471:'s expectation that his soliloquy be overheard by the other characters in the scene. Moreover, Hirsh asserts that in soliloquies in other Shakespearean plays, the speaker is entirely in character within the play's fiction. Saying that addressing the audience was outmoded by the time Shakespeare was alive, he "acknowledges few occasions when a Shakespearean speech might involve the audience in recognising the simultaneous reality of the stage and the world the stage is representing". Other than 29 speeches delivered by choruses or characters who revert to that condition as epilogues "Hirsh recognizes only three instances of audience address in Shakespeare's plays, 'all in very early comedies, in which audience address is introduced specifically to ridicule the practice as antiquated and amateurish.'"
480:
3274:
2711:
exaggerates what
Shakespeare is doing anyway: simultaneously offering and withholding meaning.... A distinctive strand of his writing is his fondness for expressing one concept with two words, joined together by 'and.'... Shakespeare... often... gives us conjunctions that are neither quite the same nor quite different.... Shakespeare gives us crash courses in every kind of insecurity: physical, emotional, psychological, cognitive, even existential." (p. 30.)
30:
3920:
1360:
1524:
3930:
463:, James Hirsh defines the convention of a Shakespearean soliloquy in early modern drama. He argues that when a person on the stage speaks to himself or herself, they are characters in a fiction speaking in character; this is an occasion of self-address. Furthermore, Hirsh points out that Shakespearean soliloquies and "
1443:. Additionally, in an age before standardised spelling, Shakespeare often wrote a word several times in a different spelling, and this may have contributed to some of the transcribers' confusion. Modern editors have the task of reconstructing Shakespeare's original words and expurgating errors as far as possible.
376:
During the reign of Queen
Elizabeth, "drama became the ideal means to capture and convey the diverse interests of the time." Stories of various genres were enacted for audiences consisting of both the wealthy and educated and the poor and illiterate. Later on, he retired at the height of the Jacobean
367:
it is believed by some editors that
Shakespeare ended his career in collaboration with Fletcher, who succeeded him as house playwright for the King's Men. These last plays resemble Fletcher's tragicomedies in their attempt to find a comedic mode capable of dramatising more serious events than had his
350:
Shakespeare's final plays hark back to his
Elizabethan comedies in their use of romantic situation and incident. In these plays, however, the sombre elements that are largely glossed over in the earlier plays are brought to the fore and often rendered dramatically vivid. This change is related to the
237:
concerned with simple allegory. Inspired by this new style, Shakespeare continued these artistic strategies, creating plays that not only resonated on an emotional level with audiences but also explored and debated the basic elements of what it means to be human. What
Marlowe and Kyd did for tragedy,
184:
were built around similar general plans. Despite individual differences, the public theatres were three stories high and built around an open space at the center. Usually polygonal in plan to give an overall rounded effect, three levels of inward-facing galleries overlooked the open center into which
288:
closely. Shakespeare's other
Elizabethan comedies are more romantic. Like Lyly, he often makes romantic intrigue (a secondary feature in Latin new comedy) the main plot element; even this romantic plot is sometimes given less attention than witty dialogue, deceit, and jests. The "reform of manners",
236:
revolutionised theatre. Their plays blended the old morality drama with classical theory to produce a new secular form. The new drama combined the rhetorical complexity of the academic play with the bawdy energy of the moralities. However, it was more ambiguous and complex in its meanings, and less
495:
As was common in the period, Shakespeare based many of his plays on the work of other playwrights and recycled older stories and historical material. His dependence on earlier sources was a natural consequence of the speed at which playwrights of his era wrote; in addition, plays based on already
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Shakespeare teach us? Nothing. His tragic theater is not a classroom. It is a fairground wall of death in which the characters are being pushed outward by the centrifugal force of the action but held in place by the friction of the language." (p. 29.) "he passage of time has altered meanings .
1469:
The textual problem can, however, become rather complicated. Modern scholarship now believes
Shakespeare to have modified his plays through the years, sometimes leading to two existing versions of one play. To provide a modern text in such cases, editors must face the choice between the original
256:
the notion of decorum; with few exceptions, he focuses on high-born characters and national affairs as the subject of tragedy. In most other respects, though, the early tragedies are far closer to the spirit and style of moralities. They are episodic, packed with character and incident; they are
336:
is seen not only in the problem plays, which dramatise intractable human problems of greed and lust, but also in the darker tone of the
Jacobean tragedies. The Marlovian, heroic mode of the Elizabethan tragedies is gone, replaced by a darker vision of heroic natures caught in environments of
263:. Even in his early work, however, Shakespeare generally shows more restraint than Marlowe; he resorts to grandiloquent rhetoric less frequently, and his attitude towards his heroes is more nuanced, and sometimes more sceptical, than Marlowe's. By the turn of the century, the bombast of
467:" are audible in the fiction of the play, bound to be overheard by any other character in the scene unless certain elements confirm that the speech is protected. Therefore, a Renaissance playgoer who was familiar with this dramatic convention would have been alert to
1337:– A collaborative work by several playwrights, including Shakespeare. There is a "growing scholarly consensus" that Shakespeare was called in to re-write a contentious scene in the play and that "Hand D" in the surviving manuscript is that of Shakespeare himself.
1424:, Shakespeare did not have direct involvement in publishing his plays and produced no overall authoritative version of his plays before he died. As a result, the problem of identifying what Shakespeare actually wrote is a major concern for most modern editions.
427:
and rhetorical flourishes are repeatedly used. Humour is a key element in all of
Shakespeare's plays. Although a large amount of his comical talent is evident in his comedies, some of the most entertaining scenes and characters are found in tragedies such as
204:
Usually built of timber, lath and plaster and with thatched roofs, the early theatres were vulnerable to fire, and gradually were replaced (when necessary) with stronger structures. When the Globe burned down in June 1613, it was rebuilt with a tile roof.
381:. His verse style, his choice of subjects, and his stagecraft all bear the marks of both periods. His style changed not only in accordance with his own tastes and developing mastery, but also in accord with the tastes of the audiences for whom he wrote.
337:
pervasive corruption. As a sharer in both the Globe and in the King's Men, Shakespeare never wrote for the boys' companies; however, his early
Jacobean work is markedly influenced by the techniques of the new, satiric dramatists. One play,
185:
jutted the stage—essentially a platform surrounded on three sides by the audience, only the rear being restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a
212:, which came into regular use on a long term basis in 1599. The Blackfriars was small in comparison to the earlier theatres, and roofed rather than open to the sky; it resembled a modern theatre in ways that its predecessors did not.
1230:, and a bookseller's list both include this title among Shakespeare's recent works, but no play of this title has survived. It may have become lost, or it may represent an alternative title of one of the plays listed above, such as
534:
may in fact have been Shakespeare's, and was just an earlier and subsequently discarded version.) For plays on historical subjects, Shakespeare relied heavily on two principal texts. Most of the Roman and Greek plays are based on
496:
popular stories appear to have been seen as more likely to draw large crowds. There were also aesthetic reasons: Renaissance aesthetic theory took seriously the dictum that tragic plots should be grounded in history. For example,
67:, or otherwise is a matter of scholarly debate. Shakespeare's plays are widely regarded as among the greatest in the English language and are continually performed around the world. The plays have been translated into every major
1431:
he worked with did not distribute scripts of his plays, for fear that the plays would be stolen. This led to bootleg copies of his plays, which were often based on people trying to remember what Shakespeare had actually written.
1083:
Like most playwrights of his period, Shakespeare did not always write alone, and a number of his plays were collaborative, although the exact number is open to debate. Some of the following attributions, such as for
591:
forced Shakespeare and his company of actors to leave London for periods between 1592 and 1594, Shakespeare began to use rhymed couplets in his plays, along with more dramatic dialogue. These elements showed up in
1454:) adapted and shortened the original to produce the extant text published in the First Folio, but that remains the only known text of the play. In others the text may have become manifestly corrupt or unreliable (
605:
Almost all of the plays written after the plague hit London are comedies, perhaps reflecting the public's desire at the time for light-hearted fare. Other comedies from Shakespeare during this period include
1480:
for example, two independent versions, each with their own textual integrity, exist in the Quarto and the Folio versions. Shakespeare's changes here extend from the merely local to the structural. Hence the
116:
to choose the virtuous life over Evil. The characters and plot situations are largely symbolic rather than realistic. As a child, Shakespeare would likely have seen this type of play (along with, perhaps,
82:
was published. The traditional division of his plays into tragedies, comedies, and histories follows the categories used in the First Folio. However, modern criticism has labelled some of these plays "
245:, among others, did for comedy: they offered models of witty dialogue, romantic action, and exotic, often pastoral location that formed the basis of Shakespeare's comedic mode throughout his career.
305:. In these years, he responded to a deep shift in popular tastes, both in subject matter and approach. At the turn of the decade, he responded to the vogue for dramatic satire initiated by the
1470:
first version and the later, revised, usually more theatrical version. In the past editors have resolved this problem by conflating the texts to provide what they believe to be a superior
1485:, published in 1986 (second edition 2005), provides two different versions of the play, each with respectable authority. The problem exists with at least four other Shakespearean plays (
2519:
1329:– Both plays were published in quarto as works of Shakespeare, in 1605 and 1608, and were included in the Third Folio. However, stylistic analysis considers these attributions unlikely.
2333:
3574:
1733:
97:) were combining two strands of dramatic tradition into a new and distinctively Elizabethan synthesis. Previously, the most common forms of popular English theatre were the
456:, in which a character, apparently alone within the context of the play, makes a speech so that the audience may understand the character's inner motivations and conflict.
2020:
3677:
3730:
396:), he even added punctuation at the end of these iambic pentameter lines to make the rhythm even stronger. He and many dramatists of this period used the form of
1630:
productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets. The staging of the reported sea fights and barge scene in
2816:
587:– Shakespeare's earliest plays tended to be adaptations of other playwrights' works and employed blank verse and little variation in rhythm. However, after the
140:, however, the theory was better known through its Roman interpreters and practitioners. At the universities, plays were staged in a more academic form as
3232:
3227:
1435:
Textual corruptions also stemming from printers' errors, misreadings by compositors, or simply wrongly scanned lines from the source material litter the
3295:
1666:
In 1642 England's Parliament banned plays, including Shakespeare's, accusing the theater of promoting "lascivious mirth and levity." In 1660, after the
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1706:
1466:) but no competing version exists. The modern editor can only regularise and correct erroneous readings that have survived into the printed versions.
156:, but they were also more static, valuing lengthy speeches over physical action. Shakespeare would have learned this theory at grammar school, where
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2562:
1624:. During this time the texts were "reformed" and "improved" for the stage, an undertaking which has seemed shockingly disrespectful to posterity.
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3586:
1620:, Shakespeare's plays were performed in playhouses with elaborate scenery and staged with music, dancing, thunder, lightning, wave machines, and
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When Shakespeare first arrived in London in the late 1580s or early 1590s, dramatists writing for London's new commercial playhouses (such as
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One of the reasons there are textual problems is that there was no copyright of writings at the time. As a result, Shakespeare and the
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2458:
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1982:
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357:, although the uncertainty of dates makes the nature and direction of the influence unclear. From the evidence of the title-page to
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and others called for abstract staging. Both approaches have influenced the variety of Shakespearean production styles seen today.
561:. This structure did not apply to comedy, and those of Shakespeare's plays for which no clear source has been established, such as
220:
For Shakespeare, as he began to write, both traditions were alive; they were, moreover, filtered through the recent success of the
1681:, in their textual completeness, by school-district officials in Hillsborough County, Florida, in order to comply with state law.
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2257:
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1701:
75:
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514:
2761:
A directory of Web resources for online Shakespearean study. Includes play synopses, a works timeline, and language resources.
530:), but the number of lost plays from this time period makes it impossible to determine that relationship with certainty. (The
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2665:
1385:
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87:
1345:– Additional passages included in the fourth quarto, including the "painter scene", are likely to have been written by him.
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entry of 1653 (alongside a number of erroneous attributions), and often believed to have been re-worked from a subplot in
692:. Among the features of these plays are a redemptive plotline with a happy ending, and magic and other fantastic elements.
257:
loosely unified by a theme or character. In this respect, they reflect clearly the influence of Marlowe, particularly of
3923:
3790:
3606:
3259:
2907:
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Modern Translations, Study Guides, context and biography of William Shakespeare, of Shakespeare's plays, and his sonnets
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For a comprehensive account of plays possibly by Shakespeare or in part by Shakespeare, see the separate entry on the
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Shakespeare reached maturity as a dramatist at the end of Elizabeth's reign, and in the first years of the reign of
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at the British Library – resource including images of original manuscripts, new articles and teaching resources.
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suggests that a collaborator may have been responsible for parts or all of act III, scene 7, and act V, scene 2
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707:
666:
3591:
3289:
2493:
1274:, which he claimed to have adapted from three manuscripts of a lost play by Shakespeare that he did not name.
86:" that elude easy categorisation, or perhaps purposely break generic conventions, and has introduced the term
2520:"'Teachers are frightened': Hillsborough schools putting restrictions on Shakespeare to avoid sexual content"
3959:
3365:
2929:
1667:
1645:
1636:
was one spectacular example. Too often, the result was a loss of pace. Towards the end of the 19th century,
1474:, but critics now argue that to provide a conflated text would run contrary to Shakespeare's intentions. In
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on the London stage. By the late 16th century, the popularity of morality and academic plays waned as the
33:
1539:. Shakespeare's fellow members of the Lord Chamberlain's Men acted in his plays. Among these actors were
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1617:
1609:
1295:
1207:
959:
864:
849:
713:
359:
60:
56:
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314:
580:, there is a general consensus that stylistic groupings largely reflect a chronology of three-phases:
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1499:
1036:
1001:
966:
835:
772:
737:
678:
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339:
197:
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were key parts of the curriculum and were taught in editions with lengthy theoretical introductions.
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3401:
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1886:
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1536:
1341:
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does re-work the Cardenio story, but modern scholarship has not established with certainty whether
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of 1623, according to the order in which they appear there, with two plays that were not included (
344:
310:
233:
225:
209:
137:
129:
52:
41:
51:
are a canon of approximately 39 dramatic works written by the English poet, playwright, and actor
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which Horace considered the main function of comedy, survives in such episodes as the gulling of
259:
173:
2744:
2738:
2005:
1543:(who played the title role in the first performances of many of Shakespeare's plays, including
1315:– Contains numerous words first used by Shakespeare, and, if by him, is perhaps his first play.
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2730:
List of all 27 of Shakespeare's plays with summaries, and images of the plays being performed.
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2430:
2412:
edited by James Ogden and Arthur Hawley Scouten, Fairleigh Dickinson University Press, p. 127.
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2108:
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1978:
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389:
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Shakespeare's Elizabethan tragedies (including the history plays with tragic designs, such as
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29:
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Pursuing Shakespeare's Dramaturgy: Some Contexts, Resources, and Strategies in His Playmaking
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317:. At the end of the decade, he seems to have attempted to capitalise on the new fashion for
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2767:
Summary and analysis of all the plays, including those of questionable authorship, such as
413:: as Macbeth leaves the stage to murder Duncan (to the sound of a chiming clock), he says,
252:) demonstrate his relative independence from classical models. He takes from Aristotle and
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3237:
3125:
3041:
2408:
Ringler, William Jr. (1997). "Shakespeare and His Actors: Some Remarks on King Lear" from
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1780:
1696:
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1462:
1428:
1187:
994:
424:
221:
109:
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68:
2724:, listed by genre, with other options including listing of all speeches by each character
1644:, he paid fresh attention to the structure of the drama. In the early twentieth century,
1092:, remain more controversial and are dependent on linguistic analysis by modern scholars.
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Except where noted, the plays below are listed, for the thirty-six plays included in the
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The plays of this period address issues such as betrayal, murder, lust, power and egoism.
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led a reaction against this heavy style. In a series of "Elizabethan" productions on a
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2453:. William Shakespeare. Cambridge: Cambridge University Press; introduction, 2, 38–39.
1999:
636:, for the next few years, Shakespeare would produce his most famous dramas, including
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Shakespeare's writing (especially his plays) also feature extensive wordplay in which
78:, but approximately half of them remained unpublished until 1623, when the posthumous
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1307:– The middle portion of the play (scenes 4–9) may have been written by Shakespeare.
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122:
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573:, are comedies. Even these plays, however, rely heavily on generic commonplaces.
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1601:, who are most famous now for collecting and editing the plays of Shakespeare's
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113:
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17:
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Maurer, Margaret (2005). "Review: Shakespeare and the History of Soliloquies".
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to give a sense of conclusion, or completion. A typical example is provided in
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During Shakespeare's lifetime, many of his greatest plays were staged at the
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In some cases the textual solution presents few difficulties. In the case of
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may have revised this tragedy in 1615 to incorporate extra musical sequences.
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1022:
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526:
504:
498:
453:
280:
238:
133:
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Dillon, Janette (2006). "Elizabethan comedy". In Leggatt, Alexander (ed.).
2289:(2 ed.). Cambridge, England: Cambridge University Press. p. 34.
2197:
2779:
2753:
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1191:– May have resulted from collaboration between Shakespeare and Middleton.
536:
290:
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Shakespeare in Print: A History and Chronology of Shakespeare Publishing
1151:– Generally considered a collaboration between Shakespeare and Fletcher.
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2524:
1613:
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1505:
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1143:– Some scholars argue that Shakespeare wrote less than 20% of the text.
1107:) – Contemporaneous reports suggest that Shakespeare collaborated with
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638:
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441:
409:
404:
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161:
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1069:". The three plays marked with were not included in the First Folio.
388:, he almost always wrote a large proportion of his plays and poems in
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1608:
Shakespeare's plays continued to be staged after his death until the
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1493:
1088:, have well-attested contemporary documentation; others, such as for
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644:
520:
464:
430:
253:
2018:
Bentley, G. E. "The Profession of Dramatist in Shakespeare's Time",
1131:– Brian Vickers concluded that the play was 40% Shakespeare and 60%
400:
extensively in character dialogue, thus heightening poetic effects.
2586:"Shakespeare's 'Sublimely, Disturbingly Smutty Effect' Must Endure"
1612:(1649–1660), when all public stage performances were banned by the
524:(c. 1601) may be a reworking of an older, lost play (the so-called
274:
In comedy, Shakespeare strayed even further from classical models.
1522:
478:
385:
105:
28:
2037:
by William Shakespeare, Barron's Educational Series, 2002, p. 11.
2786:
55:. The exact number of plays as well as their classifications as
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2161:. Ed. John F. Andrews. 2001. New York: Charles Scribner's Sons.
1863:
The Herculean Hero in Marlowe, Chapman, Shakespeare, and Dryden
2324:"Further Proof of Shakespeare's Hand in 'The Spanish Tragedy'"
2277:(2010). "Shakespeare's writing, from manuscript to print". In
1353:
1101:(a lost play or one that survives only as a later adaptation,
717:) being added at the end of the list of comedies and another (
195:, or as a position for a character to harangue a crowd, as in
2472:
Shakespeare and Modern Theatre: The Performance of Modernity.
2741:
Also publication years and chronology of Shakespeare's plays
1677:
In August 2023, restrictions were placed on the teaching of
1199:– May have been written in collaboration with or revised by
726:
2706:, vol. LXXI, no. 10 (6 June 2024), pp. 28-30, 32. "So what
1958:
The Heart's Forest: A Study of Shakespeare's Pastoral Plays
1787:. Madison: University of Wisconsin Press. pp. 160–171.
1250:– Attributed to William Shakespeare and John Fletcher in a
1061:: Plays marked with are now commonly referred to as the "
384:
While many passages in Shakespeare's plays are written in
132:
aesthetic theory. This theory was derived ultimately from
2739:
Narrative and Dramatic Sources of all Shakespeare's works
1527:
The modern reconstruction of the Globe Theatre, in London
1065:". Plays marked with are sometimes referred to as the "
180:
in the late twentieth century suggested that all London
2358:
by William Shakespeare, Simon and Schuster, 2004, p. xl
325:, the writer who had popularised the genre in England.
1941:
Comicall Satyre and Shakespeare's Troilus and Cressida
452:
Shakespeare's plays are also notable for their use of
2658:
Will in The World: How Shakespeare Became Shakespeare
2494:"The Banning of the Bard | Online Library of Liberty"
1648:
directed quarto and folio texts with few cuts, while
1450:
for example, scholars believe that someone (probably
172:
Archaeological excavations on the foundations of the
2383:. New Haven, Connecticut: Yale University Press, 7.
2174:. translated by Charity S. Stokes, Routledge, p. 11.
2053:. Fairleigh Dickinson University Press. p. 52.
1734:
The Complete Works of William Shakespeare (Abridged)
90:
for what scholars believe to be his later comedies.
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3757:
3686:
3543:
3514:
3343:
3334:
3281:
3202:
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3065:
2975:
2841:
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1171:– May have undergone a light revision by Middleton.
74:Many of his plays appeared in print as a series of
40:, containing scenes and characters from several of
2734:Complete list of shakespeare's plays with synopsis
2429:. New York: Cornell University Press. p. 64.
1850:The English History Play in the Age of Shakespeare
688:, are so called because they bear similarities to
403:To end many scenes in his plays he used a rhyming
2021:Proceedings of the American Philosophical Society
1770:. Urbana: University of Illinois Press, 499–532).
1211:– Attributed in 1634 to Fletcher and Shakespeare.
440:. Shakespeare's humour was largely influenced by
144:closet dramas. These plays, usually performed in
2474:London; New York: Routledge; Introduction, 5–6.
2470:Bristol, Michael, and Kathleen McLuskie (eds.).
2624:The Cambridge Companion to Shakespearean Comedy
1977:. London: Chatto and Windus. pp. 472–474.
1852:. Princeton: Princeton University Press, 12–27.
1282:includes fragments of Shakespeare's lost play.
1183:, either as collaborator, reviser, or revisee.
489:Chronicles of England, Scotlande, and Irelande
2810:
2410:Lear from Study to Stage: Essays in Criticism
2242:. Princeton: Princeton University Press, p. 3
2217:
2215:
8:
576:While there is much dispute about the exact
502:is probably an adaptation of an older play,
328:The influence of younger dramatists such as
1388:. Unsourced material may be challenged and
128:The other strand of dramatic tradition was
3754:
3340:
2838:
2817:
2803:
2795:
2420:
2418:
2309:
2287:The New Cambridge companion to Shakespeare
1960:. New Haven: Yale University Press, 130ff.
1754:
461:Shakespeare and the History of Soliloquies
267:had vanished, replaced by the subtlety of
1707:Music in the plays of William Shakespeare
1408:Learn how and when to remove this message
377:period, not long before the start of the
208:A different model was developed with the
112:moral attributes to urge or instruct the
1927:Shakespeare: Dark Comedies to Last Plays
419:That summons thee to heaven or to hell.
2584:Lichtenberg, Drew (10 September 2023).
2322:Schuessler, Jennifer (12 August 2013).
1810:(Cambridge: Harvard University Press),
1768:Shakspere's Small Latine and Less Greek
1747:
723:) at the end of the list of histories.
2598:from the original on 10 September 2023
2367:
1865:. New York: Columbia University Press.
1836:
545:(from the 1579 English translation by
3569:Complete Works of William Shakespeare
2336:from the original on 20 December 2016
1874:
1674:, theater resumed in a limited way.
417:Hear it not Duncan, for it is a knell
343:, may even have been inspired by the
104:. These plays, generally celebrating
7:
2722:Complete text of Shakespeare's plays
2551:Lichtenberg, Drew (13 August 2023).
1929:. London: Routledge. pp. 18–40.
1386:adding citations to reliable sources
3929:
2565:from the original on 13 August 2023
2532:from the original on 13 August 2023
2449:Griffiths, Trevor R. (ed.) (1996).
2004:. Oxford: Clarendon Press. p.
1350:Shakespeare and the textual problem
1226:– A late sixteenth-century writer,
392:. In some of his early works (like
3744:Shakespeare's influence on Tolkien
1943:. San Marino: Huntington Library.
1679:Shakespearean plays and literature
664:– These plays romances, including
25:
2518:Patterson, Jeff (8 August 2023).
1893:. Houston: Rice Institute Press,
1692:Chronology of Shakespeare's plays
578:chronology of Shakespeare's plays
351:success of tragicomedies such as
3928:
3919:
3918:
3272:
2728:Summaries of Shakespeare's plays
2492:McGath, Gary (19 October 2022).
2157:"Humor in Shakespeare's Plays".
1911:Cymbeline and Coterie Dramaturgy
1702:List of Shakespearean characters
1358:
228:took hold, and playwrights like
148:, adhered to classical ideas of
2759:The Shakespeare Resource Center
1891:Horace and the Spirit of Comedy
515:The Famous Victories of Henry V
3749:Works titled after Shakespeare
2686:. Cambridge University Press.
2553:"Make Shakespeare Dirty Again"
1:
3909:Shakespeare and other authors
2427:Shakespeare Among the Moderns
2129:"Hamlet's Puns and Paradoxes"
1287:Plays possibly by Shakespeare
3955:Plays by William Shakespeare
3791:Shakespeare Birthplace Trust
2703:The New York Review of Books
2170:Clemen, Wolfgang H. (1987).
2159:Shakespeare's World and Work
1079:Shakespeare's collaborations
518:. There is speculation that
475:Source material of the plays
182:English Renaissance theatres
3597:English Renaissance theatre
3440:The Second Maiden's Tragedy
3419:The Merry Devil of Edmonton
2951:The Two Gentlemen of Verona
2264:. Accessed 23 October 2005.
2240:Hamlet in his Modern Guises
1827:Ashgate Publishing, p. 156.
1797:Gurr, pp. 123–131, 142–146.
1717:Shakespeare's late romances
752:The Two Gentlemen of Verona
690:medieval romance literature
3976:
3765:Folger Shakespeare Library
3311:The Phoenix and the Turtle
2901:The Merry Wives of Windsor
2749:Folger Shakespeare Library
2636:10.1017/CCOL0521770440.004
2628:Cambridge University Press
2081:Folger Shakespeare Library
1975:Shakespeare: The Biography
1659:
1519:Shakespeare in performance
1516:
1268:produced a play he called
1076:
957:
862:
759:The Merry Wives of Windsor
735:
615:The Merry Wives of Windsor
321:, even collaborating with
3903:
3784:Royal Shakespeare Theatre
3779:Royal Shakespeare Company
3270:
2908:A Midsummer Night's Dream
2852:All's Well That Ends Well
2451:A Midsummer Night's Dream
2425:Halpern, Richard (1997).
2356:A Midsummer Night's Dream
2238:Welsh, Alexander (2001).
2172:Shakespeare's Soliloquies
2047:Meagher, John C. (2003).
1823:Logan, Robert A. (2006).
1806:Bevington, David (1969).
1590:A Midsummer Night's Dream
1587:and, possibly, Bottom in
1239:All's Well That Ends Well
822:All's Well That Ends Well
794:A Midsummer Night's Dream
630:– Beginning in 1599 with
601:A Midsummer Night's Dream
2922:Pericles, Prince of Tyre
2745:"All Shakespeare's works
2001:Elizabethan and Jacobean
1939:Campbell, O. J. (1938).
1723:Returning to Shakespeare
1670:ended with the death of
1420:Unlike his contemporary
1176:Pericles, Prince of Tyre
843:Pericles, Prince of Tyre
708:Pericles, Prince of Tyre
667:Pericles, Prince of Tyre
38:The Plays of Shakespeare
2930:The Taming of the Shrew
2682:Murphy, Andrew (2003).
2227:Encyclopædia Britannica
2222:"Shakespeare's sources"
1848:Ribner, Irving (1957).
1808:From Mankind to Marlowe
1766:Baldwin, T. W. (1944).
1668:Commonwealth of England
1646:Harley Granville-Barker
1581:, (who played Peter in
1073:Dramatic collaborations
815:The Taming of the Shrew
595:The Taming of the Shrew
284:, follows the model of
216:Elizabethan Shakespeare
168:Theatre and stage setup
3612:Lord Chamberlain's Men
3523:The Passionate Pilgrim
3296:comparison to Petrarch
2915:Much Ado About Nothing
2894:The Merchant of Venice
2379:Nagler, A. M. (1958).
2133:Shakespeare Navigators
2099:Shakespeare's Wordplay
1998:Wilson, F. P. (1945).
1861:Waith, Eugene (1967).
1574:Much Ado About Nothing
1571:(who played Verges in
1528:
1233:Much Ado About Nothing
1179:– May include work by
801:The Merchant of Venice
780:Much Ado About Nothing
609:Much Ado About Nothing
585:Histories and comedies
512:probably derived from
492:
434:and histories such as
45:
3802:Shakespeare Institute
3771:Shakespeare Quarterly
3290:Shakespeare's sonnets
2958:The Two Noble Kinsmen
2774:The Two Noble Kinsmen
2260:20 April 2009 at the
2198:10.1353/shq.2006.0027
2186:Shakespeare Quarterly
2103:. Routledge. p.
2093:Mahood, Molly Maureen
1825:Shakespeare's Marlowe
1712:Shakespeare on screen
1526:
1296:Shakespeare apocrypha
1208:The Two Noble Kinsmen
1086:The Two Noble Kinsmen
960:Shakespearean tragedy
865:Shakespearean history
850:The Two Noble Kinsmen
714:The Two Noble Kinsmen
483:The first edition of
482:
360:The Two Noble Kinsmen
32:
3658:Spelling of his name
3498:Vortigern and Rowena
3476:Thomas Lord Cromwell
3056:Troilus and Cressida
2986:Antony and Cleopatra
2880:Love's Labour's Lost
2866:The Comedy of Errors
2354:Editor's preface to
1956:David Young (1972).
1633:Antony and Cleopatra
1500:Troilus and Cressida
1382:improve this section
1252:Stationers' Register
1121:The Yale Shakespeare
1037:Antony and Cleopatra
967:Troilus and Cressida
787:Love's Labour's Lost
773:The Comedy of Errors
738:Shakespearean comedy
564:Love's Labour's Lost
448:Soliloquies in plays
340:Troilus and Cressida
297:Jacobean Shakespeare
276:The Comedy of Errors
3882:Richard Shakespeare
3864:Gilbert Shakespeare
3796:Shakespeare's Globe
3701:Authorship question
3696:Attribution studies
3663:Stratford-upon-Avon
3505:A Yorkshire Tragedy
3483:Thomas of Woodstock
3469:The Spanish Tragedy
3410:Love's Labour's Won
3402:The London Prodigal
3359:The Birth of Merlin
3318:The Rape of Lucrece
3304:A Lover's Complaint
3184:Quarto publications
2887:Measure for Measure
2826:William Shakespeare
2660:. London: Pimlico.
2654:Greenblatt, Stephen
2498:oll.libertyfund.org
2381:Shakespeare's Stage
2279:de Grazia, Margreta
1877:, pp. 220–225.
1650:Edward Gordon Craig
1618:English Restoration
1537:Blackfriars Theatre
1513:Performance history
1342:The Spanish Tragedy
1326:A Yorkshire Tragedy
1320:The London Prodigal
1223:Love's Labour's Won
1168:Measure for Measure
766:Measure for Measure
549:), and the English
345:War of the Theatres
278:, an adaptation of
234:Christopher Marlowe
226:English Renaissance
210:Blackfriars Theatre
138:Renaissance England
53:William Shakespeare
49:Shakespeare's plays
42:William Shakespeare
3876:Edmund Shakespeare
3834:Hamnet Shakespeare
3731:Screen adaptations
3454:Sir John Oldcastle
3352:Arden of Faversham
2630:. pp. 47–63.
2591:The New York Times
2558:The New York Times
2329:The New York Times
1616:rulers. After the
1529:
1483:Oxford Shakespeare
1304:Arden of Faversham
493:
368:earlier comedies.
46:
34:Sir John Gilbert's
3942:
3941:
3846:Elizabeth Barnard
3810:
3809:
3539:
3538:
3268:
3267:
2966:The Winter's Tale
2399:Shapiro, 131–132.
2296:978-0-521-88632-1
2275:Woudhuysen, Henry
1839:, pp. 49–54.
1429:playing companies
1418:
1417:
1410:
1055:
1054:
836:The Winter's Tale
679:The Winter's Tale
555:Raphael Holinshed
491:, printed in 1577
485:Raphael Holinshed
390:iambic pentameter
379:Thirty Years' War
16:(Redirected from
3967:
3932:
3931:
3922:
3921:
3870:Joan Shakespeare
3852:John Shakespeare
3755:
3736:Shakespeare and
3447:Sejanus His Fall
3414:
3374:Double Falsehood
3341:
3325:Venus and Adonis
3276:
3049:Titus Andronicus
3035:Romeo and Juliet
2839:
2819:
2812:
2805:
2796:
2700:, "No Comfort",
2671:
2649:
2608:
2607:
2605:
2603:
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2572:
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2548:
2542:
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2148:
2146:
2144:
2135:. Archived from
2125:
2119:
2118:
2102:
2089:
2083:
2071:
2065:
2064:
2044:
2038:
2033:Introduction to
2031:
2025:
2024:115 (1971), 481.
2016:
2010:
2009:
1995:
1989:
1988:
1967:
1961:
1954:
1948:
1937:
1931:
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1846:
1840:
1834:
1828:
1821:
1815:
1804:
1798:
1795:
1789:
1788:
1785:Endeavors of Art
1781:Doran, Madeleine
1777:
1771:
1764:
1758:
1752:
1584:Romeo and Juliet
1488:Henry IV, Part 1
1452:Thomas Middleton
1413:
1406:
1402:
1399:
1393:
1362:
1354:
1196:Titus Andronicus
1161:Thomas Middleton
1140:Henry VI, Part 1
1104:Double Falsehood
1090:Titus Andronicus
988:Romeo and Juliet
981:Titus Andronicus
921:Henry VI, Part 3
914:Henry VI, Part 2
907:Henry VI, Part 1
893:Henry IV, Part 2
886:Henry IV, Part 1
727:
553:are indebted to
547:Sir Thomas North
437:Henry IV, Part 1
425:double entendres
394:Romeo and Juliet
365:textual analysis
265:Titus Andronicus
192:Romeo and Juliet
21:
18:Shakespeare play
3975:
3974:
3970:
3969:
3968:
3966:
3965:
3964:
3945:
3944:
3943:
3938:
3899:
3848:(granddaughter)
3806:
3753:
3682:
3648:Religious views
3626:Curtain Theatre
3547:
3535:
3510:
3461:Sir Thomas More
3407:
3381:Edmund Ironside
3330:
3277:
3264:
3238:Ghost character
3198:
3170:
3061:
3042:Timon of Athens
2971:
2828:
2823:
2718:
2698:O'Toole, Fintan
2679:
2677:Further reading
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2316:
2310:Woudhuysen 2010
2308:
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2297:
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2272:
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2262:Wayback Machine
2250:
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2237:
2233:
2220:
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2142:
2140:
2139:on 13 June 2007
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1755:Greenblatt 2005
1753:
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1744:
1739:
1697:Elizabethan era
1687:
1672:Oliver Cromwell
1664:
1658:
1541:Richard Burbage
1521:
1515:
1463:Timon of Athens
1414:
1403:
1397:
1394:
1379:
1363:
1352:
1334:Sir Thomas More
1312:Edmund Ironside
1289:
1280:Double Falshood
1276:Double Falshood
1271:Double Falshood
1218:
1188:Timon of Athens
1081:
1075:
1056:
995:Timon of Athens
962:
956:
948:
867:
861:
740:
734:
699:
697:Canonical plays
477:
450:
421:
418:
374:
299:
222:University Wits
218:
170:
160:and especially
69:living language
36:1849 painting:
23:
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11:
5:
3973:
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3963:
3962:
3960:Lists of plays
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3587:Collaborations
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3176:Early editions
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2876:
2869:
2862:
2859:As You Like It
2855:
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2716:External links
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2692:978-1139439466
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2283:Wells, Stanley
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2254:Parallel Lives
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2077: 2.1/76–77
2066:
2060:978-0838639931
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1971:Ackroyd, Peter
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169:
166:
102:morality plays
24:
14:
13:
10:
9:
6:
4:
3:
2:
3972:
3961:
3958:
3956:
3953:
3952:
3950:
3935:
3927:
3925:
3917:
3916:
3912:
3910:
3906:
3905:
3902:
3895:
3894:Thomas Quiney
3892:
3889:
3886:
3884:(grandfather)
3883:
3880:
3877:
3874:
3871:
3868:
3865:
3862:
3859:
3856:
3853:
3850:
3847:
3844:
3841:
3840:Judith Quiney
3838:
3835:
3832:
3829:
3826:
3823:
3822:Anne Hathaway
3820:
3819:
3817:
3813:
3803:
3800:
3797:
3794:
3792:
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3627:
3624:
3622:
3619:
3618:
3617:
3613:
3610:
3608:
3605:
3603:
3602:Globe Theatre
3600:
3598:
3595:
3593:
3590:
3588:
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3576:
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3404:
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3308:
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3301:
3297:
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3284:
3280:
3275:
3261:
3258:
3256:
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3251:
3248:
3246:
3243:
3239:
3236:
3234:
3231:
3229:
3226:
3225:
3223:
3221:
3218:
3216:
3215:Late romances
3213:
3211:
3210:Problem plays
3208:
3207:
3205:
3201:
3195:
3192:
3190:
3187:
3185:
3182:
3181:
3179:
3177:
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3166:
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3150:
3149:
3145:
3143:
3142:
3138:
3135:
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3129:
3128:
3127:
3123:
3121:
3120:
3116:
3112:
3111:
3107:
3105:
3104:
3100:
3099:
3098:
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3093:
3092:
3088:
3085:
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3073:
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3070:
3068:
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3058:
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3050:
3046:
3044:
3043:
3039:
3037:
3036:
3032:
3030:
3029:
3025:
3023:
3022:
3018:
3016:
3015:
3011:
3009:
3008:
3007:Julius Caesar
3004:
3002:
3001:
2997:
2995:
2994:
2990:
2988:
2987:
2983:
2982:
2980:
2978:
2974:
2968:
2967:
2963:
2960:
2959:
2955:
2953:
2952:
2948:
2946:
2945:
2944:Twelfth Night
2941:
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2938:
2934:
2932:
2931:
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2924:
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2874:
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2647:
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2637:
2633:
2629:
2626:. Cambridge:
2625:
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2514:
2511:
2499:
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2488:
2485:
2481:
2480:0-415-21984-1
2477:
2473:
2467:
2464:
2460:
2459:0-521-57565-6
2456:
2452:
2446:
2443:
2438:
2436:0-8014-8418-9
2432:
2428:
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2389:0-300-02689-7
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2364:
2361:
2357:
2351:
2348:
2335:
2331:
2330:
2325:
2318:
2315:
2312:, p. 70.
2311:
2306:
2303:
2298:
2292:
2288:
2284:
2280:
2276:
2270:
2267:
2263:
2259:
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2255:
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2223:
2218:
2216:
2212:
2207:
2203:
2199:
2195:
2191:
2187:
2180:
2177:
2173:
2167:
2164:
2160:
2154:
2151:
2138:
2134:
2130:
2124:
2121:
2116:
2114:9780415036993
2110:
2106:
2101:
2100:
2094:
2088:
2085:
2082:
2078:
2076:
2070:
2067:
2062:
2056:
2052:
2051:
2043:
2040:
2036:
2030:
2027:
2023:
2022:
2015:
2012:
2007:
2003:
2002:
1994:
1991:
1986:
1984:1-85619-726-3
1980:
1976:
1972:
1966:
1963:
1959:
1953:
1950:
1946:
1942:
1936:
1933:
1928:
1924:
1923:Foakes, R. A.
1918:
1915:
1912:
1908:
1903:
1900:
1896:
1892:
1888:
1883:
1880:
1876:
1871:
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1855:
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1826:
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1800:
1794:
1791:
1786:
1782:
1776:
1773:
1769:
1763:
1760:
1757:, p. 34.
1756:
1751:
1748:
1741:
1736:
1735:
1731:
1729:
1728:Brian Vickers
1725:
1724:
1720:
1718:
1715:
1713:
1710:
1708:
1705:
1703:
1700:
1698:
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1663:
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1639:
1635:
1634:
1629:
1625:
1623:
1619:
1615:
1611:
1606:
1604:
1600:
1599:John Heminges
1596:
1595:Henry Condell
1592:
1591:
1586:
1585:
1580:
1579:William Kempe
1576:
1575:
1570:
1566:
1565:
1560:
1559:
1554:
1553:
1548:
1547:
1542:
1538:
1534:
1533:Globe Theatre
1525:
1520:
1512:
1510:
1508:
1507:
1502:
1501:
1496:
1495:
1490:
1489:
1484:
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1425:
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1412:
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1391:
1387:
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1377:
1376:
1372:
1367:This section
1365:
1361:
1356:
1355:
1349:
1344:
1343:
1339:
1336:
1335:
1331:
1328:
1327:
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1263:
1262:
1257:
1253:
1249:
1248:
1244:
1241:
1240:
1235:
1234:
1229:
1228:Francis Meres
1225:
1224:
1220:
1219:
1215:
1210:
1209:
1205:
1202:
1198:
1197:
1193:
1190:
1189:
1185:
1182:
1178:
1177:
1173:
1170:
1169:
1165:
1162:
1158:
1157:
1153:
1150:
1149:
1145:
1142:
1141:
1137:
1134:
1130:
1129:
1125:
1122:
1118:
1117:
1113:
1110:
1109:John Fletcher
1106:
1105:
1100:
1099:
1095:
1094:
1093:
1091:
1087:
1080:
1072:
1070:
1068:
1067:problem plays
1064:
1063:late romances
1060:
1051:
1046:
1045:
1041:
1039:
1038:
1034:
1032:
1031:
1027:
1025:
1024:
1020:
1018:
1017:
1013:
1011:
1010:
1006:
1004:
1003:
1002:Julius Caesar
999:
997:
996:
992:
990:
989:
985:
983:
982:
978:
976:
975:
971:
969:
968:
964:
963:
961:
953:
951:
949:
944:
943:
939:
937:
936:
932:
930:
929:
925:
923:
922:
918:
916:
915:
911:
909:
908:
904:
902:
901:
897:
895:
894:
890:
888:
887:
883:
881:
880:
876:
874:
873:
869:
868:
866:
858:
856:
852:
851:
847:
845:
844:
840:
838:
837:
833:
831:
830:
829:Twelfth Night
826:
824:
823:
819:
817:
816:
812:
810:
809:
805:
803:
802:
798:
796:
795:
791:
789:
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777:
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724:
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710:
709:
704:
696:
691:
687:
686:
681:
680:
675:
674:
669:
668:
663:
662:
661:Late romances
658:
655:
653:
648:
646:
642:
640:
635:
634:
633:Julius Caesar
629:
626:
624:
622:
617:
616:
612:
610:
604:
602:
597:
596:
590:
586:
583:
582:
581:
579:
574:
572:
571:
566:
565:
560:
556:
552:
551:history plays
548:
544:
543:
538:
533:
529:
528:
523:
522:
517:
516:
511:
507:
506:
501:
500:
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486:
481:
474:
472:
470:
466:
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457:
455:
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445:
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371:
369:
366:
362:
361:
356:
355:
348:
346:
342:
341:
335:
331:
326:
324:
323:John Fletcher
320:
316:
312:
308:
304:
296:
294:
292:
287:
283:
282:
277:
272:
270:
266:
262:
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255:
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246:
244:
240:
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215:
213:
211:
206:
202:
200:
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198:Julius Caesar
194:
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188:
183:
179:
175:
167:
165:
163:
159:
155:
151:
147:
143:
139:
135:
131:
126:
124:
123:miracle plays
120:
119:mystery plays
115:
111:
107:
103:
100:
96:
91:
89:
85:
84:problem plays
81:
77:
72:
70:
66:
62:
58:
54:
50:
43:
39:
35:
31:
27:
19:
3896:(son-in-law)
3890:(son-in-law)
3828:Susanna Hall
3769:
3758:Institutions
3737:
3582:Coat of arms
3575:Translations
3567:
3563:Bibliography
3530:To the Queen
3528:
3521:
3503:
3496:
3488:
3481:
3474:
3467:
3459:
3452:
3445:
3438:
3431:
3424:
3417:
3408:
3400:
3393:
3386:
3379:
3372:
3364:
3357:
3350:
3323:
3316:
3309:
3302:
3288:
3250:Performances
3194:Second Folio
3162:
3155:
3146:
3139:
3131:
3124:
3117:
3108:
3101:
3096:
3089:
3081:
3074:
3054:
3047:
3040:
3033:
3026:
3019:
3012:
3005:
2998:
2991:
2984:
2964:
2956:
2949:
2942:
2935:
2928:
2920:
2913:
2906:
2899:
2892:
2885:
2878:
2871:
2864:
2857:
2850:
2833:
2787:
2778:
2772:
2768:
2765:Shake Sphere
2707:
2701:
2683:
2657:
2623:
2602:11 September
2600:. Retrieved
2589:
2579:
2567:. Retrieved
2556:
2546:
2534:. Retrieved
2523:
2513:
2501:. Retrieved
2497:
2487:
2471:
2466:
2450:
2445:
2426:
2409:
2404:
2395:
2380:
2375:
2363:
2355:
2350:
2338:. Retrieved
2327:
2317:
2305:
2286:
2269:
2253:
2247:
2239:
2234:
2225:
2189:
2185:
2179:
2171:
2166:
2158:
2153:
2141:. Retrieved
2137:the original
2132:
2123:
2098:
2087:
2074:
2069:
2049:
2042:
2034:
2029:
2019:
2014:
2000:
1993:
1974:
1965:
1957:
1952:
1944:
1940:
1935:
1926:
1917:
1910:
1902:
1894:
1890:
1882:
1870:
1862:
1857:
1849:
1844:
1832:
1824:
1819:
1811:
1807:
1802:
1793:
1784:
1775:
1767:
1762:
1750:
1732:
1721:
1676:
1665:
1642:thrust stage
1638:William Poel
1631:
1626:
1607:
1588:
1582:
1572:
1562:
1556:
1550:
1544:
1530:
1504:
1498:
1492:
1486:
1482:
1475:
1471:
1468:
1461:
1455:
1447:
1445:
1434:
1426:
1419:
1404:
1398:January 2020
1395:
1380:Please help
1368:
1340:
1332:
1324:
1318:
1310:
1302:
1291:
1290:
1279:
1275:
1269:
1259:
1245:
1237:
1231:
1221:
1206:
1201:George Peele
1194:
1186:
1174:
1166:
1154:
1146:
1138:
1126:
1120:
1114:
1102:
1096:
1089:
1085:
1082:
1058:
1057:
1049:
1042:
1035:
1028:
1021:
1014:
1007:
1000:
993:
986:
979:
972:
965:
947:
940:
933:
926:
919:
912:
905:
898:
891:
884:
877:
870:
848:
841:
834:
827:
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813:
806:
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792:
785:
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771:
764:
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743:
718:
712:
706:
700:
683:
677:
671:
665:
659:
650:
643:
637:
631:
627:
619:
613:
607:
599:
593:
584:
575:
568:
562:
558:
540:
531:
525:
519:
513:
503:
497:
494:
488:
460:
459:In his book
458:
451:
435:
429:
422:
416:
408:
402:
393:
383:
375:
358:
352:
349:
338:
330:John Marston
327:
300:
279:
275:
273:
268:
264:
258:
249:
247:
243:George Peele
219:
207:
203:
196:
190:
171:
127:
92:
73:
48:
47:
37:
26:
3934:WikiProject
3621:The Theatre
3607:Handwriting
3433:The Puritan
3224:Characters
3189:First Folio
3157:Richard III
2937:The Tempest
2788:Shakespeare
2368:Foakes 1968
2252:Plutarch's
1887:Edward Rand
1837:Dillon 2006
1610:Interregnum
1603:First Folio
1558:Richard III
1441:First Folio
1264:. In 1727,
1261:Don Quixote
928:Richard III
745:The Tempest
703:First Folio
685:The Tempest
570:The Tempest
454:soliloquies
398:blank verse
319:tragicomedy
311:Blackfriars
307:boy players
260:Tamburlaine
114:protagonist
110:personified
95:The Curtain
80:First Folio
3949:Categories
3858:Mary Arden
3842:(daughter)
3830:(daughter)
3706:Bardolatry
3616:King's Men
3558:Birthplace
3245:Chronology
3164:Henry VIII
3091:Richard II
3083:Edward III
2993:Coriolanus
2769:Edward III
2667:0712600981
2192:(4): 504.
1875:Doran 1954
1742:References
1662:Censorship
1656:Censorship
1422:Ben Jonson
1216:Lost plays
1148:Henry VIII
1133:Thomas Kyd
1128:Edward III
974:Coriolanus
942:Edward III
935:Henry VIII
879:Richard II
720:Edward III
559:Chronicles
508:, and the
334:Ben Jonson
315:St. Paul's
286:new comedy
250:Richard II
230:Thomas Kyd
3888:John Hall
3878:(brother)
3866:(brother)
3798:(replica)
3738:Star Trek
3726:Memorials
3721:Influence
3711:Festivals
3653:Sexuality
3643:Portraits
3638:New Place
3490:Ur-Hamlet
3426:Mucedorus
3336:Apocrypha
3076:King John
3067:Histories
3014:King Lear
2977:Tragedies
2873:Cymbeline
2569:13 August
2536:13 August
2503:23 August
2206:191491239
1628:Victorian
1622:fireworks
1564:King Lear
1477:King Lear
1369:does not
1256:Cervantes
1116:Cymbeline
1044:Cymbeline
1023:King Lear
954:Tragedies
872:King John
859:Histories
673:Cymbeline
652:King Lear
628:Tragedies
532:Ur-Hamlet
527:Ur-Hamlet
505:King Leir
499:King Lear
363:and from
354:Philaster
281:Menaechmi
239:John Lyly
134:Aristotle
130:classical
3924:Category
3872:(sister)
3860:(mother)
3854:(father)
3366:Cardenio
3255:Settings
3203:See also
3126:Henry VI
3097:Henry IV
2843:Comedies
2780:Cardenio
2656:(2005).
2596:Archived
2563:Archived
2530:Archived
2334:Archived
2285:(eds.).
2258:Archived
2095:(1988).
1973:(2005).
1925:(1968).
1889:(1937).
1783:(1954).
1685:See also
1605:(1623).
1535:and the
1457:Pericles
1439:and the
1247:Cardenio
1098:Cardenio
732:Comedies
557:'s 1587
537:Plutarch
291:Malvolio
189:, as in
176:and the
88:romances
44:'s plays
3716:Gardens
3592:Editors
3395:Locrine
3388:Fair Em
3220:Henriad
3119:Henry V
3028:Othello
3021:Macbeth
2615:Sources
2525:WFLA-TV
2075:Macbeth
1614:Puritan
1552:Othello
1506:Othello
1472:Ur-text
1448:Macbeth
1437:Quartos
1390:removed
1375:sources
1156:Macbeth
1030:Othello
1009:Macbeth
900:Henry V
639:Macbeth
510:Henriad
442:Plautus
410:Macbeth
405:couplet
187:balcony
162:Terence
158:Plautus
154:decorum
76:quartos
61:history
57:tragedy
3913:† Lost
3824:(wife)
3815:Family
3688:Legacy
3260:Scenes
3000:Hamlet
2777:, and
2690:
2664:
2642:
2478:
2457:
2433:
2387:
2340:15 May
2293:
2204:
2143:8 June
2111:
2057:
2035:Hamlet
1981:
1945:passim
1895:passim
1812:passim
1593:) and
1546:Hamlet
1503:; and
1494:Hamlet
1050:
1016:Hamlet
645:Hamlet
589:plague
521:Hamlet
469:Hamlet
465:asides
431:Hamlet
269:Hamlet
254:Horace
108:, use
65:comedy
3836:(son)
3678:Grave
3668:Style
3633:Music
3550:works
3515:Poems
3344:Plays
3282:Poems
2834:Plays
2202:S2CID
1292:Note:
386:prose
372:Style
303:James
178:Globe
150:unity
146:Latin
142:Roman
136:; in
106:piety
99:Tudor
3673:Will
3548:and
3545:Life
2708:does
2688:ISBN
2662:ISBN
2640:ISBN
2604:2023
2571:2023
2538:2023
2505:2023
2476:ISBN
2455:ISBN
2431:ISBN
2385:ISBN
2370:, 6.
2342:2018
2291:ISBN
2145:2007
2109:ISBN
2055:ISBN
1979:ISBN
1597:and
1561:and
1373:any
1371:cite
1323:and
1059:Note
711:and
682:and
649:and
618:and
598:and
567:and
332:and
313:and
241:and
232:and
174:Rose
152:and
121:and
3233:L–Z
3228:A–K
2632:doi
2194:doi
1726:by
1577:),
1567:),
1509:).
1460:or
1384:by
1236:or
539:'s
487:'s
309:at
125:).
3951::
3907:✻
3369:✻†
2771:,
2747:,
2638:.
2594:.
2588:.
2561:.
2555:.
2528:.
2522:.
2496:.
2417:^
2332:.
2326:.
2281:;
2224:,
2214:^
2200:.
2190:56
2188:.
2131:.
2107:.
2079:,
2006:26
1909:.
1555:,
1549:,
1497:;
1491:;
1298:.
1258:'
1159:–
1119:–
676:,
670:,
444:.
347:.
293:.
271:.
201:.
71:.
63:,
59:,
3614:/
3493:†
3464:✻
3413:†
3167:✻
3148:3
3141:2
3136:✻
3133:1
3110:2
3103:1
3086:✻
2961:✻
2925:✻
2818:e
2811:t
2804:v
2783:.
2694:.
2670:.
2648:.
2634::
2606:.
2573:.
2540:.
2507:.
2482:.
2461:.
2439:.
2344:.
2299:.
2208:.
2196::
2147:.
2117:.
2105:9
2063:.
2008:.
1987:.
1947:.
1897:.
1814:.
1411:)
1405:(
1400:)
1396:(
1392:.
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1111:.
654:.
647:,
641:,
623:.
611:,
603:.
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