INTRODUCTION

Argument

I have decided to write about William Shakespeare in this paper because I consider
William Shakespeare a symbol of English culture, the most representative English personality
about whom everybody should learn. We can consider him a landmark, as well as the most
complex English poet, playwright and actor, widely regarded as the greatest writer in
the English language and the world's greatest dramatist. He is often called England's national
poet and the "Bard of Avon"

Speaking about his work, critics of all times considered him “the most remarkable
storyteller that the world has ever known” as Marchette Chute says in the Introduction to her
famous retelling of Shakespeare’s stories when summarizes one of the reasons for
Shakespeare’s immeasurable fame.

Ben Jonson said that "He was not of an age, but for all time!" in the preface to the First
Folio, anticipating Shakespeare’s dazzling future.

Although William Shakespeare is viewed as the quintessential English writer,

Shakespeare’s poems and plays have altered the course of European and World literature.
The shadow that William Shakespeare has cast over the world has influenced artists, poets,
philosophers and thinkers.

The success of Shakespeare’s works helped to set the precedent for the evolution of
modern dramas and plays. He is also credited with being one of the first writers to use any
modern prose in his writings; in fact, the growth of the popularity of prose in Shakespeare’s
time is clearly shown as he used prose progressively more throughout his career.

There can therefore be no doubt that substantial knowledge of the works of William
Shakespeare is necessary for any education of English literature to be considered complete
and well rounded. The extraordinary writing skills with which Shakespeare created his
accurate portrayals of human truth have not been rivalled or replicated since his death,
nearly four hundred years ago. To simply "skim over" such an integral part of literary history
would be to take the innards out of a living, breathing creature. A creature cannot survive
incomplete, and literature cannot survive without William Shakespeare.

The main purpose of my paper is to present information about William

Shakespeare’s life and work, as well as his importance as a writer, that is why these are the
three big chapters of my paper: life , work –with the main periods-and literary reputation .
CHAPTER 1: LIFE

Even if William Shakespeare,( 1564-16160) is the English poet and playwright,

recognized in much of the world as the greatest of all dramatists, a complete, authoritative
account of Shakespeare’s life is lacking; much supposition surrounds relatively few facts.

His day of birth is traditionally held to be April 23; it is known he was baptized on
April 26, 1564, in Stratford-upon-Avon, Warwickshire. The third of eight children, he was
the eldest son of John Shakespeare, a locally prominent merchant, and Mary Arden,
daughter of a Roman Catholic member of the landed gentry. He was probably educated at
the local grammar school. As the eldest son, Shakespeare ordinarily would have been
apprenticed to his father’s shop so that he could learn and eventually take over the
business, but according to one apocryphal account he was apprenticed to a butcher
because of reverses in his father’s financial situation. In recent years, it has more
convincingly been argued that he was caught up in the secretive network of Catholic
believers and priests who strove to cultivate their faith in the inhospitable conditions of
Elizabethan England. At the turn of the 1580s, it is claimed, he served as tutor in the
household of Alexander Houghton, a prominent Lancashire Catholic and friend of the
Stratford schoolmaster John Cottom. While others in this network went on to suffer and die
for their beliefs, Shakespeare must somehow have extricated himself, for there is little
evidence to suggest any subsequent involvement in their circles.

In 1582 he married Anne Hathaway, the daughter of a farmer. He is supposed to

have left Stratford after he was caught poaching in the deer park of Sir Thomas Lucy, a local
justice of the peace. Shakespeare and Anne Hathaway produced a daughter, Susanna, in
1583 and twins-a boy and a girl-in 1585. The boy died 11 years later.
 Shakespeare apparently arrived in London in about 1588, and by 1592 had attained
success as an actor and a playwright. Shortly thereafter, he secured the patronage of Henry
Wriothesley, 3rd Earl of Southampton. The publication of Shakespeare’s two fashionably
erotic narrative poems Venus and Adonis (1593) and The Rape of Lucrece (1594) and of his
Sonnets (published 1609, but circulated previously in manuscript) established his
reputation as a gifted and popular Renaissance poet. The Sonnets describe the devotion of
a character, often identified as the poet himself, to a young man whose beauty and virtue
he praises and to a mysterious and faithless dark lady with whom the poet is infatuated.
The ensuing triangular situation, resulting from the attraction of the poet’s friend to the
dark lady, is treated with passionate intensity and psychological insight. They are prized for
their exploration of love in all its aspects, and a poem such as “Sonnet 18” is one of the
most famous love poems of all time.

While the poem may be familiar, it is less well known that this is an exquisite
celebration of a young man’s beauty. The fact that 126 of the 154 sonnets are apparently
addressed by a male poet to another man has caused some critical discomfort over the
years. However, Shakespeare’s modern reputation is based mainly on the 38 plays that he
apparently wrote, modified, or collaborated on. Although generally popular in his day,
these plays were frequently little esteemed by his educated contemporaries, who
considered English plays of their own day to be only vulgar entertainment.

Shakespeare’s professional life in London was marked by a number of financially

advantageous arrangements that permitted him to share in the profits of his acting
company, the Lord Chamberlain’s Company, later called the King’s Men, and its two
theatres, the Globe Theatre and the Blackfriars. His plays were given special presentation
at the courts of Elizabeth I and James I more frequently than those of any other
contemporary dramatists. It is known that he risked losing royal favour only once, in 1599,
when his company performed “the play of the deposing and killing of King Richard II” at the
request of a group of conspirators against Elizabeth. They were led by Elizabeth’s
unsuccessful court favourite, Robert Devereux, 2nd Earl of Essex, and by the Earl of
Southampton. In the subsequent inquiry, Shakespeare’s company was absolved of
complicity in the conspiracy.
After about 1608, Shakespeare’s dramatic production lessened and it seems that he spent
more time in Stratford. There he had established his family in an imposing house called
New Place, and had become a leading local citizen. He died on April 23, 1616, and was
buried in the Stratford church.

CHAPTER 2: WORK

Although the precise date of many of Shakespeare’s plays is in doubt, his dramatic
career is generally divided into four periods: the first period, involving experimentation,
although still clearly influenced by or imitating classical models; the second period, in
which Shakespeare appears to achieve a truly individual style and approach; a third, darker
period, in which he wrote not only his major tragedies but also the more difficult comedies,
known as the “problem plays” because their resolutions leave troubling and unanswered
questions; and his final period, when his style blossomed in the romantic tragicomedies-
exotic, symbolic pieces which while happily resolved involve a greater complexity of vision.

These divisions are necessarily arbitrary ways of viewing Shakespeare’s creative

development, since his plays are notoriously hard to date accurately, either in terms of
when they were written or when they were first performed. Commentators differ and the
dates in this paper should be seen as plausible approximations. In all periods, the plots of
his plays were frequently drawn from chronicles, histories, or earlier fiction, as were the
plays of other contemporary dramatists.

First Period
 Shakespeare’s first period was one of experimentation. His early plays, unlike his
more mature work, are characterized to a degree by formal and rather obvious
construction and often stylized verse.

Four plays dramatizing the English civil strife of the 15th century are possibly
Shakespeare’s earliest dramatic works. Chronicle history plays were a popular genre of the
time. These plays, Henry VI, Parts I, II, and III (c. 1590-1592) and Richard III (c. 1593), deal
with the evil results of weak leadership and of national disunity fostered for selfish ends.
The cycle closes with the death of Richard III and the ascent to the throne of Henry VII, the
founder of the Tudor dynasty, to which Elizabeth belonged. In style and structure, these
plays are related partly to medieval drama and partly to the works of earlier Elizabethan
dramatists, especially Christopher Marlowe. Either indirectly through such dramatists or
directly, the influence of the Classical Roman dramatist Seneca is also reflected in the
organization of these four plays, in the bloodiness of many of their scenes, and in their
highly coloured, bombastic language. Senecan influence, exerted by way of the earlier
English dramatist Thomas Kyd, is particularly obvious in Titus Andronicus (c. 1590), a
tragedy of righteous revenge for heinous and bloody acts, which are staged in sensational
detail. While previous generations have found its violent excesses absurd or disgusting,
some directors and critics since the 1960s have recognized in its horror the articulation of
more contemporary preoccupations with the meanings of violence.

Shakespeare’s comedies of the first period represent a wide range. The Comedy of
Errors (c. 1592), an uproarious farce in imitation of Classical Roman comedy, depends for its
appeal on the mistakes in identity of two sets of twins involved in romance and war. Farce
is not so strongly emphasized in The Taming of the Shrew (c. 1592), a comedy of character.
The Two Gentlemen of Verona (c. 1592-1593) depends on the appeal of romantic love. In
contrast, Love’s Labour’s Lost (c. 1595) satirizes the loves of its main male characters as well
as the fashionable devotion to studious pursuits by which these noblemen had first sought
to avoid romantic and worldly ensnarement. The dialogue in which many of the characters
voice their pretensions ridicules the artificially ornate, courtly style typified by the works of
the English novelist and dramatist John Lyly, the court conventions of the time, and
perhaps the scientific discussions of Sir Walter Raleigh and his cohorts.
 Second Period

Shakespeare’s second period includes his most important plays concerned with
English history, his so-called joyous comedies, and two major tragedies. In this period, his
style and approach became highly individualized. The second-period historical plays include
Richard II (c. 1595), Henry IV, Parts I and II (c. 1597), and Henry V (c. 1599). They cover the
span immediately before that of the Henry VI plays. Richard II is a study of a weak,
sensitive, self-dramatizing, but sympathetic monarch who loses his kingdom to his forceful
successor, Henry IV. In the two parts of Henry IV, Henry recognizes his own guilt. His fears
for his own son, later Henry V, prove unfounded, as the young prince displays an essentially
responsible attitude towards the duties of kingship. In an alternation of masterful comic
and serious scenes, the fat knight Falstaff and the rebel Hotspur reveal contrasting excesses
between which the prince finds his proper position. The mingling of the tragic and the
comic to suggest a broad range of humanity became one of Shakespeare’s favourite
devices.

Outstanding among the comedies of the second period is A Midsummer Night’s

Dream (c. 1595-1596). Its fantasy-filled insouciance is achieved by the interweaving of
several plots involving two pairs of noble lovers, a group of bumbling and unconsciously
comic townspeople, and members of the fairy realm, notably Puck, King Oberon, and
Queen Titania. These three worlds are brought together in a series of encounters that veer
from the magical to the absurd and back again in the space of only a few lines. In Act III, for
example, Oberon plays a trick on Titania while she sleeps, employing Puck to anoint her
with a potion that will cause her to fall in love with the first creature she sees on waking. As
luck would have it, she opens her eyes to the sight of Bottom the weaver, himself adorned
by Puck with an ass’s head. Yet the comic episode of the Queen of the Fairies “enamoured
of an ass” (4.i.76) echoes the play’s more profound concerns with the nature of the real.

Subtle evocation of atmosphere, of the sort that characterizes this play, is found
also in the tragicomedy The Merchant of Venice (c. 1594-1598). The Renaissance motifs of
masculine friendship and romantic love in this play are portrayed in opposition to the bitter
inhumanity of a Jewish usurer named Shylock, whose own misfortunes are presented so as
to arouse understanding and sympathy. While this play undoubtedly deals in the currency
of European anti-Semitism, its exploration of power and prejudice also enables a humanist
critique of such bigotry.

The type of quick-witted, warm, and responsive young woman exemplified in this
play by Portia reappears in the joyous comedies of the second period.

The witty comedy Much Ado About Nothing (c. 1598-1599) is marred, in the opinion
of some critics, by an insensitive treatment of its female characters. However,
Shakespeare’s most mature comedies, As You Like It (c. 1599) and Twelfth Night (c. 1601),
are characterized by lyricism, ambiguity, and the attraction of beautiful, charming, and
strong-minded heroines such as Rosalind. In As You Like It, the contrast between the
manners of the Elizabethan court and those current in the English countryside is drawn in a
rich, sweet, and varied vein. Shakespeare constructed a complex pattern between different
characters and between appearance and reality. He used this pattern to comment on a
variety of human foibles. In that respect, As You Like It is similar to Twelfth Night, in which
the comical side of love is illustrated by the misadventures of two pairs of romantic lovers
and of a number of realistically conceived and clowning characters in the sub-plot. Yet
there is a darker side even to these plays. In Twelfth Night, the conventional resolution is
disrupted by the exclusion of Malvolio, a figure who has served as the butt of the comic
sub-plot. Rather than participate in the concluding scene of forgiveness and reconciliation,
he storms off stage with the words “I’ll be reveng’d on the whole pack of you!” (5.i.377).
Another comedy of the second period is The Merry Wives of Windsor (c. 1597); this play is
a farce about middle-class life in which Falstaff reappears as the comic victim.

Two major tragedies, differing considerably in nature, mark the beginning and the
end of the second period. Romeo and Juliet (c. 1595), famous for its poetic treatment of
the ecstasy of youthful love, dramatizes the fate of two lovers victimized by the feuds and
misunderstandings of their elders and by their own hasty temperaments. On the other
hand, Julius Caesar (c. 1599) is a serious tragedy of political rivalries, less intense in style
than the tragic dramas that followed.
 Third Period

Shakespeare’s third period includes his greatest tragedies and his so-called dark or
bitter comedies. The tragedies of this period are the most profound of his works and those
in which his poetic idiom became an extremely supple dramatic instrument capable of
recording the passage of human thought and the many dimensions of given dramatic
situations. Hamlet (c. 1601), his most famous play, goes far beyond other tragedies of
revenge in picturing the mingled sordidness and glory of the human condition. Hamlet
feels that he is living in a world of deceit and corruption. It is the precipitous marriage of
his mother to Claudius, his uncle, that is the source of his unease: the wedding has taken
place barely two months after the sudden death of Hamlet’s father, the king. His suspicions
are spectacularly confirmed by the appearance of the dead king’s ghost. Confirming that he
was murdered by Claudius, the ghost urges Hamlet to revenge. Yet this injunction is the
trigger for a dramatic exploration of Hamlet’s self-doubt, an introspective torment that
leads him to the brink of suicide in perhaps the most famous Shakespearean line of all, “To
be, or not to be, that is the question” (3.i.58). As Hamlet recognizes, his hesitancy is akin to
the sleep of oblivion:

Yet in regaining “the name of action”, Hamlet brings about the self-destruction that
his indecision had only mimicked. Through such density of character and language the play
commands the affection and attention that is still accorded it today.

Othello (c. 1602-1604) portrays the growth of unjustified jealousy in the

protagonist, Othello, a Moor serving as a general in the Venetian army. The innocent object
of his jealousy is his wife, Desdemona. In this tragedy, Othello’s evil lieutenant, Iago, draws
him into mistaken jealousy in order to ruin him. King Lear (c. 1604-1606), conceived on a
more epic scale, deals with the consequences of the irresponsibility and misjudgement of
Lear, a ruler of early Britain, and of his councillor, the Duke of Gloucester. The tragic
outcome is a result of giving power to his evil offspring, rather than to his good offspring.
Lear’s daughter Cordelia displays a redeeming love that makes the tragic conclusion a
vindication of goodness, though a bleak resolution because Cordelia dies. This conclusion is
reinforced by the portrayal of evil as self-defeating, exemplified by the fates of Cordelia’s
sisters and of Gloucester’s opportunistic son. Antony and Cleopatra (c. 1606-1607) is
concerned with a different type of love, namely the middle-aged passion of the Roman
general Mark Antony for the Egyptian queen Cleopatra. Their love is glorified by some of
the most sensuous poetry written by Shakespeare.

In Macbeth (c. 1606), Shakespeare depicts the tragedy of a great and basically good
man who, led on by others and because of a defect in his own nature, succumbs to
murderous ambition. In getting and retaining the Scottish throne, Macbeth dulls his
humanity to the point where he becomes capable of any amoral act. As with Hamlet, this
retreat from a full humanity is paradoxically accompanied by a heightened self-awareness;
yet for Macbeth there is no redemption, only a descent into a bleak nihilism. Human
existence, as he sees it, amounts to nothing:

Three other plays of this period suggest a bitterness that these tragedies more
successfully contain, because the protagonists do not seem to possess greatness or tragic
stature. In Troilus and Cressida (c. 1602), the most intellectually contrived of Shakespeare’s
plays, the gulf between the ideal and the real, both individually and politically, is skilfully
evoked. In Coriolanus (c. 1608), another tragedy taking place in antiquity, the legendary
Roman hero Caius Marcius Coriolanus is portrayed as unable to bring himself either to woo
the Roman masses or to crush them by force. Timon of Athens (c. 1607) is a similarly bitter
play about a character reduced to misanthropy by the ingratitude of his sycophants.
Because of the uneven quality of the writing, this tragedy is considered to be a
collaboration, quite possibly with Thomas Middleton.

The two comedies of this period also are dark in mood. In the 20th century these
plays gained the name of “problem plays” because they do not fit into clear categories or
present easy resolution. All’s Well That Ends Well (c. 1598-1604) and Measure for Measure
(c. 1604) are both plays that question accepted patterns of morality without offering the
comfort of solutions.
 Fourth Period

The fourth period of Shakespeare’s work comprises his principal romantic

tragicomedies. Towards the end of his career, Shakespeare created several plays that,
through the intervention of magic, art, compassion, or grace, often suggest redemptive
hope for the human condition. These plays are written with a grave quality differing
considerably from his earlier comedies, but they end happily with a reunion or final
reconciliation. The tragicomedies depend for part of their appeal upon the lure of a distant
time or place, and all seem more obviously symbolic than most of his earlier works. To
many critics, the tragicomedies signify a final ripeness in Shakespeare’s own outlook, but
other authorities believe that the change reflects only a change in fashion in the drama.

The romantic tragicomedy Pericles, Prince of Tyre (c. 1606-1608) concerns the title
character’s painful loss of his wife and the persecution of his daughter. After many exotic
adventures, Pericles is reunited with his loved ones. In Cymbeline (c. 1609-1610) and The
Winter’s Tale (c. 1610-1611), characters suffer great loss and pain, but are reunited.
Perhaps the most successful product of this particular vein of creativity, however, is what
may be Shakespeare’s last complete play, The Tempest (c. 1611), in which the resolution
suggests the beneficial effects of the union of wisdom and power. In this play Prospero,
deprived of his dukedom and banished to an island, confounds his usurping brother by
employing magical powers and furthering a love match between his own daughter and the
son of one of his enemies. Shakespeare’s poetic power reached great heights in this
beautiful, lyrical play, and in Prospero’s surrender of his magical powers at its conclusion,
some critics-perhaps fancifully-have seen Shakespeare’s own relinquishment of the
theatre’s “rough magic”.

Two final plays, sometimes ascribed to Shakespeare, presumably are the products
of collaboration. A historical drama, Henry VIII (c. 1613) was probably written with the
English dramatist John Fletcher, as was The Two Noble Kinsmen (c. 1613; published
posthumously, 1634), a story of the love of two noble friends for one woman.
CHAPTER 3: LITERARY REPUTATION

Shakespeare’s reputation as perhaps the greatest of all dramatists was not achieved
during his lifetime. Though his contemporary Ben Jonson declared him “not of an age, but
for all time”, early 17th-century taste found the plays of Jonson himself, or Thomas
Middleton, or Francis Beaumont and John Fletcher, equally worthy of praise. Only in the
Restoration period-some 50 or more years after Shakespeare’s death-did his reputation
begin to eclipse that of his contemporaries. This is not to say that the late 17th- and early
18th-century theatre treated his plays with anything like reverence. When they were
performed, it was most often in versions rewritten for the fashions of the age, purged-as
their adaptors maintained-of their coarseness and absurdities. These alterations could be
very significant: in one version of King Lear popular throughout the 18th century Lear and
Cordelia are reprieved at the play’s conclusion, transforming a tragedy into a tragicomedy!
Perhaps paradoxically, it was exactly this fondness for adapting Shakespeare that kept his
plays in the repertoire while those of Jonson, Middleton, and others went down to
obscurity. Also, during the first half of the 18th century Shakespeare began to be afforded
the role of English national poet, a process that reached its culmination in the installation
of a memorial statue in Westminster Abbey in 1741 and a huge Jubilee festival, staged in
1764 to celebrate the bicentenary of his birth.

The Romantic movement, particularly the writings of Samuel Taylor Coleridge and
Johann Wolfgang Goethe, did much to shape both Shakespeare’s international reputation
and the account of his achievement that has persisted ever since. Romantic authors
claimed Shakespeare as a great precursor of their own literary values: his work was
celebrated as an embodiment of universal human truths, an unequalled articulation of the
human condition in all its nobility and variety. In later Victorian Britain this view was
married to the moralistic “civilizing” mission of educationalists and empire builders, while
American writers looked to Shakespeare as a foundation stone of their own distinct cultural
identity. The years since World War I have if anything cemented these positions: the
establishment of institutions such as the Royal Shakespeare Theatre in Britain, and the
Folger Shakespeare Library in the United States, has ensured that his work has remained a
central icon of Western culture. The claim that his plays have the power to transcend their
historical moment and speak to all humanity now underlies an insistence on Shakespeare’s
continuing relevance to our own situation: as the title of a seminal book by Jan Kott put it,
Shakespeare is “our contemporary”.

Nevertheless, there have always been dissenters. Writers of the stature of Leo
Tolstoy and George Bernard Shaw were prepared to offer devastatingly negative
judgements on the plays and their author, while others have advanced eccentric theories
designed to prove that such great plays could not have been written by someone of
Shakespeare’s obscure origins and limited education. In their own way, recent
Shakespearean scholars have also contributed to a demythologizing of the bard that some
think threatens the security of his reputation. Yet even as the focus of such activities
Shakespeare remains central to the work of literary critics, to theatre throughout the
world, to Western accounts of national and cultural identity, and to the British tourist
industry. These are not positions he will be allowed to surrender easily.

CONCLUSION :

Most people know that Shakespeare is, in fact, the most popular dramatist and poet
the Western world has ever produced for the following reasons :
 First of all, for Shakespeare’s ability to summarize the range of human emotions in
simple yet profoundly eloquent verse is perhaps the greatest reason for his enduring
popularity. If you cannot find words to express how you feel about love or music or growing
older, Shakespeare can speak for you.

Secondly, William Shakespeare was the most remarkable storyteller that the world
has ever known. Shakespeare told every kind of story – comedy, tragedy, history, melodrama,
adventure, love stories and fairy tales – and each of them so well that they have become
immortal. In all the world of storytelling he has become the greatest name.

Then, Shakespeare’s great characters have remained popular because of their

complexity; for example, we can see ourselves as gentle Hamlet, forced against his better
nature to seek murderous revenge. For this reason Shakespeare is deeply admired by actors,
and many consider playing a Shakespearean character to be the most difficult and most
rewarding role possible.

Last, but not least, his ability ability to turn a phrase is rematkable; many of the
common expressions now thought to be clichés were Shakespeare's creations. Chances are
you use Shakespeare's expressions all the time even though you may not know it is the Bard
you are quoting. You may think that fact is "neither here nor there", but that's "the short and
the long of it." Bernard Levin said it best in the following quote about Shakespeare's impact
on our language: