre in Stratford was a temporary wooden affair built in 1769 by the actor David Garrick for his Shakespeare Jubilee celebrations of that year to mark Shakespeare's birthday. The theatre, built not far from the site of the present Royal Shakespeare Theatre, was almost washed away in two days of torrential rain that resulted in terrible flooding.
A small theatre known as the Royal Shakespeare Rooms was built in the gardens of Shakespeare's New Place home in the early 19th century but became derelict by the 1860s.
To celebrate the 300th anniversary of Shakespeare's birth in 1864 the brewer, Charles Edward Flower, instigated the building of a temporary wooden theatre, known as the Tercentenary Theatre, which was built in a part of the brewer's large gardens on what is today the site of the new, and temporary, Courtyard Theatre. After three months the Tercentenary Theatre was dismantled, with the timber used for house-building purposes.
In the early 1870s, Charles Flower gave several acres of riverside land to the local council on the understanding that a permanent theatre be built in honour of Shakespeare's memory, and by 1879 the first Shakespeare Memorial Theatre had been completed. It proved to be a huge success, and by the early 20th century was effectively being run by the actor/manager Frank Benson, later Sir Frank Benson.
The theatre burned down in 1926, with the then artistic director, William Bridges-Adams, moving all productions to the local cinema.
An architectural competition was arranged to elicit designs for a new theatre, with the winner, English architect Elisabeth Scott, creating what we see on the riverside today. The new theatre, adjoining what was left of the old theatre, was opened by the then Prince of Wales, later Edward VIII, in 1932.
The new theatre had many illustrious artistic directors, including the actor Anthony Quayle.
Sir Peter Hall was appointed artistic director (designate) in 1959, and formed the Royal Shakespeare Company (RSC) in 1961.
Swan Theatre was created in the 1980s out of the shell of the remains of the original Memorial Theatre, quickly becoming one of the finest acting spaces in the UK.
In 1986, Stratford-upon-Avon was the venue for the disastrous provincial try-out of the ill-fated musical Carrie, based on the Stephen King novel.
The Waterside Theatre (which is not part of the Royal Shakespeare Theatre complex) re-opened in December 2004, then closed again in September 2008. During this span, the theatre housed the Shakespearience visitor attraction. This has now been turned into the Clore Learning Centre, the Royal Shakespeare Company's education and events venue.
The town is located on the River Avon (afon or avon being a Celtic synonym of "river"), on a bank of which stands the Royal Shakespeare Theatre (RST) designed by the English architect Elisabeth Scott and completed in 1932, which is the home of the Royal Shakespeare Company. Until recently the RSC also ran two smaller theatres, the Swan Theatre, which is modelled on an Elizabethan theatre (closed in August 2007 as part of plans for refurbishment) and The Other Place theatre, a Black box theatre which was extended to become the temporary RSC Courtyard Theatre, which opened in July 2006. This theatre was the home of the RSC while the RST was being refurbished; its interior is similar to the interior of the refurbished RST. The RST and Swan refurbishment has been completed and the RST and Swan theatres re-opened in November 2010. It is anticipated that the Courtyard Theatre extension may be dismantled, although many in the town would retain the Courtyard so that it can used by local theatre companies.
Other tourist attractions within the town include five houses relating to Shakespeare's life, which are owned and cared for by the Shakespeare Birthplace Trust. These include Hall's Croft (the one-time home of Shakespeare's daughter, Susanna, and her husband Dr. John Hall) and Nash's House, which stands alongside the site of another property, New Place, owned by Shakespeare himself, wherein he died. Near to the town are Anne Hathaway's Cottage at Shottery, the home of Shakespeare's wife's family prior to her marriage, and Mary Arden's House (Palmer's Farm), the family home of his mother. Elsewhere in the district are farms and buildings at Snitterfield, that belonged to the family of Shakespeare's father.
At the top end of Waterside is Holy Trinity Church, where Shakespeare was baptised and is buried.
Non-Shakespearean attractions include the Stratford Butterfly Farm, which is on the eastern side of the river and the Bancroft Gardens and Stratford Armouries located three miles (4.8 km) from the centre of Stratford on Gospel Oak Lane.
Each year on 12 October (unless this is a Sunday, in which case 11 October) Stratford hosts one of the largest mop fairs in the country. Then, on the second Saturday following, the smaller Runaway fair is held.
- Henley Street: Henley Street, one of the town's oldest streets, underwent substantial architectural change between the sixteenth and nineteenth centuries. John Shakespeare's large half-timbered dwelling, purchased by him in 1556, was in 1564 the birthplace of his son William. According to a descriptive placard provided for tourists there,
"The property remained in the ownership of Shakespeare's direct descendants until 1670, when his granddaughter, Elizabeth Barnard, died. As she had no children, Elizabeth left the estate to her relative Thomas Hart, Shakespeare's great-nephew. The main house became a tenanted inn called the Maidenhead (later the Swan and Maidenhead) following the death of John Shakespeare in 1601. Members of the Hart family continued living in the small adjoining cottage throughout the century."
At the end of the 19th century, Edward Gibbs "renovated" the building to more closely represent the original Tudor farmhouse. Adjacent to Shakespeare's Birthplace stands the Shakespeare Centre, completed in 1964 and not far from the Carnegie Library, opened in 1905.
The large half-timbered building which now comprises numbers 19, 20 and 21 was formerly the White Lion Inn. It is first mentioned in 1603 and was adjoined on the east by a smaller inn called the "Swan". In 1745 the latter was purchased by John Payton, who also acquired the "Lion" five years later and rebuilt the whole premises on a greatly enlarged scale. (Cal. of Trust Title Deeds, no. 147.) The work was completed by James Collins of Birmingham, builder, in 1753. (Contract, Trust Title Deeds, no. 167.) Payton "brought the house into great vogue" though Byng in 1792 complained that "at the noted White Lion, I met with nothing but incivility" (cited from Torrington Diaries (ed. Andrews), iii, 152). Payton was succeeded as innkeeper by his son John, and its reputation as one of the best inns on the Holyhead road must have contributed not a little to the prosperity of the town. Garrick stayed at the "White Lion" during the Jubilee of 1769 (Saunders MSS. 82, fol. 20) and George IV, as Prince Regent, visited it when he came to Stratford in 1806. Its great days came to an end after John Payton the younger sold it to Thomas Arkell in 1823. The building is now home to the Enchanted Manor Museum at the Creaky Cauldron and Magic Alley; the Box Brownie Café; Doug Brown's Really Good Gift Company; and the Not Just Shakespeare Tourist Information Centre.
Henley Street is now a major tourist and shopping precinct with many al fresco cafés and street entertainers.
- Sheep Street: Sheep Street runs from Ely Street eastwards to the Waterside. It was a residential quarter in the 16th century, some of the buildings were rebuilt following the fire of 1595, although many, such as Number 40, date from 1480. Formerly a two story building that was extended in the early twentieth century has a lower story of substantial close-set studding: the upper is of more widely spaced thin vertical timbers.
As the name suggests Sheep Street, which leads down from the Town Hall to Waterside and the RST, was from early times and until the late 19th century, the area where sheep, brought from the neighbouring Cotswold Hills, were slaughtered and butchered. Today it is the restaurant centre of the town.
The Shrieves House is one of the oldest still lived in houses in the town and Shakespeare is said to have based his character of Sir John Falstaff on one of the residents, his godson's uncle. Oliver Cromwell is thought to have stayed here in 1651. He wrote a letter from the town to Lord Wharton on 27 August 1651, before the Battle of Worcester.
Behind The Shrieves House is a museum called "Tudor World" with recreations of 16th century life in theatrical settings.
Just off Sheep Street is Shrieves walk, a very quaint walkway with several small independent stores, including a Vintage Clothing shop.
- Waterside & Southern Lane: This area of Stratford, which runs from the foot of Bridge Street to Holy Trinity Church (and leads directly off Sheep Street and Chapel Lane) runs alongside the River Avon and offers access to the Waterside Theatre and all areas of the RST.
The Bancroft Gardens and river area is a very popular place for people watching, enjoying picnics and river activities. In the summer the River Avon is busy with rowing boats, motor boats and river cruises. The Birmingham to Stratford Canal is busy with colourful narrowboats passing through or mooring up in the canal basin Stratford-upon-Avon Canal. There are often jugglers, fire-eaters and magicians entertaining the public on the lawns. On the edge of the gardens is a water fountain, known as the Swan Fountain. It was unveiled in 1996 by the Queen Elizabeth II to recognise that Stratford has been a market town since 1196. It is from here the Stratford Town Walk meet every day (even Christmas Day), to offer a guided walking tour of the town. The tour passes the Shakespeare houses, Royal Shakespeare Theatres, 15th century timber-framed buildings, William Shakespeare's school and visits Holy Trinity Church.
- Shopping centres: Apart from the town centre, Maybird Shopping Park, usually referred to locally as "The Maybird Centre" or simply "The Maybird", is a large shopping centre situated on Birmingham Road, approximately a five-minute drive from the town centre, which features numerous shops and is a very well used part of the town. Shops featured at the Maybird include Asda Living, B&Q, Argos, Pizza Hut, WHSmith, Subway, Jollyes, Boots, M&S, Sports Direct, New Look, Outfit, Next and Costa Coffee, the latter of which is the second Costa Coffee shop in Stratford, with another located on Henley Street. A large Tesco supermarket is located next to the Maybird, behind B&Q. On the same road is a smaller Aldi store.
Directly opposite the Maybird, on the other side of Birmingham Road, is Maybrook Industrial Estate, a smaller shopping centre which includes stores such as Staples, Carphone Warehouse, Maplin Electronics and Carpetright.
The Rosebird Centre is a much smaller shopping centre located on Shipston Road and contains a large Waitrose supermarket, Pets Corner pet shop and Rosebird Centre Pharmacy. The pharmacy also serves as a medical centre, acting as a branch of the main Rother House Medical Centre on Alcester Road. An Avonvale Veterinary Centre is soon to open in Rosebird Centre.
William Shakespeare, was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.He is often called England's national poet, and the "Bard of Avon". His extant works, including collaborations, consist of approximately 38 plays, 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.
Shakespeare was born and brought up in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. 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. He appears to have retired to Stratford around 1613, at age 49, where he died three years later. Few records of Shakespeare's private life survive, which has stimulated considerable speculation about such matters as his physical appearance, sexuality, and religious beliefs, and whether the works attributed to him were written by others.
Shakespeare produced most of his known work between 1589 and 1613. His early plays were primarily comedies and histories, and these are regarded as some of the best work ever produced in these genres. He then wrote mainly tragedies until about 1608, including Hamlet, Othello, King Lear, and Macbeth, considered some of the finest works in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights.
Many of his plays were published in editions of varying quality and accuracy during his lifetime. In 1623, John Heminges and Henry Condell, two friends and fellow actors of Shakespeare, published the First Folio, a posthumous collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. It was prefaced with a poem by Ben Jonson, in which Shakespeare is hailed, presciently, as "not of an age, but for all time". In the 20th and 21st centuries, his works have been repeatedly adapted and rediscovered by new movements in scholarship and performance. His plays remain highly popular, and are constantly studied, performed, and reinterpreted in diverse cultural and political contexts throughout the world.
- Early life: William Shakespeare was the son of John Shakespeare, an alderman and a successful glover originally from Snitterfield, and Mary Arden, the daughter of an affluent landowning farmer. He was born in Stratford-upon-Avon and baptised there on 26 April 1564. His actual date of birth remains unknown, but is traditionally observed on 23 April, Saint George's Day. This date, which can be traced back to an 18th-century scholar's mistake, has proved appealing to biographers, since Shakespeare died 23 April 1616. He was the third child of eight and the eldest surviving son.
Although no attendance records for the period survive, most biographers agree that Shakespeare was probably educated at the King's New School in Stratford, a free school chartered in 1553, about a quarter-mile (400 m) from his home. Grammar schools varied in quality during the Elizabethan era, but grammar school curricula were largely similar, the basic Latin text was standardised by royal decree, and the school would have provided an intensive education in grammar based upon Latin classical authors.
At the age of 18, Shakespeare married the 26-year-old Anne Hathaway. The consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. The next day, two of Hathaway's neighbours posted bonds guaranteeing that no lawful claims impeded the marriage. The ceremony may have been arranged in some haste, since the Worcester chancellor allowed the marriage banns to be read once instead of the usual three times, and six months after the marriage Anne gave birth to a daughter, Susanna, baptised 26 May 1583. Twins, son Hamnet and daughter Judith, followed almost two years later and were baptised 2 February 1585. Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596.
After the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592. The exception is the appearance of his name in the 'complaints bill' of a law case before the Queen's Bench court at Westminster dated Michaelmas Term 1588 and 9 October 1589. Scholars refer to the years between 1585 and 1592 as Shakespeare's "lost years". Biographers attempting to account for this period have reported many apocryphal stories. Nicholas Rowe, Shakespeare's first biographer, recounted a Stratford legend that Shakespeare fled the town for London to escape prosecution for deer poaching in the estate of local squire Thomas Lucy. Shakespeare is also supposed to have taken his revenge on Lucy by writing a scurrilous ballad about him. Another 18th-century story has Shakespeare starting his theatrical career minding the horses of theatre patrons in London. John Aubrey reported that Shakespeare had been a country schoolmaster. Some 20th-century scholars have suggested that Shakespeare may have been employed as a schoolmaster by Alexander Hoghton of Lancashire, a Catholic landowner who named a certain "William Shakeshafte" in his will. Little evidence substantiates such stories other than hearsay collected after his death, and Shakeshafte was a common name in the Lancashire area.
- London and theatrical career: It is not known exactly when Shakespeare began writing, but contemporary allusions and records of performances show that several of his plays were on the London stage by 1592. By then, he was sufficiently well 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.
Scholars differ on the exact meaning of these words, but most agree that Greene is accusing Shakespeare of reaching above his rank in trying to match university-educated writers such as Christopher Marlowe, Thomas Nashe and Greene himself (the "university wits"). 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", identifies Shakespeare as Greene's target. Here Johannes Factotum—"Jack of all trades"— means a second-rate tinkerer with the work of others, rather than the more common "universal genius".
Greene's attack is the earliest surviving mention of Shakespeare's career in the theatre. Biographers suggest that his career may have begun any time from the mid-1580s to just before Greene's remarks. From 1594, Shakespeare's plays were performed by only the Lord Chamberlain's Men, a company owned by a group of players, including Shakespeare, that soon became the leading playing company in London. After the death of Queen Elizabeth in 1603, the company was awarded a royal patent by the new king, James I, and changed its name to the King's Men.
In 1599, a partnership of company members built their own theatre on the south bank of the River Thames, which they called the Globe. In 1608, the partnership also took over the Blackfriars indoor theatre. Records of Shakespeare's property purchases and investments indicate that the company made him a wealthy man. In 1597, he bought the second-largest house in Stratford, New Place, and in 1605, he invested in a share of the parish tithes in Stratford.
Some of Shakespeare's plays were published in quarto editions from 1594. By 1598, his name had become a selling point and began to appear on the title pages. Shakespeare continued to act in his own and other plays after his success as a playwright. 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). 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. 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 we cannot know for certain which roles he played. In 1610, John Davies of Hereford wrote that "good Will" played "kingly" roles. In 1709, Rowe passed down a tradition that Shakespeare played the ghost of Hamlet's father. Later traditions maintain that he also played Adam in As You Like It and the Chorus in Henry V, though scholars doubt the sources of the information.
Shakespeare divided his time between London and Stratford during his career. In 1596, the year before he bought New Place as his family home in Stratford, Shakespeare was living in the parish of St. Helen's, Bishopsgate, north of the River Thames. He moved across the river to Southwark by 1599, the year his company constructed the Globe Theatre there. By 1604, he had moved north of the river again, to an area north of St Paul's Cathedral with many fine houses. There he rented rooms from a French Huguenot named Christopher Mountjoy, a maker of ladies' wigs and other headgear.
- Later years and death: Rowe was the first biographer to record the tradition, repeated by Johnson, that Shakespeare retired to Stratford 'some years before his death'. 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.'. However it is perhaps relevant that the bubonic plague raged in London throughout 1609. The London public playhouses were repeatedly closed during extended outbreaks of the plague (a total of over 60 months closure between May 1603 and February 1610), which meant there was often no acting work. Retirement from all work was uncommon at that time. Shakespeare continued to visit London during the years 1611–1614. In 1612, he was called as a witness in Bellott v. Mountjoy, a court case concerning the marriage settlement of Mountjoy's daughter, Mary. In March 1613 he bought a gatehouse in the former Blackfriars priory; and from November 1614 he was in London for several weeks with his son-in-law, John Hall. After 1610, Shakespeare wrote fewer plays, and none are attributed to him after 1613. His last three plays were collaborations, probably with John Fletcher, who succeeded him as the house playwright of the King's Men.
Shakespeare died on 23 April 1616, at the age of 52. He died within a month of signing his will, a document which he begins by describing himself as being in "perfect health". No extant contemporary source explains how or why he died. 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," not an impossible scenario, since Shakespeare knew Jonson and Drayton. 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."
He was survived by his wife and two daughters. Susanna had married a physician, John Hall, in 1607, and Judith had married Thomas Quiney, a vintner, two months before Shakespeare's death. Shakespeare signed his last will and testament on 25 March 1616; the following day his new son-in-law, Thomas Quiney was found guilty of fathering an illegitimate son by Margaret Wheeler, who had died during childbirth. Thomas was ordered by the church court to do public penance, which would have caused much shame and embarrassment for the Shakespeare family.
Shakespeare bequeathed the bulk of his large estate to his elder daughter Susanna under stipulations that she pass it down intact to "the first son of her body". The Quineys had three children, all of whom died without marrying. The Halls had one child, Elizabeth, who married twice but died without children in 1670, ending Shakespeare's direct line. Shakespeare's will scarcely mentions his wife, Anne, who was probably entitled to one third of his estate automatically. He did make a point, however, of leaving her "my second best bed", a bequest that has led to much speculation. 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 was buried in the chancel of the Holy Trinity Church two days after his death. The epitaph carved into the stone slab covering his grave includes a curse against moving his bones, which was carefully avoided during restoration of the church in 2008.
Sometime before 1623, a funerary monument was erected in his memory on the north wall, with a half-effigy of him in the act of writing. Its plaque compares him to Nestor, Socrates, and Virgil. In 1623, in conjunction with the publication of the First Folio, the Droeshout engraving was published.
Shakespeare has been commemorated in many statues and memorials around the world, including funeral monuments in Southwark Cathedral and Poets' Corner in Westminster Abbey.
- Plays: Most playwrights of the period typically collaborated with others at some point, and critics agree that Shakespeare did the same, mostly early and late in his career. Some attributions, such as Titus Andronicus and the early history plays, remain controversial, while The Two Noble Kinsmen and the lost Cardenio have well-attested contemporary documentation. Textual evidence also supports the view that several of the plays were revised by other writers after their original composition.
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. Shakespeare's plays are difficult to date, however, 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. His first histories, which draw heavily on the 1587 edition of Raphael Holinshed's Chronicles of England, Scotland, and Ireland, dramatise the destructive results of weak or corrupt rule and have been interpreted as a justification for the origins of the Tudor dynasty. The early plays were influenced by the works of other Elizabethan dramatists, especially Thomas Kyd and Christopher Marlowe, by the traditions of medieval drama, and by the plays of Seneca. 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. Like The Two Gentlemen of Verona, in which two friends appear to approve of rape, the Shrew's story of the taming of a woman's independent spirit by a man sometimes troubles modern critics and directors.
Shakespeare's early classical and Italianate comedies, containing tight double plots and precise comic sequences, give way in the mid-1590s to the romantic atmosphere of his most acclaimed comedies. A Midsummer Night's Dream is a witty mixture of romance, fairy magic, and comic lowlife scenes. Shakespeare's next comedy, the equally romantic Merchant of Venice, contains a portrayal of the vengeful Jewish moneylender Shylock, which reflects Elizabethan views but may appear derogatory to modern audiences. The wit and wordplay of Much Ado About Nothing, the charming rural setting of As You Like It, and the lively merrymaking of Twelfth Night complete Shakespeare's sequence of great comedies. 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. This period begins and ends with two tragedies: Romeo and Juliet, the famous romantic tragedy of sexually charged adolescence, love, and death; and Julius Caesar—based on Sir Thomas North's 1579 translation of Plutarch's Parallel Lives—which introduced a new kind of drama. 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".
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. Many critics believe that Shakespeare's greatest tragedies represent the peak of his art. The titular hero of one of Shakespeare's most famous 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". Unlike the introverted Hamlet, whose fatal flaw is hesitation, the heroes of the tragedies that followed, Othello and King Lear, are undone by hasty errors of judgement. The plots of Shakespeare's tragedies often hinge on such fatal errors or flaws, which overturn order and destroy the hero and those he loves. In Othello, the villain Iago stokes Othello's sexual jealousy to the point where he murders the innocent wife who loves him. In King Lear, the old king commits the tragic error of giving up his powers, initiating the events which lead to the torture and blinding of the Earl of Gloucester and the murder of Lear's youngest daughter Cordelia. According to the critic Frank Kermode, "the play-offers neither its good characters nor its audience any relief from its cruelty". In Macbeth, the shortest and most compressed of Shakespeare's tragedies, uncontrollable ambition incites Macbeth and his wife, Lady Macbeth, to murder the rightful king and usurp the throne, until their own guilt destroys them in turn. In this play, Shakespeare adds a supernatural element to the tragic structure. His last major tragedies, Antony and Cleopatra and Coriolanus, contain some of Shakespeare's finest poetry and were considered his most successful tragedies by the poet and critic T. S. Eliot.
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. Less bleak than the tragedies, these four plays are graver in tone than the comedies of the 1590s, but they end with reconciliation and the forgiveness of potentially tragic errors. 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. Shakespeare collaborated on two further surviving plays, Henry VIII and The Two Noble Kinsmen, probably with John Fletcher.
- Performances: It is not clear for which companies Shakespeare wrote his early plays. The title page of the 1594 edition of Titus Andronicus reveals that the play had been acted by three different troupes. After the plagues of 1592–3, Shakespeare's plays were performed by his own company at The Theatre and the Curtain in Shoreditch, north of the Thames. 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". When the company found themselves in dispute with their landlord, they pulled The Theatre down and used the timbers to construct the Globe Theatre, the first playhouse built by actors for actors, on the south bank of the Thames at Southwark. The Globe opened in autumn 1599, with Julius Caesar one of the first plays staged. Most of Shakespeare's greatest post-1599 plays were written for the Globe, including Hamlet, Othello and King Lear.
After the Lord Chamberlain's Men were renamed the King's Men in 1603, they entered a special relationship with the new King James. 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. After 1608, they performed at the indoor Blackfriars Theatre during the winter and the Globe during the summer. The indoor setting, combined with the Jacobean fashion for lavishly staged masques, allowed Shakespeare to introduce more elaborate stage devices. In Cymbeline, for example, Jupiter descends "in thunder and lightning, sitting upon an eagle: he throws a thunderbolt. The ghosts fall on their knees."
The actors in Shakespeare's company included the famous Richard Burbage, William Kempe, Henry Condell and John Heminges. Burbage played the leading role in the first performances of many of Shakespeare's plays, including Richard III, Hamlet, Othello, and King Lear. The popular comic actor Will Kempe played the servant Peter in Romeo and Juliet and Dogberry in Much Ado About Nothing, among other characters. He was replaced around 1600 by Robert Armin, who played roles such as Touchstone in As You Like It and the fool in King Lear. In 1613, Sir Henry Wotton recorded that Henry VIII "was set forth with many extraordinary circumstances of pomp and ceremony". 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.
- Textual sources: 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. It contained 36 texts, including 18 printed for the first time. Many of the plays had already appeared in quarto versions—flimsy books made from sheets of paper folded twice to make four leaves. No evidence suggests that Shakespeare approved these editions, which the First Folio describes as "stol'n and surreptitious copies". Alfred Pollard termed some of them "bad quartos" because of their adapted, paraphrased or garbled texts, which may in places have been reconstructed from memory. Where several versions of a play survive, each differs from the other. The differences may stem from copying or printing errors, from notes by actors or audience members, or from Shakespeare's own papers. In some cases, for example Hamlet, Troilus and Cressida and Othello, Shakespeare could have revised the texts between the quarto and folio editions. 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.
- Poems: In 1593 and 1594, when the theatres were closed because of plague, Shakespeare published two narrative poems on erotic themes, Venus and Adonis and The Rape of Lucrece. He dedicated them to Henry Wriothesley, Earl of Southampton. In Venus and Adonis, an innocent Adonis rejects the sexual advances of Venus; while in The Rape of Lucrece, the virtuous wife Lucrece is raped by the lustful Tarquin. Influenced by Ovid's Metamorphoses, the poems show the guilt and moral confusion that result from uncontrolled lust. Both proved popular and were often reprinted during Shakespeare's lifetime. A third narrative poem, A Lover's Complaint, in which a young woman laments her seduction by a persuasive suitor, was printed in the first edition of the Sonnets in 1609. Most scholars now accept that Shakespeare wrote A Lover's Complaint. Critics consider that its fine qualities are marred by leaden effects. The Phoenix and the Turtle, printed in Robert Chester's 1601 Love's Martyr, mourns the deaths of the legendary phoenix and his lover, the faithful turtle dove. In 1599, two early drafts of sonnets 138 and 144 appeared in The Passionate Pilgrim, published under Shakespeare's name but without his permission.
- Sonnets: Published in 1609, the Sonnets were the last of Shakespeare's non-dramatic works to be printed. 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. 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". Few analysts believe that the published collection follows Shakespeare's intended sequence. 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"). 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".
The 1609 edition was dedicated to a "Mr. W.H.", credited as "the only begetter" of the poems. 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. was, despite numerous theories, or whether Shakespeare even authorised the publication. Critics praise the Sonnets as a profound meditation on the nature of love, sexual passion, procreation, death, and time.
- Style: Shakespeare's first plays were written in the conventional style of the day. He wrote them in a stylised language that does not always spring naturally from the needs of the characters or the drama. The poetry depends on extended, sometimes elaborate metaphors and conceits, and the language is often rhetorical written for actors to declaim rather than speak. 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.
Soon, however, Shakespeare began to adapt the traditional styles to his own purposes. The opening soliloquy of Richard III has its roots in the self-declaration of Vice in medieval drama. At the same time, Richard's vivid self-awareness looks forward to the soliloquies of Shakespeare's mature plays. No single play marks a change from the traditional to the freer style. Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles. 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. He increasingly tuned his metaphors and images to the needs of the drama itself.
Shakespeare's standard poetic form was blank verse, composed in iambic pentameter. In practice, this meant that his verse was usually unrhymed and consisted of ten syllables to a line, spoken with a stress on every second syllable. The blank verse of his early plays is quite different from that of his later ones. It is often beautiful, but its sentences tend to start, pause, and finish at the end of lines, with the risk of monotony. Once Shakespeare mastered traditional blank verse, he began to interrupt and vary its flow. This technique releases the new power and flexibility of the poetry in plays such as Julius Caesar and Hamlet. Shakespeare uses it, for example, to convey the turmoil in Hamlet's mind:
"Sir, in my heart there was a kind of fighting
That would not let me sleep. Methought I lay
Worse than the mutines in the bilboes. Rashly—
And prais'd be rashness for it—let us know
Our indiscretion sometimes serves us well ..."
— Hamlet, Act 5, Scene 2, 4–8
After Hamlet, Shakespeare varied his poetic style further, particularly in the more emotional passages of the late tragedies. The literary critic A. C. Bradley described this style as "more concentrated, rapid, varied, and, in construction, less regular, not seldom twisted or elliptical". In the last phase of his career, Shakespeare adopted many techniques to achieve these effects. These included run-on lines, irregular pauses and stops, and extreme variations in sentence structure and length. In Macbeth, for example, the language darts from one unrelated metaphor or simile to another: "was the hope drunk/ Wherein you dressed yourself?" (1.7.35–38); "... pity, like a naked new-born babe/ Striding the blast, or heaven's cherubim, hors'd/ Upon the sightless couriers of the air ..." (1.7.21–25). The listener is challenged to complete the sense. 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.
Shakespeare combined poetic genius with a practical sense of the theatre. Like all playwrights of the time, he dramatised stories from sources such as Plutarch and Holinshed. He reshaped each plot to create several centres of interest and to show as many sides of a narrative to the audience as possible. This strength of design ensures that a Shakespeare play can survive translation, cutting and wide interpretation without loss to its core drama. As Shakespeare's mastery grew, he gave his characters clearer and more varied motivations and distinctive patterns of speech. He preserved aspects of his earlier style in the later plays, however. In Shakespeare's late romances, he deliberately returned to a more artificial style, which emphasised the illusion of theatre.
- Influence: Shakespeare's work has made a lasting impression on later theatre and literature. In particular, he expanded the dramatic potential of characterisation, plot, language, and genre. Until Romeo and Juliet, for example, romance had not been viewed as a worthy topic for tragedy. Soliloquies had been used mainly to convey information about characters or events; but Shakespeare used them to explore characters' minds. His work heavily influenced later poetry. The Romantic poets attempted to revive Shakespearean verse drama, though with little success. Critic George Steiner described all English verse dramas from Coleridge to Tennyson as "feeble variations on Shakespearean themes."
Shakespeare influenced novelists such as Thomas Hardy, William Faulkner, and Charles Dickens. The American novelist Herman Melville's soliloquies owe much to Shakespeare; his Captain Ahab in Moby-Dick is a classic tragic hero, inspired by King Lear. Scholars have identified 20,000 pieces of music linked to Shakespeare's works. These include two operas by Giuseppe Verdi, Otello and Falstaff, whose critical standing compares with that of the source plays. Shakespeare has also inspired many painters, including the Romantics and the Pre-Raphaelites. The Swiss Romantic artist Henry Fuseli, a friend of William Blake, even translated Macbeth into German. The psychoanalyst Sigmund Freud drew on Shakespearean psychology, in particular that of Hamlet, for his theories of human nature.
In Shakespeare's day, English grammar, spelling and pronunciation were less standardised than they are now, and his use of language helped shape modern English. Samuel Johnson quoted him more often than any other author in his A Dictionary of the English Language, the first serious work of its type. Expressions such as "with bated breath" (Merchant of Venice) and "a foregone conclusion" (Othello) have found their way into everyday English speech.
- Critical reputation: Shakespeare was not revered in his lifetime, but he received a large amount of praise. In 1598, the cleric and author Francis Meres singled him out from a group of English writers as "the most excellent" in both comedy and tragedy. The authors of the Parnassus plays at St John's College, Cambridge numbered him with Chaucer, Gower and Spenser. In the First Folio, Ben Jonson called Shakespeare the "Soul of the age, the applause, delight, the wonder of our stage", though he had remarked elsewhere that "Shakespeare wanted art".
Between the Restoration of the monarchy in 1660 and the end of the 17th century, classical ideas were in vogue. As a result, critics of the time mostly rated Shakespeare below John Fletcher and Ben Jonson. Thomas Rymer, for example, condemned Shakespeare for mixing the comic with the tragic. Nevertheless, poet and critic John Dryden rated Shakespeare highly, saying of Jonson, "I admire him, but I love Shakespeare". For several decades, Rymer's view held sway; but during the 18th century, critics began to respond to Shakespeare on his own terms and acclaim what they termed his natural genius. A series of scholarly editions of his work, notably those of Samuel Johnson in 1765 and Edmond Malone in 1790, added to his growing reputation. By 1800, he was firmly enshrined as the national poet. In the 18th and 19th centuries, his reputation also spread abroad. Among those who championed him were the writers Voltaire, Goethe, Stendhal and Victor Hugo.
During the Romantic era, Shakespeare was praised by the poet and literary philosopher Samuel Taylor Coleridge; and the critic August Wilhelm Schlegel translated his plays in the spirit of German Romanticism. In the 19th century, critical admiration for Shakespeare's genius often bordered on adulation. "That King Shakespeare," the essayist Thomas Carlyle wrote in 1840, "does not he shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying signs; indestructible". The Victorians produced his plays as lavish spectacles on a grand scale. The playwright and critic George Bernard Shaw mocked the cult of Shakespeare worship as "bardolatry", claiming that the new naturalism of Ibsen's plays had made Shakespeare obsolete.
The modernist revolution in the arts during the early 20th century, far from discarding Shakespeare, eagerly enlisted his work in the service of the avant-garde. The Expressionists in Germany and the Futurists in Moscow mounted productions of his plays. Marxist playwright and director Bertolt Brecht devised an epic theatre under the influence of Shakespeare. The poet and critic T.S. Eliot argued against Shaw that Shakespeare's "primitiveness" in fact made him truly modern. Eliot, along with G. Wilson Knight and the school of New Criticism, led a movement towards a closer reading of Shakespeare's imagery. In the 1950s, a wave of new critical approaches replaced modernism and paved the way for "post-modern" studies of Shakespeare. By the 1980s, Shakespeare studies were open to movements such as structuralism, feminism, New Historicism, African-American studies, and queer studies. In a comprehensive reading of Shakespeare's works and comparing Shakespeare literary accomplishments to accomplishments among leading figures in philosophy and theology as well, Harold Bloom has commented that, "Shakespeare was larger than Plato and than St. Augustine. He encloses us, because we see with his fundamental perceptions."
- Classification of the plays: Shakespeare's works include the 36 plays printed in the First Folio of 1623, listed according to their folio classification as comedies, histories and tragedies. Two plays not included in the First Folio, The Two Noble Kinsmen and Pericles, Prince of Tyre, are now accepted as part of the canon, with scholars agreed that Shakespeare made a major contribution to their composition. No Shakespearean poems were included in the First Folio.
In the late 19th century, Edward Dowden classified four of the late comedies as romances, and though many scholars prefer to call them tragicomedies, Dowden's term is often used.These plays and the associated Two Noble Kinsmen are marked with an asterisk (*) below. In 1896, Frederick S. Boas coined the term "problem plays" to describe four plays: All's Well That Ends Well, Measure for Measure, Troilus and Cressida and Hamlet. "Dramas as singular in theme and temper cannot be strictly called comedies or tragedies", he wrote. "We may therefore borrow a convenient phrase from the theatre of today and class them together as Shakespeare's problem plays." The term, much debated and sometimes applied to other plays, remains in use, though Hamlet is definitively classed as a tragedy.
SPECULATION ABOUT SHAKESPEARE
- Authorship: Around 230 years after Shakespeare's death, doubts began to be expressed about the authorship of the works attributed to him. Proposed alternative candidates include Francis Bacon, Christopher Marlowe, and Edward de Vere, 17th Earl of Oxford. Several "group theories" have also been proposed. Only a small minority of academics believe there is reason to question the traditional attribution, but interest in the subject, particularly the Oxfordian theory of Shakespeare authorship, continues into the 21st century.
- Sexuality: Few details of Shakespeare's sexuality are known. At 18, he married the 26-year-old Anne Hathaway, who was pregnant. Susanna, the first of their three children, was born six months later on 26 May 1583. Over the centuries, some readers have posited that Shakespeare's sonnets are autobiographical, and point to them as evidence of his love for a young man. Others read the same passages as the expression of intense friendship rather than sexual love. The 26 so-called "Dark Lady" sonnets, addressed to a married woman, are taken as evidence of heterosexual liaisons.
- Portraiture: No written contemporary description of Shakespeare's physical appearance survives, and no evidence suggests that he ever commissioned a portrait, so the Droeshout engraving, which Ben Jonson approved of as a good likeness, and his Stratford monument provide perhaps the best evidence of his appearance. From the 18th century, the desire for authentic Shakespeare portraits fuelled claims that various surviving pictures depicted Shakespeare. That demand also led to the production of several fake portraits, as well as mis-attributions, repaintings and relabelling of portraits of other people.
- Religion: Some scholars claim that members of Shakespeare's family were Catholics, at a time when practicing Catholicism in England was against the law. Shakespeare's mother, Mary Arden, certainly came from a pious Catholic family. The strongest evidence might be a Catholic statement of faith signed by his father, John Shakespeare, found in 1757 in the rafters of his former house in Henley Street. The document is now lost, however, and scholars differ as to its authenticity. In 1591 the authorities reported that John Shakespeare had missed church "for fear of process for debt", a common Catholic excuse. In 1606, the name of William's daughter Susanna appears on a list of those who failed to attend Easter communion in Stratford. As several scholars have noted, whatever his private views, Shakespeare "conformed to the official state religion", as Park Honan put it. Also, Shakespeare's will uses a Protestant formula, and he was a confirmed member of the Church of England, where he was married, his children were baptized, and where he is buried. Other authors argue that there is a lack of evidence about Shakespeare's religious beliefs. Scholars find evidence both for and against Shakespeare's Catholicism, Protestantism, or lack of belief in his plays, but the truth may be impossible to prove.