William Shakespeare

This article is about the poet and playwright. For other hailed, presciently, as “not of an age, but for all time”.[7]
persons of the same name, see William Shakespeare In the 20th and 21st centuries, his works have been re-
(disambiguation). For other uses of “Shakespeare”, see
peatedly adapted and rediscovered by new movements in
Shakespeare (disambiguation). scholarship and performance. His plays remain highly
popular, and are constantly studied, performed, and
William Shakespeare (/ˈʃeɪkspɪər/;[1] 26 April 1564 reinterpreted in diverse cultural and political contexts
(baptised) – 23 April 1616)[nb 1] was an English poet, throughout the world.
playwright, and actor, widely regarded as the great-
est writer in the English language and the world’s
pre-eminent dramatist.[2] He is often called England’s 1 Life
national poet, and the “Bard of Avon”.[3][nb 2] His extant
works, including collaborations, consist of approximately
Main article: Shakespeare’s life
38 plays,[nb 3] 154 sonnets, two long narrative poems, and
a few other verses, some of uncertain authorship. His
plays have been translated into every major living lan-
guage and are performed more often than those of any 1.1 Early life
other playwright.[4]
Shakespeare was born and brought up in Stratford-upon- William Shakespeare was the son of John Shakespeare,
Avon, Warwickshire. At the age of 18, he married Anne an alderman and a successful glover originally from
Hathaway, with whom he had three children: Susanna, Snitterfield, and Mary Arden, the daughter of an afflu-
and twins Hamnet and Judith. Sometime between 1585 ent landowning farmer.[8] He was born in Stratford-upon-
and 1592, he began a successful career in London as an Avon and baptised there on 26 April 1564. His actual
actor, writer, and part-owner of a playing company called date of birth remains unknown, but is traditionally ob-
the Lord Chamberlain’s Men, later known as the King’s served on 23 April, Saint George’s Day.[9] This date,
Men. He appears to have retired to Stratford around which can be traced back to an 18th-century scholar’s
1613, at age 49, where he died three years later. Few mistake, has proved appealing to biographers, because
records of Shakespeare’s private life survive, which has Shakespeare died on 23 April 1616.[10] He was the third
stimulated considerable speculation about such matters as child of eight and the eldest surviving son.[11]
his physical appearance, sexuality, and religious beliefs, Although no attendance records for the period survive,
and whether the works attributed to him were written by most biographers agree that Shakespeare was probably
others.[5] educated at the King’s New School in Stratford,[12] a free
Shakespeare produced most of his known work between school chartered in 1553,[13] about a quarter-mile (400
1589 and 1613.[6][nb 4] His early plays were primarily m) from his home. Grammar schools varied in quality
comedies and histories, and these are regarded as some during the Elizabethan era, but grammar school curric-
of the best work ever produced in these genres. He ula were largely similar: the basic Latin text was stan-
then wrote mainly tragedies until about 1608, includ- dardised by royal decree,[14] and the school would have
ing Hamlet, Othello, King Lear, and Macbeth, considered provided an intensive education in grammar based upon
some of the finest works in the English language.[2] In Latin classical authors.[15]
his last phase, he wrote tragicomedies, also known as At the age of 18, Shakespeare married 26-year-old Anne
romances, and collaborated with other playwrights. Hathaway. The consistory court of the Diocese of
Many of his plays were published in editions of varying Worcester issued a marriage licence on 27 November
quality and accuracy during his lifetime. In 1623, how- 1582. The next day, two of Hathaway’s neighbours
ever, John Heminges and Henry Condell, two friends and posted bonds guaranteeing that no lawful claims impeded
[16]
fellow actors of Shakespeare, published a more definitive the marriage. The ceremony may have been arranged
text known as the First Folio, a posthumous collected edi- in some haste, since the Worcester chancellor allowed the
tion of his dramatic works that included all but two of marriage banns to be read once instead of the usual three
[17]
the plays now recognised as Shakespeare’s.[7] It was pref- times, and six months after the marriage Anne gave
[18]
aced with a poem by Ben Jonson, in which Shakespeare is birth to a daughter, Susanna, baptised 26 May 1583.
Twins, son Hamnet and daughter Judith, followed almost

1
2 1
John Shakespeare’s house, believed to be Shakespeare’s birth-
place, in Stratford-upon-Avon
[19]
two years later and were baptised 2 February 1585.
Hamnet died of unknown causes at the age of 11 and was “All the world’s a stage,
buried 11 August 1596.[20] and all the men and women merely players:
they have their exits and their entrances;
and one man in his time plays many parts ...”
Shakespeare’s coat of arms, as it appears on the rough draft of
the application to grant a coat-of-arms to John Shakespeare. It
features a spear as a pun on the family name.[nb 5]
After the birth of the twins, Shakespeare left few his-
torical traces until he is mentioned as part of the Lon-
don theatre scene in 1592. The exception is the appear-
ance 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.[21] Schol-
ars refer to the years between 1585 and 1592 as Shake-
speare’s “lost years”.[22] Biographers attempting to ac-
count for this period have reported many apocryphal sto-
ries. Nicholas Rowe, Shakespeare’s first biographer, re-
counted 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.[23] Another 18th-
LIFE
century story has Shakespeare starting his theatrical ca-
reer minding the horses of theatre patrons in London.[24]
John Aubrey reported that Shakespeare had been a coun-
try schoolmaster.[25] 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.[26] Little evidence substantiates
such stories other than hearsay collected after his death,
and Shakeshafte was a common name in the Lancashire
area.[27]
1.2 London and theatrical career
—As You Like It, Act II, Scene 7, 139–42[28]
It is not known definitively when Shakespeare began writ-
ing, but contemporary allusions and records of perfor-
mances show that several of his plays were on the London
stage by 1592.[29] By then, he was sufficiently known in
London to be attacked in print by the playwright Robert
Greene in his Groats-Worth of Wit:
... there is an upstart Crow, beautified with
our feathers, that with his Tiger’s heart wrapped
in a Player’s hide, supposes he is as well able to
bombast out a blank verse as the best of you:
and being an absolute Johannes factotum, is
in his own conceit the only Shake-scene in a
country.[30]
Scholars differ on the exact meaning of Greene’s
words,[31] but most agree that Greene is accusing Shake-
speare of reaching above his rank in trying to match
such university-educated writers as Christopher Mar-
lowe, Thomas Nashe and Greene himself (the so-called
“university wits”).[32] The italicised phrase parodying
the line “Oh, tiger’s heart wrapped in a woman’s hide”
from Shakespeare’s Henry VI, Part 3, along with the pun
“Shake-scene”, clearly identify Shakespeare as Greene’s
target. As used here, Johannes Factotum (“Jack of
all trades”) refers to a second-rate tinkerer with the
work of others, rather than the more common “univer-
sal genius”.[31][33]
Greene’s attack is the earliest surviving mention of Shake-
speare’s work in the theatre. Biographers suggest that his
career may have begun any time from the mid-1580s,
to just before Greene’s remarks.[34] After 1594, Shake-
speare’s plays were performed only by the Lord Cham-
berlain’s Men, a company owned by a group of play-
ers, including Shakespeare, that soon became the lead-
ing playing company in London.[35] After the death of
Queen Elizabeth in 1603, the company was awarded a
1.3 Later years and death 3

royal patent by the new King James I, and changed its bubonic plague raged in London throughout 1609.[54][55]
name to the King’s Men.[36] The London public playhouses were repeatedly closed
In 1599, a partnership of members of the company during extended outbreaks of the plague (a total of over
built their own theatre on the south bank of the River 60 months [56]
closure between May 1603 and February
Thames, which they named the Globe. In 1608, the 1610), which meant there was often no acting work.
partnership also took over the Blackfriars indoor the- Retirement from all work was uncommon at that time.[57]
atre. Extant records of Shakespeare’s property purchases Shakespeare[51] continued to visit London during the years
and investments indicate that his association with the 1611–1614. In 1612, he was called as a witness in
[37] Bellott v. Mountjoy, a court case concerning the marriage
company made him a wealthy man, and in 1597 he [58]
bought the second-largest house in Stratford, New Place, settlement of Mountjoy’s daughter, Mary. In March
1613 he bought a gatehouse in the former Blackfriars
and in 1605, invested in a share of the parish tithes in
Stratford.[38] priory;[59] and from November 1614 he was in London
for several weeks with his son-in-law, John Hall.[60] Af-
Some of Shakespeare’s plays were published in quarto ter 1610, Shakespeare wrote fewer plays, and none are
editions beginning in 1594, and by 1598, his name had attributed to him after 1613.[61] His last three plays were
become a selling point and began to appear on the title collaborations, probably with John Fletcher,[62] who suc-
pages.[39] Shakespeare continued to act in his own and ceeded him as the house playwright of the King’s Men.[63]
other plays after his success as a playwright. The 1616 [64]
edition of Ben Jonson's Works names him on the cast Shakespeare died on 23 April 1616, at the age of 52.
lists for Every Man in His Humour (1598) and Sejanus His He died within a month of signing his will, a document
Fall (1603).[40] The absence of his name from the 1605 which he begins by describing himself as being in “per-
cast list for Jonson’s Volpone is taken by some scholars fect health”. No extant contemporary source explains
as a sign that his acting career was nearing its end.[41] how or why he died. Half a century later, John Ward,
The First Folio of 1623, however, lists Shakespeare as the vicar of Stratford, wrote in his notebook: “Shake-
one of “the Principal Actors in all these Plays”, some of speare, Drayton and Ben Jonson had a merry meeting
which were first staged after Volpone, although we can- and, it seems, drank too hard, [65][66]
for Shakespeare died of
not know for certain which roles he played. [42]
In 1610, a fever there contracted”, not an impossible sce-
John Davies of Hereford wrote that “good Will” played nario, since Shakespeare knew Jonson and Drayton. Of
[43]
“kingly” roles. In 1709, Rowe passed down a tradition the tributes from fellow authors, one refers to his rela-
that Shakespeare played the ghost of Hamlet’s father. [44] tively sudden death: “We wondered, Shakespeare, that
thou went’st so soon/From the world’s stage to the grave’s
Later traditions maintain that he also played Adam in As [67]
You Like It, and the Chorus in Henry V,[45] though schol- tiring room.”
ars doubt the sources of that information.[46] He was survived by his wife and two daughters. Susanna
[68]
Throughout his career, Shakespeare divided his time be- had married a physician, John Hall, in 1607, and Ju-
tween London and Stratford. In 1596, the year before dith had married Thomas Quiney, a vintner, two months
[69]
he bought New Place as his family home in Stratford, before Shakespeare’s death. Shakespeare signed his
Shakespeare was living in the parish of St. Helen’s, last will and testament on 25 March 1616; the following
Bishopsgate, north of the River Thames.[47][48] He moved day his new son-in-law, Thomas Quiney was found guilty
across the river to Southwark by 1599, the same year of fathering an illegitimate son by Margaret Wheeler,
his company constructed the Globe Theatre there.[47][49] who had died during childbirth. Thomas was ordered by
By 1604, he had moved north of the river again, to an the church court to do public penance, which would have
area north of St Paul’s Cathedral with many fine houses. caused much [70] shame and embarrassment for the Shake-
There he rented rooms from a French Huguenot named speare family.
Christopher Mountjoy, a maker of ladies’ wigs and other Shakespeare bequeathed the bulk of his large estate to
headgear.[50] his elder daughter Susanna[71] under stipulations that she
pass it down intact to “the first son of her body”.[72] The
Quineys had three children, all of whom died without
1.3 Later years and death marrying.[73] The Halls had one child, Elizabeth, who
married twice but died without children in 1670, ending
[74]
Rowe was the first biographer to record the tradition, re- Shakespeare’s direct line. Shakespeare’s will scarcely
peated by Johnson, that Shakespeare retired to Stratford mentions his wife, Anne, who was probably entitled to
[75]
“some years before his death”. [51][52]
He was still work- one third of his estate automatically. He did make a
ing as an actor in London in 1608; in an answer to the point, however, of leaving her “my second best bed”, a
[76]
sharers’ petition in 1635 Cuthbert Burbage stated that bequest that has led to much speculation. Some schol-
after purchasing the lease of the Blackfriars Theatre in ars see the bequest as an insult to Anne, whereas others
1608 from Henry Evans, the King’s Men “placed men believe that the second-best bed would have been[77] the mat-
players” there, “which were Heminges, Condell, Shake- rimonial bed and therefore rich in significance.
speare, etc.”.[53] However it is perhaps relevant that the
4 2
Shakespeare’s funerary monument in Stratford-upon-Avon.
Shakespeare was buried in the chancel of the Holy Trinity
Church two days after his death.[78] 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:[79]
Good frend for Iesvs sake forbeare,
To digg the dvst encloased heare.
Bleste be man spares thes stones,
And cvrst be he moves my bones.[1][nb 1]
1. ^ Schoenbaum 1987, 306.
PLAYS
Shakespeare’s grave, next to those of Anne Shakespeare, his wife,
and Thomas Nash, the husband of his granddaughter.
Cite error: There are <ref group=nb> tags on this
page, but the references will not show without a {{re-
flist|group=nb}} template (see the help page).
(Modern spelling: Good friend, for Jesus’ sake forbear, /
To dig the dust enclosed here. / Blessed be the man that
spares these stones, / And cursed be he that moves my
bones.)
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.[80] In 1623, in conjunction
with the publication of the First Folio, the Droeshout en-
graving was published.[81]
Shakespeare has been commemorated in many statues
and memorials around the world, including funeral mon-
uments in Southwark Cathedral and Poets’ Corner in
Westminster Abbey.[82][83]
2 Plays
Procession of Characters from Shakespeare’s Plays by an un-
known 19th-century artist
Main articles: Shakespeare’s plays and William Shake-
speare’s collaborations
Most playwrights of the period typically collaborated
with others at some point, and critics agree that Shake-
speare did the same, mostly early and late in his career.[84]
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 contem-
 5

porary documentation. Textual evidence also supports into the histories of the late 1590s, Henry IV, parts 1 and
the view that several of the plays were revised by other 2, and Henry V. His characters become more complex
writers after their original composition. and tender as he switches deftly between comic and seri-
The first recorded works of Shakespeare are Richard III ous scenes, prose and poetry,[98]and achieves the narrative
and the three parts of Henry VI, written in the early 1590s variety of his mature work. This period begins and
during a vogue for historical drama. Shakespeare’s plays ends with two tragedies: Romeo and Juliet, the famous
[85]
are difficult to date, however, and studies of the texts romantic tragedy of sexually charged adolescence, love,
[99]
suggest that Titus Andronicus, The Comedy of Errors, The and death; and Julius Caesar—based on Sir Thomas
North's 1579 translation of Plutarch's Parallel Lives—
Taming of the Shrew and The Two Gentlemen of Verona [100]
may also belong to Shakespeare’s earliest period.[86] His which introduced a new kind of drama. According
to Shakespearean scholar James Shapiro, in Julius Cae-
first histories, which draw heavily on the 1587 edition
of Raphael Holinshed’s Chronicles of England, Scotland, sar “the various strands of politics, character, inwardness,
contemporary events, even Shakespeare’s own reflections
and Ireland,[87] dramatise the destructive results of weak [101]
or corrupt rule and have been interpreted as a justification on the act of writing, began to infuse each other”.
for the origins of the Tudor dynasty.[88] The early plays
were influenced by the works of other Elizabethan drama-
tists, especially Thomas Kyd and Christopher Marlowe,
by the traditions of medieval drama, and by the plays of
Seneca.[89] The Comedy of Errors was also based on clas-
sical 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.[90]
Like The Two Gentlemen of Verona, in which two friends
appear to approve of rape,[91] the Shrew’s story of the
taming of a woman’s independent spirit by a man some-
times troubles modern critics and directors.[92]

Hamlet, Horatio, Marcellus, and the Ghost of Hamlet’s Father.

Henry Fuseli, 1780–5. Kunsthaus Zürich.

In the early 17th century, Shakespeare wrote the so-called

Oberon, Titania and Puck with Fairies Dancing. By William
Blake, c. 1786. Tate Britain.
Shakespeare’s early classical and Italianate comedies,
containing tight double plots and precise comic se-
quences, give way in the mid-1590s to the romantic at-
mosphere of his most acclaimed comedies.[93] A Mid-
summer Night’s Dream is a witty mixture of romance,
fairy magic, and comic lowlife scenes.[94] 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.[95] The wit and word-
play of Much Ado About Nothing,[96] the charming rural
setting of As You Like It, and the lively merrymaking of
Twelfth Night complete Shakespeare’s sequence of great
comedies.[97] After the lyrical Richard II, written almost
entirely in verse, Shakespeare introduced prose comedy
"problem plays" Measure for Measure, Troilus and Cres-
sida, and All’s Well That Ends Well and a number of
his best known tragedies.[102] 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 fa-
mous soliloquy which begins "To be or not to be; that is
the question".[103] Unlike the introverted Hamlet, whose
fatal flaw is hesitation, the heroes of the tragedies that fol-
lowed, Othello and King Lear, are undone by hasty errors
of judgement.[104] The plots of Shakespeare’s tragedies
often hinge on such fatal errors or flaws, which over-
turn order and destroy the hero and those he loves.[105]
In Othello, the villain Iago stokes Othello’s sexual jeal-
ousy to the point where he murders the innocent wife
who loves him.[106] 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”.[107] In Macbeth, the short-
est and most compressed of Shakespeare’s tragedies,[108]
uncontrollable ambition incites Macbeth and his wife,
6 2
Lady Macbeth, to murder the rightful king and usurp the
throne, until their own guilt destroys them in turn.[109]
In this play, Shakespeare adds a supernatural element to
the tragic structure. His last major tragedies, Antony
and Cleopatra and Coriolanus, contain some of Shake-
speare’s finest poetry and were considered his most suc-
cessful tragedies by the poet and critic T. S. Eliot.[110]
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 reconcili-
ation and the forgiveness of potentially tragic errors.[111]
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.[112] Shakespeare collaborated on two further surviv-
ing plays, Henry VIII and The Two Noble Kinsmen, prob-
ably with John Fletcher.[113]
2.1 Performances
Main article: Shakespeare in performance
It is not clear for which companies Shakespeare wrote
his early plays. The title page of the 1594 edition of Ti-
tus Andronicus reveals that the play had been acted by
three different troupes.[114] 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.[115] 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”.[116] When the company found themselves in dis-
pute 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.[117] 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.[118]
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.[119] After 1608, they performed
at the indoor Blackfriars Theatre during the winter and
the Globe during the summer.[120] The indoor setting,
combined with the Jacobean fashion for lavishly staged
masques, allowed Shakespeare to introduce more elabo-
rate stage devices. In Cymbeline, for example, Jupiter de-
scends “in thunder and lightning, sitting upon an eagle: he
PLAYS
The reconstructed Globe Theatre, London.
throws a thunderbolt. The ghosts fall on their knees.”[121]
The actors in Shakespeare’s company included the fa-
mous Richard Burbage, William Kempe, Henry Condell
and John Heminges. Burbage played the leading role in
the first performances of many of Shakespeare’s plays, in-
cluding Richard III, Hamlet, Othello, and King Lear.[122]
The popular comic actor Will Kempe played the servant
Peter in Romeo and Juliet and Dogberry in Much Ado
About Nothing, among other characters.[123] He was re-
placed around 1600 by Robert Armin, who played roles
such as Touchstone in As You Like It and the fool in
King Lear.[124] In 1613, Sir Henry Wotton recorded that
Henry VIII “was set forth with many extraordinary cir-
cumstances of pomp and ceremony”.[125] 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.[125]
2.2 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.[126] Many of the plays had already appeared
in quarto versions—flimsy books made from sheets of
paper folded twice to make four leaves.[127] No evi-
dence suggests that Shakespeare approved these editions,
which the First Folio describes as “stol'n and surrepti-
tious copies”.[128] Nor did Shakespeare plan or expect his
works to survive in any form at all; those works likely
would have faded into oblivion but for his friends’ spon-
taneous idea, after his death, to create and publish the
First Folio.[129]
Alfred Pollard termed some of the pre-1623 versions
as "bad quartos" because of their adapted, paraphrased
or garbled texts, which may in places have been recon-
structed from memory.[130] Where several versions of a
play survive, each differs from the other. The differences
may stem from copying or printing errors, from notes by
3.1 Sonnets
Title page of the First Folio, 1623. Copper engraving of Shake-
speare by Martin Droeshout.
actors or audience members, or from Shakespeare’s own
papers.[131] 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.[132]
3 Poems
In 1593 and 1594, when the theatres were closed be-
cause of plague, Shakespeare published two narrative po-
ems 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 inno-
cent Adonis rejects the sexual advances of Venus; while
in The Rape of Lucrece, the virtuous wife Lucrece is
raped by the lustful Tarquin.[133] Influenced by Ovid's
Metamorphoses,[134] the poems show the guilt and moral
confusion that result from uncontrolled lust.[135] Both
proved popular and were often reprinted during Shake-
speare’s lifetime. A third narrative poem, A Lover’s Com-
7
plaint, 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.[136]
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.[137]
3.1 Sonnets
Main article: Shakespeare’s sonnets
Published in 1609, the Sonnets were the last of Shake-
Title page from 1609 edition of Shake-Speares Sonnets.
speare’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.[138] Even
before the two unauthorised sonnets appeared in The Pas-
sionate Pilgrim in 1599, Francis Meres had referred in
1598 to Shakespeare’s “sugred Sonnets among his private
friends”.[139] Few analysts believe that the published col-
lection follows Shakespeare’s intended sequence.[140] He
seems to have planned two contrasting series: one about
uncontrollable lust for a married woman of dark com-
plexion (the “dark lady”), and one about conflicted love
8 4 STYLE

for a fair young man (the “fair youth”). It remains un-

clear if these figures represent real individuals, or if the
authorial “I” who addresses them represents Shakespeare
himself, though Wordsworth believed that with the son-
nets “Shakespeare unlocked his heart”.[141]
“Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate ...”
—Lines from Shakespeare’s Sonnet 18.[142]
The 1609 edition was dedicated to a “Mr. W.H.”, cred-
ited 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 Shake-
speare even authorised the publication.[143] Critics praise
the Sonnets as a profound meditation on the nature of
love, sexual passion, procreation, death, and time.[144]
4 Style
mastered traditional blank verse, he began to interrupt
Main article: Shakespeare’s style and vary its flow. This technique releases the new power
and flexibility of the poetry in plays such as Julius Caesar
Shakespeare’s first plays were written in the conventional and Hamlet. Shakespeare uses it, for example, to convey
style of the day. He wrote them in a stylised language the turmoil in Hamlet’s mind:
that does not always spring naturally from the needs of
the characters or the drama.[145] 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. [146]
Soon, however, Shakespeare began to adapt the tradi-
tional 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 Shake-
speare’s mature plays.[147] No single play marks a change
from the traditional to the freer style. Shakespeare com-
bined the two throughout his career, with Romeo and
Juliet perhaps the best example of the mixing of the
styles.[148] 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 dif-
ferent 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.[149] Once Shakespeare
Pity by William Blake, 1795, Tate Britain, is an illustration of
two similes in Macbeth:
“And pity, like a naked new-born babe,
Striding the blast, or heaven’s cherubim, hors’d
Upon the sightless couriers of the air.”[1]
1. ^ de Sélincourt 1909, 174
[150]
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[150]
After Hamlet, Shakespeare varied his poetic style fur-
ther, particularly in the more emotional passages of the
late tragedies. The literary critic A. C. Bradley de-
scribed this style as “more concentrated, rapid, varied,
and, in construction, less regular, not seldom twisted or
elliptical”.[151] 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 ex-
treme variations in sentence structure and length.[152] In
Macbeth, for example, the language darts from one un-
related 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 com-
plete the sense.[152] The late romances, with their shifts
in time and surprising turns of plot, inspired a last po-
etic 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.[153]
 9

Shakespeare combined poetic genius with a practical on Shakespearean themes.”[161]

sense of the theatre.[154] Like all playwrights of the time, Shakespeare influenced novelists such as Thomas Hardy,
he dramatised stories from sources such as Plutarch and William Faulkner, and Charles Dickens. The Ameri-
Holinshed.[155] He reshaped each plot to create several can novelist Herman Melville's soliloquies owe much to
centres of interest and to show as many sides of a narra- Shakespeare; his Captain Ahab in Moby-Dick is a clas-
tive to the audience as possible. This strength of design sic tragic hero, inspired by King Lear.[162] Scholars have
ensures that a Shakespeare play can survive translation, identified 20,000 pieces of music linked to Shakespeare’s
cutting and wide interpretation without loss to its core works. These include two operas by Giuseppe Verdi,
drama.[156] As Shakespeare’s mastery grew, he gave his
Otello and Falstaff, whose critical standing compares with
characters clearer and more varied motivations and dis- that of the source plays.[163] Shakespeare has also inspired
tinctive patterns of speech. He preserved aspects of his
many painters, including the Romantics and the Pre-
earlier style in the later plays, however. In Shakespeare’s Raphaelites. The Swiss Romantic artist Henry Fuseli,
late romances, he deliberately returned to a more artificial
a friend of William Blake, even translated Macbeth into
style, which emphasised the illusion of theatre.[157] German.[164] The psychoanalyst Sigmund Freud drew on
Shakespearean psychology, in particular that of Hamlet,
for his theories of human nature.[165]
5 Influence In Shakespeare’s day, English grammar, spelling and pro-
nunciation were less standardised than they are now,[166]
Main article: Shakespeare’s influence and his use of language helped shape modern English.[167]
Shakespeare’s work has made a lasting impression on 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.[168] Expressions such as
“with bated breath” (Merchant of Venice) and “a foregone
conclusion” (Othello) have found their way into everyday
English speech.[169]

6 Critical reputation
Main articles: Shakespeare’s reputation and Timeline of
Shakespeare criticism

“He was not of an age, but for all time.”

Macbeth Consulting the Vision of the Armed Head. By Henry
Fuseli, 1793–94. Folger Shakespeare Library, Washington.
later theatre and literature. In particular, he expanded the
dramatic potential of characterisation, plot, language, and
genre.[158] Until Romeo and Juliet, for example, romance
had not been viewed as a worthy topic for tragedy.[159]
Soliloquies had been used mainly to convey information
about characters or events; but Shakespeare used them
to explore characters’ minds.[160] His work heavily influ-
enced later poetry. The Romantic poets attempted to re-
vive Shakespearean verse drama, though with little suc-
cess. Critic George Steiner described all English verse
dramas from Coleridge to Tennyson as “feeble variations
—Ben Jonson[170]
Shakespeare was not revered in his lifetime, but he re-
ceived a large amount of praise.[171] 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.[172] The authors of the Parnassus plays at St
John’s College, Cambridge numbered him with Chaucer,
Gower and Spenser.[173] In the First Folio, Ben Jonson
called Shakespeare the “Soul of the age, the applause, de-
light, the wonder of our stage”, though he had remarked
elsewhere that “Shakespeare wanted art”.[174]
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 Shake-
speare below John Fletcher and Ben Jonson.[175] Thomas
Rymer, for example, condemned Shakespeare for mix-
ing the comic with the tragic. Nevertheless, poet and
critic John Dryden rated Shakespeare highly, saying of
Jonson, “I admire him, but I love Shakespeare”.[176] 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 natu-
10 7 WORKS

obsolete.[184]
The modernist revolution in the arts during the early 20th
century, far from discarding Shakespeare, eagerly en-
listed 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 “primitive-
ness” in fact made him truly modern.[185] Eliot, along with
G. Wilson Knight and the school of New Criticism, led a
movement towards a closer reading of Shakespeare’s im-
agery. In the 1950s, a wave of new critical approaches re-
placed modernism and paved the way for "post-modern"
studies of Shakespeare.[186] By the 1980s, Shakespeare
studies were open to movements such as structuralism,
feminism, New Historicism, African-American studies,
and queer studies.[187][188] In a comprehensive reading of
Shakespeare’s works and comparing Shakespeare literary
accomplishments to accomplishments among leading fig-
ures 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.”[189]

7 Works
Further information: Shakespeare bibliography and
Chronology of Shakespeare’s plays

A recently garlanded statue of William Shakespeare in Lincoln

Park, Chicago, typical of many created in the 19th and early 20th
century. 7.1 Classification of the plays

ral 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.[177] By
1800, he was firmly enshrined as the national poet.[178] 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.[179]
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.[180] In the
19th century, critical admiration for Shakespeare’s ge-
nius often bordered on adulation.[181] “That King Shake-
speare,” the essayist Thomas Carlyle wrote in 1840,
“does not he shine, in crowned sovereignty, over us all, The Plays of William Shakespeare. By Sir John Gilbert, 1849.
as the noblest, gentlest, yet strongest of rallying signs;
indestructible”.[182] The Victorians produced his plays as Shakespeare’s works include the 36 plays printed in the
lavish spectacles on a grand scale.[183] The playwright First Folio of 1623, listed according to their folio clas-
and critic George Bernard Shaw mocked the cult of sification as comedies, histories and tragedies.[190] Two
Shakespeare worship as "bardolatry", claiming that the plays not included in the First Folio, The Two Noble
new naturalism of Ibsen’s plays had made Shakespeare Kinsmen and Pericles, Prince of Tyre, are now accepted
8.3 Sexuality 11

as part of the canon, with today’s scholars agreeing that Honan put it.[204][205] Also, Shakespeare’s will uses a
Shakespeare made major contributions to the writing of Protestant formula, and he was a confirmed member of
both.[191] No Shakespearean poems were included in the the Church of England, where he was married, his chil-
First Folio. dren were baptized, and where he is buried. Other au-
In the late 19th century, Edward Dowden classified four thors argue that there is a lack of evidence about Shake-
of the late comedies as romances, and though many schol- speare’s religious beliefs. Scholars find evidence both for
ars prefer to call them tragicomedies, Dowden’s term is and against Shakespeare’s Catholicism, Protestantism, or
often used.[192] In 1896, Frederick S. Boas coined the lack of belief in his plays, but the truth may be impossible
to prove.[206]
term "problem plays" to describe four plays: All’s Well
That Ends Well, Measure for Measure, Troilus and Cres-
sida and Hamlet.[193] “Dramas as singular in theme and
8.3 Sexuality
temper cannot be strictly called comedies or tragedies”,
he wrote. “We may therefore borrow a convenient phrase
Main article: Sexuality of William Shakespeare
from the theatre of today and class them together as
Shakespeare’s problem plays.”[194] The term, much de-
bated and sometimes applied to other plays, remains in Few details of Shakespeare’s sexuality are known. At 18,
use, though Hamlet is definitively classed as a tragedy.[195] he married 26-year-old Anne Hathaway, who was preg-
nant. Susanna, the first of their three children, was born
six months later on 26 May 1583. Over the centuries,
8 Speculation about Shakespeare some readers have posited that Shakespeare’s sonnets are
autobiographical,[207] and point to them as evidence of
his love for a young man. Others read the same passages
8.1 Authorship as the expression of intense friendship rather than roman-
tic love.[208] The 26 so-called “Dark Lady” sonnets, ad-
Main article: Shakespeare authorship question dressed to a married woman, are taken as evidence of
heterosexual liaisons.[209]
Around 230 years after Shakespeare’s death, doubts be-
gan to be expressed about the authorship of the works
attributed to him.[196] Proposed alternative candidates in- 8.4 Portraiture
clude Francis Bacon, Christopher Marlowe, and Edward
de Vere, 17th Earl of Oxford.[197] Several “group theo- Main article: Portraits of Shakespeare
ries” have also been proposed.[198] Only a small minority
of academics believe there is reason to question the tra-No written contemporary description of Shakespeare’s
ditional attribution,[199] but interest in the subject, partic-
physical appearance survives, and no evidence suggests
ularly the Oxfordian theory of Shakespeare authorship, that he ever commissioned a portrait, so the Droeshout
continues into the 21st century.[200] engraving, which Ben Jonson approved of as a good
likeness,[210] and his Stratford monument provide per-
haps the best evidence of his appearance. From the 18th
8.2 Religion century, the desire for authentic Shakespeare portraits
fuelled claims that various surviving pictures depicted
Main article: Religious views of William Shakespeare
Shakespeare. That demand also led to the production of
several fake portraits, as well as mis-attributions, repaint-
Some scholars claim that members of Shakespeare’s fam- ings and relabelling of portraits of other people.[211]
ily were Catholics, at a time when practicing Catholi-
cism in England was against the law.[201] Shakespeare’s
mother, Mary Arden, certainly came from a pious 9 See also
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 for- • Outline of William Shakespeare
mer house in Henley Street. The document is now lost, • English Renaissance theatre
however, and scholars differ as to its authenticity.[202]
In 1591 the authorities reported that John Shakespeare • Spelling of Shakespeare’s name
had missed church “for fear of process for debt”, a com-
mon Catholic excuse.[203] In 1606, the name of William’s • World Shakespeare Bibliography
daughter Susanna appears on a list of those who failed
to attend Easter communion in Stratford.[203] As several
scholars have noted, whatever his private views, Shake- 10 Notes
speare “conformed to the official state religion”, as Park
12 10 NOTES

10.1 Footnotes [13] Baldwin 1944, 464.

[1] Dates follow the Julian calendar, used in England through- [14] Baldwin 1944, 179–80, 183; Cressy 1975, 28, 29.
out Shakespeare’s lifespan, but with the start of the year
[15] Baldwin 1944, 117.
adjusted to 1 January (see Old Style and New Style dates).
Under the Gregorian calendar, adopted in Catholic coun- [16] Schoenbaum 1987, 77–78.
tries in 1582, Shakespeare died on 3 May (Schoenbaum
1987, xv). [17] Wood 2003, 84; Schoenbaum 1987, 78–79.

[2] The “national cult” of Shakespeare, and the “bard” iden- [18] Schoenbaum 1987, 93.
tification, dates from September 1769, when the actor
David Garrick organised a week-long carnival at Strat- [19] Schoenbaum 1987, 94.
ford to mark the town council awarding him the freedom [20] Schoenbaum 1987, 224.
of the town. In addition to presenting the town with
a statue of Shakespeare, Garrick composed a doggerel [21] Bate 2008, 314.
verse, lampooned in the London newspapers, naming the
banks of the Avon as the birthplace of the “matchless [22] Schoenbaum 1987, 95.
Bard” (McIntyre 1999, 412–432).
[23] Schoenbaum 1987, 97–108; Rowe 1709.
[3] The exact figures are unknown. See Shakespeare’s collab-
[24] Schoenbaum 1987, 144–45.
orations and Shakespeare Apocrypha for further details.
[25] Schoenbaum 1987, 110–11.
[4] Individual play dates and precise writing span are un-
known. See Chronology of Shakespeare’s plays for further [26] Honigmann 1999, 1; Wells et al. 2005, xvii
details.
[27] Honigmann 1999, 95–117; Wood 2003, 97–109.
[5] The crest is a silver falcon supporting a spear, while the
motto is Non Sanz Droict (French for “not without right”). [28] Wells et al. 2005, 666
This motto is still used by Warwickshire County Council,
in reference to Shakespeare. [29] Chambers 1930, Vol. 1: 287, 292

[30] Greenblatt 2005, 213.

[6] In the scribal abbreviations ye for the (3rd line) and yt for
that (3rd and 4th lines) the letter y represents in fact th: [31] Greenblatt 2005, 213; Schoenbaum 1987, 153.
see article thorn.
[32] Ackroyd 2006, 176.

10.2 Citations [33] Schoenbaum 1987, 151–52

[34] Wells 2006, 28; Schoenbaum 1987, 144–46; Chambers

[1] “Shakespeare” entry in Collins English Dictionary, 1930, Vol. 1: 59.
HarperCollins Publishers, 1998.
[35] Schoenbaum 1987, 184.
[2] Greenblatt 2005, 11; Bevington 2002, 1–3; Wells 1997,
399. [36] Chambers 1923, 208–209.

[3] Dobson 1992, 185–186 [37] Chambers 1930, Vol. 2: 67–71.

[4] Craig 2003, 3. [38] Bentley 1961, 36.

[5] Shapiro 2005, xvii–xviii; Schoenbaum 1991, 41, 66, 397– [39] Schoenbaum 1987, 188; Kastan 1999, 37; Knutson 2001,
98, 402, 409; Taylor 1990, 145, 210–23, 261–5 17

[6] Chambers 1930, Vol. 1: 270–71; Taylor 1987, 109–134. [40] Adams 1923, 275

[7] The Norton Anthology of English Literature: Six- [41] Wells 2006, 28.
teenth/Early Seventeenth Century, Volume B, 2012, pg.
[42] Schoenbaum 1987, 200.
1168
[43] Schoenbaum 1987, 200–201.
[8] Schoenbaum 1987, 14–22.
[44] Rowe 1709.
[9] Schoenbaum 1987, 24–6.
[45] Ackroyd 2006, 357; Wells et al. 2005, xxii
[10] Schoenbaum 1987, 24, 296; Honan 1998, 15–16.
[46] Schoenbaum 1987, 202–3.
[11] Schoenbaum 1987, 23–24.
[47] Hales 1904, pp. 401–2.
[12] Schoenbaum 1987, 62–63; Ackroyd 2006, 53; Wells et al.
2005, xv–xvi [48] Honan 1998, 121.
10.2 Citations 13

[49] Shapiro 2005, 122. [80] Schoenbaum 1987, 308–10.

[50] Honan 1998, 325; Greenblatt 2005, 405. [81] Cooper 2006, 48.

[51] Ackroyd 2006, 476. [82] “VISITING THE ABBEY”. westminster-abbey.org/. Re-
trieved 2 April 2016. Shakespeare, buried at Stratford-
[52] Wood 1806, pp. ix–x, lxxii. upon-Avon in 1616, had to wait until 1740 before a mon-
ument, designed by William Kent, appeared in Poets’ Cor-
[53] Smith 1964, p. 558.
ner.
[54] Ackroyd 2006, p. 477.
[83] “Shakespeare Memorial”. southwark.anglican.org/. Re-
[55] Barroll 1991, pp. 179–82. trieved 2 April 2016.

[56] Bate 2008, 354–355. [84] Thomson, Peter, “Conventions of Playwriting”. in Wells
& Orlin 2003, 49.
[57] Honan 1998, 382–83.
[85] Frye 2005, 9; Honan 1998, 166.
[58] Honan 1998, 326; Ackroyd 2006, 462–464.
[86] Schoenbaum 1987, 159–61; Frye 2005, 9.
[59] Schoenbaum 1987, 272–274.
[87] Dutton & Howard 2003, 147.
[60] Honan 1998, 387.
[88] Ribner 2005, 154–155.
[61] Schoenbaum 1987, 279.
[89] Frye 2005, 105; Ribner 2005, 67; Cheney 2004, 100.
[62] Honan 1998, 375–78.
[90] Honan 1998, 136; Schoenbaum 1987, 166.
[63] Schoenbaum 1987, 276.
[91] Frye 2005, 91; Honan 1998, 116–117; Werner 2001, 96–
[64] Inscribed in Latin on his funerary monument: AETATIS 100.
53 DIE 23 APR (In his 53rd year he died 23 April).
[92] Friedman 2006, 159.
[65] Schoenbaum, Samuel. Shakespeare’s Lives. Oxford Uni-
versity Press. 1991. ISBN 978-0-19-818618-2. Page 78. [93] Ackroyd 2006, 235.

[66] Rowse, A. L. William Shakespeare; A Biography. Harper [94] Wood 2003, 161–162.
& Row. 1963. Page 453.
[95] Wood 2003, 205–206; Honan 1998, 258.
[67] Kinney, Arthur F., editor. The Oxford Handbook of
Shakespeare. Oxford University Press. 2012. ISBN 978- [96] Ackroyd 2006, 359.
0-19-956610-5. Page 11. Verse by James Mabbe printed
[97] Ackroyd 2006, 362–383.
in the First Folio.
[98] Shapiro 2005, 150; Gibbons 1993, 1; Ackroyd 2006, 356.
[68] Schoenbaum 1987, 287.
[99] Wood 2003, 161; Honan 1998, 206.
[69] Schoenbaum 1987, 292, 294.
[100] Ackroyd 2006, 353, 358; Shapiro 2005, 151–153.
[70] “William Shakespeare Featured Article”. Thegenealo-
gist.co.uk. Retrieved 19 March 2014. [101] Shapiro 2005, 151.
[71] Schoenbaum 1987, 304. [102] Bradley 1991, 85; Muir 2005, 12–16.
[72] Honan 1998, 395–96. [103] Bradley 1991, 94.
[73] Chambers 1930, Vol. 2: 8, 11, 104; Schoenbaum 1987, [104] Bradley 1991, 86.
296.
[105] Bradley 1991, 40, 48.
[74] Chambers 1930, Vol. 2: 7, 9, 13; Schoenbaum 1987, 289,
318–19. [106] Bradley 1991, 42, 169, 195; Greenblatt 2005, 304.

[75] Charles Knight, 1842, in his notes on Twelfth Night, [107] Bradley 1991, 226; Ackroyd 2006, 423; Kermode 2004,
quoted in Schoenbaum 1991, 275. 141–2.

[76] Ackroyd 2006, 483; Frye 2005, 16; Greenblatt 2005, [108] McDonald 2006, 43–46.
145–6.
[109] Bradley 1991, 306.
[77] Schoenbaum 1987, 301–3.
[110] Ackroyd 2006, 444; McDonald 2006, 69–70; Eliot 1934,
[78] Schoenbaum 1987, 306–07; Wells et al. 2005, xviii 59.

[79] BBC News 2008. [111] Dowden 1881, 57.

 14 10 NOTES

[112] Dowden 1881, 60; Frye 2005, 123; McDonald 2006, 15. [148] Clemen 2005b, 63.

[113] Wells et al. 2005, 1247, 1279 [149] Frye 2005, 185.

[114] Wells et al. 2005, xx [150] Wright 2004, 868.

[115] Wells et al. 2005, xxi [151] Bradley 1991, 91.

[116] Shapiro 2005, 16. [152] McDonald 2006, 42–6.

[117] Foakes 1990, 6; Shapiro 2005, 125–31. [153] McDonald 2006, 36, 39, 75.

[118] Foakes 1990, 6; Nagler 1958, 7; Shapiro 2005, 131–2. [154] Gibbons 1993, 4.

[119] Wells et al. 2005, xxii [155] Gibbons 1993, 1–4.

[120] Foakes 1990, 33. [156] Gibbons 1993, 1–7, 15.

[121] Ackroyd 2006, 454; Holland 2000, xli. [157] McDonald 2006, 13; Meagher 2003, 358.

[122] Ringler 1997, 127. [158] Chambers 1944, 35.

[123] Schoenbaum 1987, 210; Chambers 1930, Vol. 1: 341. [159] Levenson 2000, 49–50.

[124] Shapiro 2005, 247–9. [160] Clemen 1987, 179.

[125] Wells et al. 2005, 1247 [161] Steiner 1996, 145.

[126] Wells et al. 2005, xxxvii [162] Bryant 1998, 82.

[127] Wells et al. 2005, xxxiv [163] Gross, John, “Shakespeare’s Influence” in Wells & Orlin
2003, 641–2.
[128] Pollard 1909, xi.
[164] Paraisz 2006, 130.
[129] Mays, Andrea and Swanson, James. “Shakespeare Died
a Nobody, and then Got Famous by Accident”, New York [165] Bloom, Harold. The Western Canon. New York, River-
Post (April 20, 2016). head Books, p.346

[130] Wells et al. 2005, xxxiv; Pollard 1909, xi; Maguire 1996, [166] Cercignani 1981.
28.
[167] Crystal 2001, 55–65, 74.
[131] Bowers 1955, 8–10; Wells et al. 2005, xxxiv–xxxv
[168] Wain 1975, 194.
[132] Wells et al. 2005, 909, 1153
[169] Johnson 2002, 12; Crystal 2001, 63.
[133] Rowe 2006, 21.
[170] Jonson 1996, 10.
[134] Frye 2005, 288.
[171] Dominik 1988, 9; Grady 2001b, 267.
[135] Rowe 2006, 3, 21.
[172] Grady 2001b, 265; Greer 1986, 9.
[136] Rowe 2006, 1; Jackson 2004, 267–294; Honan 1998, 289.
[173] Grady 2001b, 266.
[137] Rowe 2006, 1; Honan 1998, 289; Schoenbaum 1987, 327.
[174] Jonson, Ben. “To the Memory of My Beloved the Author,
[138] Wood 2003, 178; Schoenbaum 1987, 180. Mr. William Shakespeare”. poetryfoundation.org. poet-
ryfoundation.org. Retrieved 1 April 2016.
[139] Honan 1998, 180.
[175] Grady 2001b, 269.
[140] Schoenbaum 1987, 268.
[176] Dryden 1889, 71.
[141] Honan 1998, 180; Schoenbaum 1987, 180.
[177] Grady 2001b, 270–27; Levin 1986, 217.
[142] Shakespeare 1914.
[178] Dobson 1992 Cited by Grady 2001b, 270.
[143] Schoenbaum 1987, 268–269.
[179] Grady 2001b, 272–274. Grady cites Voltaire’s Philosoph-
[144] Wood 2003, 177.
ical Letters (1733); Goethe’s Wilhelm Meister’s Appren-
[145] Clemen 2005a, 150. ticeship (1795); Stendhal’s two-part pamphlet Racine et
Shakespeare (1823–25); and Victor Hugo’s prefaces to
[146] Frye 2005, 105, 177; Clemen 2005b, 29. Cromwell (1827) and William Shakespeare (1864).

[147] Brooke 2004, 69; Bradbrook 2004, 195. [180] Levin 1986, 223.
 15

[181] Sawyer 2003, 113. 11 References

[182] Carlyle 1907, 161.
Ackroyd, Peter (2006), Shake-
[183] Schoch 2002, 58–59. speare: The Biography, London:
Vintage, ISBN 978-0-7493-8655-
[184] Grady 2001b, 276.
9.
[185] Grady 2001a, 22–6. Adams, Joseph Quincy (1923),
[186] Grady 2001a, 24. A Life of William Shakespeare,
Boston: Houghton Mifflin, OCLC
[187] Grady 2001a, 29. 1935264.
[188] Drakakis 1985, 16–17, 23–25 Baldwin, T. W. (1944), William
Shakspere’s Small Latine & Lesse
[189] Harold Bloom (2006). Shakespeare Through the Ages: Greek, 1, Urbana, Ill: University of
King Lear, p. xii. Illinois Press, OCLC 359037.
[190] Boyce 1996, 91, 193, 513.. Barroll, Leeds (1991), Politics,
Plague, and Shakespeare’s Theater:
[191] Kathman 2003, 629; Boyce 1996, 91. The Stuart Years, Ithaca: Cornell
[192] Edwards 1958, 1–10; Snyder & Curren-Aquino 2007. University Press, ISBN 0-8014-
2479-8.
[193] Schanzer 1963, 1–10. Bate, Jonathan (2008), The Soul of
[194] Boas 1896, 345. the Age, London: Penguin, ISBN
978-0-670-91482-1.
[195] Schanzer 1963, 1; Bloom 1999, 325–380; Berry 2005,
37. • BBC News (28 May 2008). “Bard’s
[196] Shapiro 2010, 77–8. 'cursed' tomb is revamped”. British
Broadcasting Corporation. Retrieved 23
[197] Gibson 2005, 48, 72, 124. April 2010.
[198] McMichael & Glenn 1962, p. 56.
Bentley, G. E. (1961), Shake-
[199] Did He or Didn't He? That Is the Question, The New York speare: A Biographical Hand-
Times, 22 April 2007 book, New Haven: Yale Univer-
sity Press, ISBN 0-313-25042-1,
[200] Kathman 2003, 620, 625–626; Love 2002, 194–209;
OCLC 356416.
Schoenbaum 1991, 430–40.
Berry, Ralph (2005), Changing
[201] Pritchard 1979, 3. Styles in Shakespeare, London:
[202] Wood 2003, 75–8; Ackroyd 2006, 22–3.
Routledge, ISBN 0-415-35316-5.
Bertolini, John Anthony (1993),
[203] Wood 2003, 78; Ackroyd 2006, 416; Schoenbaum 1987, Shaw and Other Playwrights, Penn-
41–2, 286. sylvania: Pennsylvania State Uni-
[204] Rowse, A. L. (1963). William Shakespeare: A Biography. versity Press, ISBN 0-271-00908-
London: Macmillan. ISBN 0-06-013710-X. X.
Bevington, David (2002), Shake-
[205] A. L. Rowse, as quoted in The Portsmouth Insti-
speare, Oxford: Blackwell, ISBN
tute (2013). “Newman and the Intellectual Tradition:
Portsmouth Review”, Sheed & Ward. p. 127: “He died,
0-631-22719-9.
as he had lived, a conforming member of the Church of Bloom, Harold (1999), Shake-
England. His will made that perfectly clear – in facts, puts speare: The Invention of the Hu-
it beyond dispute, for it uses the Protestant formula.” man, New York: Riverhead Books,
ISBN 1-57322-751-X.
[206] Wilson 2004, 34; Shapiro 2005, 167.
Boas, F. S. (1896), Shakspere
[207] Lee 1900, 55 and His Predecessors, New York:
Charles Scribner’s Sons.
[208] Casey 1998; Pequigney 1985; Evans 1996, 132.
Bowers, Fredson (1955), On Edit-
[209] Fort 1927, 406–414. ing Shakespeare and the Eliza-
bethan Dramatists, Philadelphia:
[210] Cooper 2006, 48, 57.
University of Pennsylvania Press,
[211] Schoenbaum 1981, 190. OCLC 2993883.
16
Boyce, Charles (1996), Dictionary
of Shakespeare, Ware, Herts, UK:
Wordsworth, ISBN 1-85326-372-
9.
• Bradbrook, M. C. (2004), “Shake-
speare’s Recollection of Marlowe”, in
Edwards, Philip; Ewbank, Inga-Stina;
Hunter, G. K., Shakespeare’s Styles: Es-
says in Honour of Kenneth Muir, Cam-
bridge University Press, pp. 191–204,
ISBN 0-521-61694-8.
Bradley, A. C. (1991), Shake-
spearean Tragedy: Lectures on
Hamlet, Othello, King Lear and
Macbeth, London: Penguin, ISBN
0-14-053019-3.
Brooke, Nicholas (2004), “Lan-
guage and Speaker in Macbeth”,
in Edwards, Philip; Ewbank, Inga-
Stina; Hunter, G. K., Shakespeare’s
Styles: Essays in Honour of Kenneth
Muir, Cambridge University Press,
pp. 67–78, ISBN 0-521-61694-8
Bryant, John (1998), "Moby Dick
as Revolution”, in Levine, Robert
Steven, The Cambridge Compan-
ion to Herman Melville, Cambridge:
Cambridge University Press, ISBN
0-521-55571-X.
Carlyle, Thomas (1907), Adams,
John Chester, ed., On Heroes, Hero-
worship, and the Heroic in His-
tory, Boston: Houghton, Mifflin
and Company, ISBN 1-4069-4419-
X, OCLC 643782.
Casey, Charles (1998). “Was
Shakespeare gay? Sonnet 20 and
the politics of pedagogy”. Col-
lege Literature. 25 (3): 35–51.
doi:10.2307/25112402. JSTOR
25112402..
Cercignani, Fausto (1981), Shake-
speare’s Works and Elizabethan
Pronunciation, Oxford: University
Press (Clarendon Press).
Chambers, E. K. (1923), The Eliz-
abethan Stage, 2, Oxford: Claren-
don Press, ISBN 0-19-811511-3,
OCLC 336379.
——— (1930), William Shake-
speare: A Study of Facts and Prob-
lems, 2 vols., Oxford: Claren-
don Press, ISBN 0-19-811774-4,
OCLC 353406.
——— (1944), Shakespearean
Gleanings, Oxford: Oxford Univer-
11 REFERENCES
sity Press, ISBN 0-8492-0506-9,
OCLC 2364570.
Cheney, Patrick Gerard (2004),
The Cambridge Companion to
Christopher Marlowe, Cambridge:
Cambridge University Press, ISBN
0-521-52734-1.
Clemen, Wolfgang (1987), Shake-
speare’s Soliloquies, London: Rout-
ledge, ISBN 0-415-35277-0.
——— (2005a), Shakespeare’s
Dramatic Art: Collected Essays,
New York: Routledge, ISBN
0-415-35278-9.
——— (2005b), Shakespeare’s Im-
agery, London: Routledge, ISBN
0-415-35280-0.
Cooper, Tarnya (2006), Searching
for Shakespeare, National Portrait
Gallery and Yale Center for British
Art: Yale University Press, ISBN
978-0-300-11611-3.
Craig, Leon Harold (2003), Of
Philosophers and Kings: Political
Philosophy in Shakespeare’s “Mac-
beth” and “King Lear”, Toronto:
University of Toronto Press, ISBN
0-8020-8605-5.
Cressy, David (1975), Education
in Tudor and Stuart England, New
York: St Martin’s Press, ISBN 0-
7131-5817-4, OCLC 2148260.
Crystal, David (2001), The Cam-
bridge Encyclopedia of the En-
glish Language, Cambridge: Cam-
bridge University Press, ISBN 0-
521-40179-8.
de Sélincourt, Basil (1909),
William Blake, London: Duck-
worth & co.
Dobson, Michael (1992), The mak-
ing of the national poet, Oxford,
England: Oxford University Press,
ISBN 978-0-19-818323-5.
Dominik, Mark (1988),
Shakespeare–Middleton Col-
laborations, Beaverton, OR: Alioth
Press, ISBN 0-945088-01-9.
Dowden, Edward (1881),
Shakspere, New York: Apple-
ton & Co., OCLC 8164385.
Drakakis, John (1985), Drakakis,
John, ed., Alternative Shakespeares,
New York: Meuthen, ISBN 0-416-
36860-3.
Dryden, John (1889), Arnold,
Thomas, ed., An Essay of Dramatic

Poesy, Oxford: Clarendon Press,
ISBN 81-7156-323-6, OCLC
7847292.
Duncan-Jones, Katherine, ed.
(1997), Shakespeare’s Sonnets,
London: Thomas Learning,
retrieved 26 December 2013
Dutton, Richard; Howard, Jean
(2003), A Companion to Shake-
speare’s Works: The Histories, Ox-
ford: Blackwell, ISBN 0-631-
22633-8.
Edwards, Phillip (1958), “Shake-
speare’s Romances: 1900–1957”,
in Nicoll, Allardyce, Shakespeare
Survey, 11, Cambridge: Cam-
bridge University Press, ISBN 0-
521-21500-5, OCLC 15880120.
Eliot, T. S. (1934), Elizabethan
Essays, London: Faber & Faber,
ISBN 0-15-629051-0, OCLC
9738219.
Evans, G. Blakemore (1996),
“Commentary”, in Shakespeare,
William; Evans, G. Blakemore
(ed.), The Sonnets, Cambridge:
Cambridge University Press, ISBN
0-521-22225-7.
Foakes, R. A. (1990), “Playhouses
and Players”, in Braunmuller, A.;
Hattaway, Michael, The Cambridge
Companion to English Renaissance
Drama, Cambridge: Cambridge
University Press, ISBN 0-521-
38662-4.
Fort, J. A. (October 1927), “The
Story Contained in the Second Se-
ries of Shakespeare’s Sonnets”, The
Review of English Studies, 3 (12).
Friedman, Michael D. (2006), "'I'm
not a feminist director but ...':
Recent Feminist Productions of
The Taming of the Shrew”, in
Nelsen, Paul; Schlueter, June, Acts
of Criticism: Performance Matters
in Shakespeare and his Contempo-
raries: Essays in Honor of James
P. Lusardi, New Jersey: Fairleigh
Dickinson University Press, ISBN
0-8386-4059-1.
Frye, Roland Mushat (2005), The
Art of the Dramatist, London; New
York: Routledge, ISBN 0-415-
35289-4.
Gibbons, Brian (1993), Shake-
speare and Multiplicity, Cambridge:
17
Cambridge University Press, ISBN
0-521-44406-3.
Gibson, H. N. (2005), The Shake-
speare Claimants: A Critical Sur-
vey of the Four Principal Theo-
ries Concerning the Authorship of
the Shakespearean Plays, London:
Routledge, ISBN 0-415-35290-8.
Grady, Hugh (2001a), “Moder-
nity, Modernism and Postmod-
ernism in the Twentieth Century’s
Shakespeare”, in Bristol, Michael;
McLuskie, Kathleen, Shakespeare
and Modern Theatre: The Perfor-
mance of Modernity, New York:
Routledge, ISBN 0-415-21984-1.
——— (2001b), “Shakespeare
Criticism 1600–1900”, in de-
Grazia, Margreta; Wells, Stanley,
The Cambridge Companion to
Shakespeare, Cambridge: Cam-
bridge University Press, ISBN
0-521-65094-1.
Greenblatt, Stephen (2005), Will in
the World: How Shakespeare Be-
came Shakespeare, London: Pim-
lico, ISBN 0-7126-0098-1.
Greer, Germaine (1986), William
Shakespeare, Oxford: Oxford Uni-
versity Press, ISBN 0-19-287538-
8.
Hales, John W. (January–June
1904), “London Residences of
Shakespeare”, The Athenaeum,
London: John C. Francis: 401–2,
retrieved 8 December 2013.
Halliwell-Phillipps, James Orchard
(1887), Outlines of the Life of
Shakespeare, II, London: Long-
mans Green and Co., retrieved 26
December 2013.
Holland, Peter (2000), “Introduc-
tion”, in Shakespeare, William;
Holland, Peter (ed.), Cymbeline,
London: Penguin, ISBN 0-14-
071472-3.
Honan, Park (1998), Shakespeare:
A Life, Oxford: Oxford University
Press, ISBN 0-19-811792-2.
Honigmann, E. A. J. (1999), Shake-
speare: The Lost Years (Revised
ed.), Manchester: Manchester Uni-
versity Press, ISBN 0-7190-5425-
7.
Jackson, MacDonald P. (2004), “A
Lover’s Complaint Revisited”, in
Zimmerman, Susan, Shakespeare
18
Studies, Cranbury, NJ: Associated
University Press, ISBN 0-8386-
4120-2.
Johnson, Samuel (2002), Lynch,
Jack, ed., Samuel Johnson’s Dic-
tionary: Selections from the 1755
Work that Defined the English Lan-
guage, Delray Beach, FL: Levenger
Press, ISBN 1-84354-296-X.
Jonson, Ben (1996), “To the
memory of my beloued, The
AVTHOR MR. WILLIAM
SHAKESPEARE: AND what
he hath left vs”, in Shakespeare,
William; Hinman, Charlton (ed.);
Blayney, The First Folio of Shake-
speare (2nd ed.), New York: W.
W. Norton & Company, ISBN
0-393-03985-4.
Kastan, David Scott (1999), Shake-
speare After Theory, London:
Routledge, ISBN 0-415-90112-X.
Kathman, David (2003), “The
Question of Authorship”, in Wells,
Stanley; Orlin, Lena Cowen,
Shakespeare: an Oxford Guide,
Oxford Guides, Oxford Univer-
sity Press, pp. 620–32, ISBN
978-0-19-924522-2
Kermode, Frank (2004), The Age
of Shakespeare, London: Weiden-
feld & Nicholson, ISBN 0-297-
84881-X.
Knutson, Roslyn (2001), Play-
ing Companies and Commerce in
Shakespeare’s Time, Cambridge:
Cambridge University Press, ISBN
0-521-77242-7.
Lee, Sidney (1900), Shakespeare’s
Life and Work, London: Smith El-
der & Co..
Levenson, Jill L. (2000), “Intro-
duction”, in Shakespeare, William;
Levenson, Jill L. (ed.), Romeo and
Juliet, Oxford: Oxford University
Press, ISBN 0-19-281496-6.
Levin, Harry (1986), “Critical Ap-
proaches to Shakespeare from 1660
to 1904”, in Wells, Stanley, The
Cambridge Companion to Shake-
speare Studies, Cambridge: Cam-
bridge University Press, ISBN 0-
521-31841-6.
Love, Harold (2002), Attributing
Authorship: An Introduction,
Cambridge: Cambridge University
Press, ISBN 0-521-78948-6.
11 REFERENCES
Maguire, Laurie E. (1996), Shake-
spearean Suspect Texts: The “Bad”
Quartos and Their Contexts, Cam-
bridge: Cambridge University
Press, ISBN 0-521-47364-0.
McDonald, Russ (2006), Shake-
speare’s Late Style, Cambridge:
Cambridge University Press, ISBN
0-521-82068-5.
McIntyre, Ian (1999), Garrick,
Harmondsworth, England: Allen
Lane, ISBN 0-7139-9328-6.
McMichael, George; Glenn, Edgar
M. (1962), Shakespeare and his Ri-
vals: A Casebook on the Authorship
Controversy, New York: Odyssey
Press, OCLC 2113359.
Meagher, John C. (2003), Pursuing
Shakespeare’s Dramaturgy: Some
Contexts, Resources, and Strate-
gies in his Playmaking, New Jer-
sey: Fairleigh Dickinson University
Press, ISBN 0-8386-3993-3.
Muir, Kenneth (2005), Shake-
speare’s Tragic Sequence, London:
Routledge, ISBN 0-415-35325-4.
Nagler, A. M. (1958), Shake-
speare’s Stage, New Haven, CT:
Yale University Press, ISBN 0-300-
02689-7.
Paraisz, Júlia (2006), “The Nature
of a Romantic Edition”, in Hol-
land, Peter, Shakespeare Survey,
59, Cambridge: Cambridge Uni-
versity Press, ISBN 0-521-86838-
6.
Pequigney, Joseph (1985), Such
Is My Love: A Study of Shake-
speare’s Sonnets, Chicago: Univer-
sity of Chicago Press, ISBN 0-226-
65563-6.
Pollard, Alfred W. (1909), Shake-
speare Quartos and Folios: A
Study in the Bibliography of Shake-
speare’s Plays, 1594–1685, Lon-
don: Methuen, OCLC 46308204.
Pritchard, Arnold (1979), Catholic
Loyalism in Elizabethan Eng-
land, Chapel Hill: University
of North Carolina Press, ISBN
0-8078-1345-1.
Ribner, Irving (2005), The English
History Play in the Age of Shake-
speare, London: Routledge, ISBN
0-415-35314-9.
Ringler, William, Jr. (1997),
“Shakespeare and His Actors:

Some Remarks on King Lear”, in
Ogden, James; Scouten, In Lear
from Study to Stage: Essays in
Criticism, New Jersey: Fairleigh
Dickinson University Press, ISBN
0-8386-3690-X.
Rowe, John (2006), “Introduction”,
in Shakespeare, William; Rowe,
John (ed.), The Poems: Venus and
Adonis, The Rape of Lucrece, The
Phoenix and the Turtle, The Pas-
sionate Pilgrim, A Lover’s Com-
plaint, by William Shakespeare (2nd
revised ed.), Cambridge: Cam-
bridge University Press, ISBN 0-
521-85551-9.
Rowe, Nicholas (1709), Gray,
Terry A., ed., Some Acount of the
Life &c. of Mr. William Shake-
spear (published 1997), retrieved
30 July 2007.
Sawyer, Robert (2003), Victorian
Appropriations of Shakespeare,
New Jersey: Fairleigh Dick-
inson University Press, ISBN
0-8386-3970-4.
Schanzer, Ernest (1963), The Prob-
lem Plays of Shakespeare, London:
Routledge and Kegan Paul, ISBN
0-415-35305-X, OCLC 2378165.
Schoch, Richard (2002), “Picto-
rial Shakespeare”, in Wells, Stan-
ley; Stanton, Sarah, The Cam-
bridge Companion to Shakespeare
on Stage, Cambridge: Cambridge
University Press, ISBN 0-521-
79711-X.
Schoenbaum, Samuel (1981),
William Shakespeare: Records and
Images, Oxford University Press,
ISBN 978-0-19-520234-2
——— (1987), William Shake-
speare: A Compact Documentary
Life (Revised ed.), Oxford: Ox-
ford University Press, ISBN 0-19-
505161-0.
——— (1991), Shakespeare’s
Lives, Oxford: Oxford University
Press, ISBN 0-19-818618-5.
Shakespeare, William (1914),
“Sonnet 18”, in Craig, W. J., The
Oxford Shakespeare: the Complete
Works of William Shakespeare
(Bartleby.com (2000) ed.), Oxford:
Oxford University Press, retrieved
22 June 2007.
Shapiro, James (2005), 1599: A
19
Year in the Life of William Shake-
speare, London: Faber and Faber,
ISBN 0-571-21480-0.
——— (2010), Contested Will:
Who Wrote Shakespeare?, New
York: Simon & Schuster, ISBN
978-1-4165-4162-2.
Smith, Irwin (1964), Shakespeare’s
Blackfriars Playhouse, New York:
New York University Press.
Snyder, Susan; Curren-Aquino,
Deborah (2007), “Introduction”,
in Shakespeare, William; Sny-
der, Susan (ed.); Curren-Aquino,
Deborah (ed.), The Winter’s Tale,
Cambridge: Cambridge University
Press, ISBN 0-521-22158-7.
Steiner, George (1996), The Death
of Tragedy, New Haven: Yale Uni-
versity Press, ISBN 0-300-06916-
2.
Taylor, Gary (1987), William
Shakespeare: A Textual Compan-
ion, Oxford: Oxford University
Press, ISBN 0-19-812914-9.
——— (1990), Reinventing Shake-
speare: A Cultural History from
the Restoration to the Present, Lon-
don: Hogarth Press, ISBN 0-7012-
0888-0.
Wain, John (1975), Samuel John-
son, New York: Viking, ISBN 0-
670-61671-0.
Wells, Stanley; Taylor, Gary;
Jowett, John; Montgomery,
William, eds. (2005), The Oxford
Shakespeare: The Complete Works
(2nd ed.), Oxford: Oxford Univer-
sity Press, ISBN 0-19-926717-0.
Wells, Stanley (1997), Shake-
speare: A Life in Drama, New
York: W. W. Norton, ISBN
0-393-31562-2.
——— (2006), Shakespeare & Co,
New York: Pantheon, ISBN 0-375-
42494-6.
Wells, Stanley; Orlin, Lena Cowen,
eds. (2003), Shakespeare: An Ox-
ford Guide, Oxford: Oxford Uni-
versity Press, ISBN 0-19-924522-
3.
Werner, Sarah (2001), Shakespeare
and Feminist Performance, London:
Routledge, ISBN 0-415-22729-1.
Wilson, Richard (2004), Secret
Shakespeare: Studies in Theatre,
20 12 EXTERNAL LINKS

Religion and Resistance, Manch-

ester: Manchester University Press,
ISBN 0-7190-7024-4.
Wood, Manley, ed. (1806), The
Plays of William Shakespeare with
Notes of Various Commentators,
I, London: George Kearsley, re-
trieved 27 December 2013.
Wood, Michael (2003), Shake-
speare, New York: Basic Books,
ISBN 0-465-09264-0.
Wright, George T. (2004), “The
Play of Phrase and Line”, in Mc-
Donald, Russ, Shakespeare: An
Anthology of Criticism and The-
ory, 1945–2000, Oxford: Black-
well, ISBN 0-631-23488-8.

12 External links
• Internet Shakespeare Editions
• Folger Digital Texts
• Open Source Shakespeare complete works, with
search engine and concordance
• First Four Folios at Miami University Library, dig-
ital collection
• The Shakespeare Quartos Archive
• Shakespeare’s sonnets, poems, and texts at Poets.org
• Shakespeare’s Words the online version of the best-
selling glossary and language companion
• Shakespeare and Music
• Shakespeare’s Will from The National Archives
• Works by William Shakespeare set to music:
free scores in the Choral Public Domain Library
(ChoralWiki)
• The Shakespeare Birthplace Trust
• William Shakespeare at the Internet Movie
Database
• Works by William Shakespeare at Project Guten-
berg
• Works by or about William Shakespeare at Internet
Archive
• Works by William Shakespeare at LibriVox (public
domain audiobooks)
• Discovering Literature: Shakespeare at the British
Library
• William Shakespeare at the British Library
 21

13 Text and image sources, contributors, and licenses

13.1 Text
• William Shakespeare Source: https://en.wikipedia.org/wiki/William_Shakespeare?oldid=737483100 Contributors: Kpjas, Vicki Rosen-
zweig, Mav, Bryan Derksen, Robert Merkel, Tarquin, Malcolm Farmer, -- April, Rjstott, Andre Engels, Eclecticology, Danny, Vignaux,
Shsilver, Vaganyik, Deb, William Avery, Shii, Zoe, Richhill, Imran, Formulax~enwiki, Jinian, Fonzy, Mintguy, Isis~enwiki, Montrealais,
KF, Olivier, Someone else, Stevertigo, DennisDaniels, Bdesham, Patrick, Infrogmation, D, Paul Barlow, Llywrch, Norm, Jahsonic, GUll-
man, Stephen C. Carlson, Menchi, Deadstar, Ixfd64, Kalki, Vic~enwiki, Dori, (, Paul A, Fantasy, Ahoerstemeier, DavidWBrooks, Docu,
Muriel Gottrop~enwiki, G-Man, CatherineMunro, Notheruser, Basswulf, Angela, Den fjättrade ankan~enwiki, Nanobug, Александър,
Ugen64, Uri~enwiki, Susurrus, Kwekubo, Jacquerie27, John K, EdH, Conti, Jerryb1961, Next Paige, Hashar, Karlwick, Mulad, Feed-
mecereal, Tsunamimome, Alex S, Charles Matthews, Vanished user 5zariu3jisj0j4irj, A1r, Dino, RickK, Tedius Zanarukando, Jwrosen-
zweig, Doradus, Tjunier, Dtgm, Timc, DJ Clayworth, CBDunkerson, Pedant17, Tpbradbury, Maximus Rex, Splashkid2, Furrykef, Gren-
delkhan, Morwen, Itai, Fibonacci, Shizhao, Rls, Fvw, Rbellin, Wetman, Rgardler, Jusjih, Johnleemk, Eugene van der Pijll, Flockmeal,
Frazzydee, Pollinator, Francs2000, Hajor, JorgeGG, Lumos3, Shantavira, Huangdi, Denelson83, The lorax, Dimadick, Bearcat, Nufy8,
Robbot, DavidA, Palnu, TomPhil, Pigsonthewing, Moriori, PBS, Chris 73, Akajune, Biggins, Naddy, Modulatum, Calmypal, Lowellian,
Mirv, Yosri, Sverdrup, Henrygb, Nach0king, LGagnon, Timrollpickering, Billranton, Sunray, Bkell, Mervyn, Hadal, UtherSRG, GerardM,
JackofOz, Mushroom, NeoThe1, Mandel, Lupo, Diberri, Dina, Adam78, David Gerard, Marc Venot, Peterklevy, Centrx, DocWatson42,
Christopher Parham, Jacoplane, Chemica, Gtrmp, Wikilibrarian, AtStart, ShaneCavanaugh, Inter, Nunh-huh, Geeoharee, Netoholic, Lee
J Haywood, Tom harrison, Meursault2004, Ferkelparade, MSGJ, Rj, Peruvianllama, Everyking, No Guru, Snowdog, Anville, Maha ts,
Curps, Michael Devore, Pashute, Wikibob, Guanaco, Naufana, Jason Quinn, Siroxo, Owen&rob, Solipsist, Matt Crypto, Chameleon,
Bobblewik, Sasha Slutsker, Peter Ellis, Neilc, Stevietheman, ChicXulub, Fishal, Alan Nicoll, Gadfium, Manuel Anastácio, Utcursch, Andy-
cjp, Lst27, Geni, Gdr, Slowking Man, LucasVB, Antandrus, The Singing Badger, Beland, Piotrus, Cioxx, Jossi, MacGyverMagic, Rd-
smith4, Anythingyouwant, Saugatojas, Ganymead, Kevin B12, Mysidia, Necrothesp, Icairns, Defenestrate, Yossarian, Atulsohan, Dave
L, Popadopolis, TiMike, Iantresman, Joyous!, Tromatic, Syvanen, Trilobite, Demiurge, Genesis, HamYoyo, Adashiel, Trevor MacInnis,
TheObtuseAngleOfDoom, Moxfyre, Eisnel, Lacrimosus, Thorwald, DavidL (usurped), Mike Rosoft, PRiis, D6, Freakofnurture, Haiduc,
Ham II, DanielCD, EugeneZelenko, RossPatterson, Rich Farmbrough, Rhobite, Brutannica, Florian Cauvin, Kdammers, Thematicu-
nity, Qutezuce, Parishan, Eitheladar, Bishonen, Francis Schonken, User2004, Luxdormiens, Saintswithin, Arthur Holland, Dbachmann,
Mani1, Wadewitz, Pavel Vozenilek, Paul August, MarkS, SpookyMulder, Bender235, ESkog, MattTM, Zaslav, Kbh3rd, Kaisershatner,
Calair, JoeSmack, Violetriga, MyNameIsNotBob, Brian0918, Aranel, Vortices, Ylee, El C, Szyslak, Zenohockey, Mwanner, The bell-
man, Visualerror, Aude, Shanes, Sietse Snel, Art LaPella, RoyBoy, EurekaLott, Baruneju, Pablo X, Causa sui, Bobo192, Longhair, Hur-
ricane111, Infocidal, Feitclub, Flxmghvgvk, BrokenSegue, Viriditas, Lonpicman, DaveGorman, Pokrajac, SpeedyGonsales, Joe Jarvis,
Man vyi, Nk, Rajah, NickSchweitzer, WikiLeon, Rje, Bart van der Pligt~enwiki, Twobells, John Fader, Sam Korn, Ral315, Pharos,
Benbread, Jonathunder, SPUI, Grovel, Mareino, Knucmo2, TadDavis, Wendell, Stephen G. Brown, Jigen III, Brant Jones, LibraryLion,
Gary, Hiron, Ocean57, Jaroslavleff, Shadikka, Scuiqui fox, Mo0, Proteus71, Turin07, Walter Görlitz, LouCypher, Borisblue, CyberSkull,
Rd232, Mr Adequate, Penwhale, Andrewpmk, Ricky81682, Andrew Gray, JoaoRicardo, Logologist, Ashley Pomeroy, Bz2, Lectonar,
Calton, MarkGallagher, Lightdarkness, Dave & Ted, Spinoza1111, Mailer diablo, Garfield226, InShaneee, Cdc, Malo, Bart133, NTK,
DreamGuy, Snowolf, Ksnow, Bucephalus, Bbsrock, Ptyxs, Suruena, Evil Monkey, BrandonYusufToropov, Simone, CloudNine, Randy
Johnston, TenOfAllTrades, Sciurinæ, Dnaber, Mcmillin24, Skyring, Computerjoe, Kusma, Jguk, Ianblair23, GabrielF, Freyr, Alai, Ryan
Anderson, LukeSurl, LunaticFringe, HenryLi, Bookandcoffee, Dan100, Umapathy, Robert Matney, Bruce89, Preost, Sam Vimes, Pcpcpc,
Daveydweeb, WilliamKF, Chardish, Weyes, Angr, Boothy443, Richard Arthur Norton (1958- ), Kelly Martin, The JPS, Billhpike, Mel
Etitis, OwenX, Woohookitty, Mindmatrix, Gccwang, Xover, FeanorStar7, Skylap, TigerShark, GVOLTT, Hipi Zhdripi~enwiki, Etacar11,
DoctorWho42, Merlinme, 25or6to4, Daniel Case, Quadduc, Jpers36, Carcharoth, Rangerdude, TomTheHand, JustDerek, Commander
Keane, Dbolton, Matijap, MONGO, CS42, Tomlillis, Bbatsell, Andrea.gf, Jburnette, Steinbach, Leobinus, Scm83x, Mb1000, GalaazV,
Wayward, Gimboid13, G.W., Karam.Anthony.K, Dysepsion, Emerson7, Paxsimius, Graham87, Marskell, WBardwin, Magister Mathemat-
icae, BD2412, Galwhaa, MC MasterChef, Kbdank71, FreplySpang, RxS, Porcher, Search4Lancer, Mrbrklyn, Jorunn, Stmoose, Sjakkalle,
Rjwilmsi, Mayumashu, Eoghanacht, Angusmclellan, Tim!, Patrick Cowsill, Fieari, Koavf, Phileas, Ladb2000, Wikibofh, Vary, RiseAbove,
Ikh, Bill37212, GolumTR, PinchasC, Rillian, Linuxbeak, JHMM13, Tangotango, Gaylemadwin, Sdornan, Sbp, Blome, MZMcBride,
Tawker, Blacktoxic, Pabix, SpNeo, Ligulem, NeonMerlin, CQJ, Dudegalea, Durin, Brighterorange, Antonellaelia, Bhadani, TheGWO,
Nickbates, Cfortunato, MarnetteD, Notorious4life, Nandesuka, Hermione1980, Jamdav86, GregAsche, Sango123, Yamamoto Ichiro, Shel-
drake, Titoxd, Evianboy, FlaBot, Pruneau, Ian Pitchford, RobertG, TokyoJunkie, Oliver Chettle, Old Moonraker, Yoursvivek, CalJW,
Doc glasgow, Tyrant Tim, Winhunter, DannyWilde, Nihiltres, Bwnelson, Crazycomputers, GnuDoyng, SouthernNights, AJR, Hotten-
tot, RexNL, Gurch, Xcia0069, RobyWayne, Frelke, DevastatorIIC, OrbitOne, TeaDrinker, Jesse0986, EronMain, Alphachimp, Naturally,
OpenToppedBus, Gurubrahma, BradBeattie, Phoenix2~enwiki, Mod-fridgeh, King of Hearts, It’s-is-not-a-genitive, Chobot, Bornhj, Stoive,
Design, Bgwhite, Cactus.man, Digitalme, Verin Sedai, Gwernol, Cornellrockey, Flcelloguy, Kjlewis, Elfguy, EamonnPKeane, Measure,
YurikBot, Wavelength, TexasAndroid, Sceptre, Stan2525, Cabiria, Jlittlet, Brandmeister (old), Redcoatmoose, Hyad, Jtkiefer, Muchness,
Severa, Anonymous editor, Ericorbit, Splash, Pigman, Chuck Carroll, Maw, Jengelh, DanMS, Cyraxote, SpuriousQ, Chaser, Yllosubma-
rine, Stevecov, Fabricationary, Maor X, Stephenb, Lord Voldemort, Alex Ramon, Speermeister, Ihope127, Merlincooper, Ugur Basak,
Mark O'Sullivan, Shanel, Yallery Brown, NawlinWiki, Tupungato, EWS23, Stephen Burnett, Wiki alf, BigCow, Obarskyr, Joshdboz,
DB, WAS, Jaxl, Johann Wolfgang, Distraction, Justin Eiler, Rjensen, Brian Olsen, Cleared as filed, Nick, Retired username, Robdur-
bar, Anetode, Nephron, Alias00, Dmoss, Krakatoa, Tommaisey, PhilipO, Rmky87, Dahveed323, Vancouveriensis, PeepP, Lomn, Tony1,
Alex43223, Bucketsofg, Syrthiss, Aaron Schulz, Samir, Pablomartinez, Psy guy, BeastRHIT, DaveMetzger, Scope creep, Haemo, Brisve-
gas, Martinwilke1980, Derbeobachter, Tekana, Bantosh, User27091, Wknight94, Fallout boy, Kmusser, BazookaJoe, FF2010, Kawika,
AnnaKucsma, Sandstein, Getcrunk, Alecmconroy, Pastricide, Emijrp, Johndburger, Deville, Zzuuzz, KristoferM, Encephalon, Blahmena-
tor, Nikkimaria, Theda, Closedmouth, Baranxtu, Lappado, Mike Selinker, Rms125a@hotmail.com, Esprit15d, Dr.alf, Doktor Waterhouse,
Tevildo, GraemeL, Karas peter@yahoo.com, JoanneB, Red Jay, Iwalters, Oswax, Smurrayinchester, Thelb4, Mtj, Tiria, JLaTondre, Mais
oui!, RenamedUser jaskldjslak904, Spliffy, ArielGold, Spookfish, Skittle, Philmcl, SorryGuy, Garion96, Archer7, Katieh5584, Kung-
fuadam, Meegs, NeilN, Maxamegalon2000, John Broughton, GrinBot~enwiki, Iago Dali, SkerHawx, Wallie, Selmo, DVD R W, CIreland,
AndyJones, Arcadie, Jmchuff, Joshbuddy, SmackBot, FClef, YellowMonkey, Sunwood, Aim Here, Slarre, Ashenai, Rjmunro, Knowl-
edgeLoser, Dotbot56, Malkinann, Reedy, Slashme, Styles, KnowledgeOfSelf, Olorin28, Potatoes345, K-UNIT, Ufundo, Pavlovič, Former
user 2577, Istvan, DCDuring, Pgk, C.Fred, ParkerHiggins, Korossyl, Wegesrand, Speight, Sakmrb, Jacek Kendysz, KocjoBot~enwiki,
Bard37, Jagged 85, Davewild, Thunderboltz, Chairman S., Bwithh, Zyxw, BPK2, Delldot, J0lt C0la, PJM, Thunder8, Vilerage, Canthusus,
TheDoctor10, Kintetsubuffalo, TharkunColl, Edgar181, Runner Bean, Carbonix, Alsandro, Twohotforpants, Xaosflux, Yamaguchi ,
22 13 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Aksi great, Gilliam, Ohnoitsjamie, Hmains, Betacommand, Chaojoker, Mkoenig, Motion182, Qtoktok, Vercalos, Izehar, Keegan, Jack-
hannaford, Gold heart, Persian Poet Gal, NCurse, Ian13, Tito4000, Zaunmtj, Stubblyhead, Ozdayboy, Jordanhurley, Thumperward, Tree
Biting Conspiracy, MalafayaBot, Victorgrigas, RexImperium, JoeBlogsDord, Afasmit, Sadads, Sadisticality, Viewfinder, Davadr, Ikiroid,
Patriarch, Baa, Robth, Xasf, Literalsystems, RichardMarcJ, Boffman, Konstable, Antonrojo, AKMask, Yanksox, Emurphy42, Royboy-
crashfan, Zsinj, Ron g, DTR, Can't sleep, clown will eat me, Skinmeister, Carissec, Smallbones, Jinxed, AP1787, JRPG, Writtenright,
Ioscius, Atropos, Vanished User 0001, Jennica, HLwiKi, Snowmanradio, Cheacocopops559, Avb, MSimental, Ww2censor, Metaphysicus,
TheKMan, Rrburke, TonySt, Pnkrockr, Leoboudv, JesseRafe, H.G., Kcordina, Cairnarvon, ColinKennedy, Threeafterthree, Ryanluck,
Khoikhoi, Dharmabum420, Krich, PiMaster3, Emre D., Iapetus, Nibuod, Jhupress, Andie142105, Makemi, Nakon, Shrubbery, TedE, Ben
E. Rande, VegaDark, Jiddisch~enwiki, RJN, Nick125, GuillaumeTell, Redhandedsamm, Drmichaelegan, G N Frykman, Trevor.sawler,
Briguyd, Glover, Wisco, BinaryTed, Moulton, Nickecb, Doylesrader, Tux256ac, Kotjze, Engleham, Airwolf, Icecradle, Risker, Risssa,
Pilotguy, Wikipedical, Leon..., Sibahi, Kukini, Redraider89, Bezapt, Ged UK, Charivari, Andrew Dalby, Ceoil, Ohconfucius, Cyberevil,
Byelf2007, CIS, Nishkid64, Yohan euan o4, Rory096, Jitz, Ser Amantio di Nicolao, Harryboyles, BrownHairedGirl, Rklawton, Sophia,
Dbtfz, John, Euchiasmus, Scientizzle, Buchanan-Hermit, Olly0390, Neufchatel, The10thDoctor, Jan.Smolik, Heimstern, Rejax, Silk-
Tork, LWF, Gobonobo, Pat Payne, Nvw, Sir Nicholas de Mimsy-Porpington, Demonte Morton, Edwy, JorisvS, Adawest, Merchbow,
Minna Sora no Shita, Courier new, Badman89, Jazriel, CaptainVindaloo, Osbus, Capmo, Fig wright, Mr. Lefty, IronGargoyle, Grover1,
HADRIANVS, PseudoSudo, Anand Karia, Stoa, The Man in Question, Chrisch, MadGoldfish, Rogron Wolfe, JHunterJ, Acomitapita, Jka-
pust, Tasc, Colonel Sharpe, Beetstra, Mr Stephen, DannyJacobs, Zeldamaster3, Kyoko, Brazucs, Mascott, Jhamez84, Maksim L., Adam
Rusling, Waggers, Dalstadt, Mets501, Doczilla, Tuspm, MAG1, Lordjazz, Ryulong, Condem, A Merchant, Dr.K., Rubikfreak, RichardF,
EEPROM Eagle, MTSbot~enwiki, MarkThomas, Tythesly, PDXblazers, Sanechka, Hu12, Tawkerbot, Relig, Cnbrb, Levineps, Vanished
user, Seqsea, ILovePlankton, Eopsid, SPUI MkII, Zootsuits, Dekaels~enwiki, Clarityfiend, Laurens-af, Sibadd, JoeBot, The7thmagus, Ro-
beteinstein, Shoeofdeath, J Di, Maxcapouano, Duckduckmoose, Fsotrain09, CapitalR, Ralphroysterdoyster, Civil Engineer III, CharlesM,
Phoenixrod, Adambiswanger1, Courcelles, Anger22, Emkoon, Hysteria17, Shakespearsfriend, Tjalbrecht, Talktothehand07, Tawkerbot2,
Vanished user kjrihfdchjdvn4j4nr35jnfk, Dlohcierekim, Joey 6070, Timrem, MonkeeSage, Lbr123, Baqu11, Falconus, Maxbastow, Mawk
Splash, Rvsrvs, Zotdragon, J Milburn, WHAT101, Shudde, Bluestreak147, Woodenthomas, Thatperson, Piggy4350, TysK, Earthlyrea-
son, Olorin0222, PorthosBot, Zarex, Artiste-extraordinaire, Van helsing, Aherunar, AlbertSM, The Font, MFlet1, Nikorasu, Robsonm,
Dk1965, GHe, KnightLago, Ibadibam, Jokes Free4Me, Yarnalgo, GollyG, Outriggr (2006-2009), Raivyn, Casper2k3, Neelix, Ken Gal-
lager, C5mjohn, Jozdnog, Nnp, Chicheley, MrFish, KarlieJanssen1, Johnjohnston, John-2, Qrc2006, Jets333, Dr Zak, Dario D., Jac16888,
Peteturtle, Cydebot, Wikiz3, Jtyne, Yarmy, Slp1, Schmidt557, Dunepatrol, Mike Christie, Mike4444, Aristophanes68, Gogo Dodo,
Christiaanmeyer~enwiki, FellowWikipedian, MWaller, Alanahikarichan, Llort, A Softer Answer, Vezhlys, Supersam329, Curly--wurly,
Studerby, Amandajm, Albinoguy, Dancter, Kiske, Tawkerbot4, Gerthk, Ksong12, Roberta F., DumbBOT, Timmay34, Chrislk02, Phy-
dend, VaughanHolm19, FlareOfFire, Narcisso, Bookgrrl, Bob 1000, Keircutler, Ssilvers, Bono man, In Defense of the Artist, Mespie,
Aftershock89, Cowbell14, After Midnight, NMChico24, Thylacine222, Omicronpersei8, Dim3000, Cjhwrestler, Lo2u, Marytrott, Psy-
choSmith, Gimmetrow, Nishidani, Corlen, Mamalujo, Walokkan, Thijs!bot, Epbr123, Daa89563, Wikid77, ALpHatheONE, Osborne,
Ultimus, Ericisgijew, TonyTheTiger, Snake Chess 5, Sry85, Sagaciousuk, CongealedButtock, Aclevine, Scanner darkly, Seancron, Mojo
Hand, Headbomb, Newton2, Sobreira, Moulder, Ozzaroni, John254, Tapir Terrific, SomeStranger, James086, Merbabu, OhitstragikX,
Nate779, Inner Earth, Alientraveller, Mnemeson, BehnamFarid, Dfrg.msc, Rubenarslan, Chavando, Lithpiperpilot, Blathnaid, Srose, In-
siriusdenial, Qp10qp, Lotus110011, Jf665, DblGkid, Scottandrewhutchins, Escarbot, Sad mouse, Porqin, Thadius856, Eric Ballard, Eati-
tanyway, KrakatoaKatie, AntiVandalBot, Akulabubu, Majorly, Gioto, Japadict, Luna Santin, Turlo Lomon, Jared Hunt, Raelifin, Straw-
IntoGold121, Opelio, Yomangani, Antique Rose, Tangerines, D.profound, Waerloeg, Tjmayerinsf, Rileyb, Ryan McGuinness, Smatprt,
Insane99, Easywiki, LéonTheCleaner, Rico402, Duksandfish, Hassocks5489, Shaybear, Jackstick, Stradkid27, DjNockles, JAnDbot, Jj-
carr990, DuncanHill, Armando12, Plus Ultra, Aeshaw, Cairine MacGillivray, Bt xers, Rowdymon, MER-C, Kedi the tramp, Dsp13, The
Transhumanist, Caracaskid, Nathanalex, Ericoides, WookieLord, Arch dude, Petronas, Db099221, Bobleebob, Tengfred, Mkch, Yill577,
Rentaferret, Gavia immer, Sargent manhore, Jdev28, Rothorpe, Thing10, Kerotan, Kueh, Couchpotato99, Wildhartlivie, Bencherlite,
Cdg1072, Rossisgay13, Promking, Xeltopius, Magioladitis, Connormah, Laurens vdS, Adenison, Celithemis, VoABot II, Doodoobut-
ter, Jamiegoddard, Unlucky97, Deathfire1992, Zathereus, Geofwalker, Beowub1, Poujeaux, Rivertorch, SineWave, Singularity, Strat-
ford15, Avicennasis, Ryskis, Hekerui, Curtis3250692, Catgut, BINDY, Eager forknowledge, Indon, Deadly Skittle, Galileo01, Darkage7,
Iamwaggle, Winterus, Wrad, Cisum.ili.dilm, Lethaniol, Notinthemood, Severdia, Jonnyfarley, Tlmclain, Anrie, Exiledone, Gabrielthurs-
day, Jacobko, Momoroxmysoxoff, Wbroun, DerHexer, Grunge6910, Grantsky, Jahangard, Scottydoug, Beurk, Gavinbargery, Textorus,
Dnstrom, TheRanger, Badbilltucker2, Patstuart, Auralee, Tony.nitw, Welshleprechaun, Edton, IlliterateSage, Murraypaul, Myrkkyham-
mas, Qwertyuioper, Shibbi, Helwerda, Kornfan71, Levskisoccer7, Tiny322, Jasonater, Cliff smith, Yeoren, Cispt2, Nandt1, Conrad
McGrath, GoldenMeadows, Arjun01, Mattjs, Felsommerfeld, Lomek, Rettetast, Anaxial, Kwesimama, Keith D, Asemizian, FrozenRev,
Timmer751, ShaneMarotta, CommonsDelinker, Glennobrien, Ombudswiki, Creol, LittleOldMe old, Ash, Ryanocerous123, Tomdatom,
Acornsr4squirrels, Gelowitzm, Mattdude0, J.delanoy, Sophomaniac, MITBeaverRocks, DrKay, AltiusBimm, Jallero, Steifer, Aweiredguy,
Rendon.smug, Bleach123, Fleiger, CraigMonroe, Jaegerman227, WarthogDemon, Mystique sorcerer, Thespacecowboy, William.li.1983,
Jellsmoor, Ian.thomson, Ingdale, Thomaslikespigs, Nugget jr., Lord of Illusions, Wayp123, Didgeman, Eskimospy, Tripler89, KatyN-
icholslikesnosehair, Khashkilla, Davidm617617, Wikster24, X theatregeek x, Bot-Schafter, Smeira, Tagorgora, Fanamana, Ycdkwm,
Jaggy456, Grosscha, P4k, Railer 259, Koka-kola, RubyJewel12, Casper182, 05andersonh, AntiSpamBot, 97198, RaptorRobot, HiLo48,
Belovedfreak, Finalday6784, NewEnglandYankee, Robotchicken33, Shadowcolts3, SJP, TheScotch, ArdenD, Killmech, Mbest1, Flatter-
world, Robertgreer, LCecere, Ionescuac, Ben corlett, WJBscribe, Stymphal, DH85868993, Horwendil, Nikehockey 99, Railer 760, Ó
Tuathail, Sarregouset, Elenseel, DeathlyLost, Moisejp, Bawlix, Ajfweb, Citizencor, Gtg204y, MishaPan, Ja 62, WLRoss, Rocket robot on
wheels fan, Kunaiknife, Shrimpeater, Dogster123, Idioma-bot, Whoisitnow, Soccersejal, Lights, Kechu723, PeaceNT, A55hol3, Unicorn-
Tapestry, Deor, Newcomer0100, VolkovBot, Thomas.W, Bowler man, Jonathandconway, Yankees67678, Butwhatdoiknow, Hobbesy3,
AlnoktaBOT, Macspaunday, Sarahtonin, Lanapopp, Chitrapa, Dougie monty, Sześćsetsześćdziesiątsześć, Philip Trueman, NamelessTed,
RPlunk2853, Techwiz81, Milkmanlover, Fortowsky, Bob 43, The pakman, JOB 35, TXiKiBoT, Oshwah, Tigerclan21, Celticfan159,
Xmacd, Tovojolo, Vryk, Scorpio937, The Rt. Hon Tony Blair, Rgrp, Tabstis, Java7837, Vipinhari, Karynhuntting, Spence598, Gtrhetdhy,
Anonymous Dissident, ElinorD, Jillian gates, Coreman009, SteveStrummer, Careflite, Anna Lincoln, TwilligToves, Lradrama, Msnseb,
DennyColt, Ashley Blackmore, Twebby, JhsBot, Leafyplant, Abdullais4u, Raryel, Bleaney, Wassermann~enwiki, Seb az86556, Rjm at
sleepers, BoolaBoola2, Samuelmj, Optigan13, Jvbishop, Brandon Christopher, Kilgatron, Wiae, Mattarbour777, Proteins, Mananalik-
sik, Rdfox 76, ACEOREVIVED, ElanandMatt, Pbrook, Pigeon hunter, Kevinmulligan2, STUFF2o, Improve~enwiki, Lerdthenerd, Will-
dask8ter, 12thNight, Александр Мотин, Synthebot, Joseph A. Spadaro, Z6q.jmr, Ridow, Meatballz, AlexOUK, Enviroboy, Doggiedog-
gie, Kingadam150, Burntsauce, Tea and crumpets, Fleela, Drake498, Crooksie123, ChainZzz, Lusitanian, Mesrop~enwiki, Flyingostrich,
Ceranthor, Gahh, Ss1234, Peter Farey, Doc James, AlleborgoBot, Logan, Sacularamacal13, Bigmac1994, Ojevindlang, RedRabbit1983,
Plzberandom, Kixxarn, Tylerscooby, Angel126munoz, SubLibris, Slamur, Marbruk, Carlton Draft, SieBot, Stevenwoods, Spongejerk2001,
13.2 Images 23

Fatevan2, Fatevan3.14, JebbaL, Lucaslatka, YonaBot, BotMultichill, Hydeblake, ToePeu.bot, OlliffeObscurity, Dawn Bard, Crawfwil,
Asadjamalkhan, Nascarnate, Justinfinton, Tomlet12481632, Lucasbfrbot, Rhinojoe13, JJLH51, Peter cohen, Calabraxthis, LeadSong-
Dog, Srushe, Nowherenear1313, Harshad 86, Sithulus, Mackbeth24, Oober349, Editorz, Ganrither, Interchange88, Happysailor, Tip-
toety, IROUE, Sterry2607, Cheokho, Rocknroller555, Wolfcm, Nembard, User30556, Kalintar, Oxymoron83, Artoasis, Govontario,
Javis132, AngelOfSadness, Steven Crossin, Dylan.griffith, Lightmouse, Mayalld, Felzenmat, Hoyiu, Jlhughes, Almostcrime, Romeo in
love, Lovemycars, Hunter nye, Voltron, BenoniBot~enwiki, Icedevil14, Hithereimdan, Keiroe, OKBot, Kumioko (renamed), Fabbier-
ach, Brendan James Fisher, Reginmund, Loopey luke, Mirrorverses, Crazycharles80, Dlkwiki, Chapi~enwiki, Sean.hoyland, Jaymate,
Hamiltondaniel, Florentino floro, Chocobacon, Verdadero, Phil wink, Cazbert, DebStead, Tom Reedy, Blizzard242, Eth01, Myrvin, Book-
worm415, Lildrummer 94, Vanhorn, Hoplon, Kylepetten, Atif.t2, Akeefe98, Soporaeternus, Owenshahim, ClueBot, Sdurrant, HaarFager,
Binksternet, Richtig27, CasperGoodwood, Andrewmagliozzi, The Thing That Should Not Be, All Hallow’s Wraith, DionysosProteus, Pre
zero, The Drama Llama, Plastikspork, Mattbroon, Lemmiwinks.rex, Sxcbear, Gregcaletta, 35spike1, Russ143, Nondescripts, Rowan-
milesashe, JTBX, Boing! said Zebedee, Mckayver, CounterVandalismBot, Joker9678, EconomicsGuy, Corae, Henmatt, Aarondonaghy,
Rubyalmqvist, Js00902, Wct 123, Neverquick, Davidbj7, Thebigzebra, Altris77, MFpart, DragonBot, Jeanenawhitney, Craig--smith7,
Zaserd, Excirial, Majeedokostovich, Joshsmith10, Death of, Alexbot, Jusdafax, Okzig37, Pkofhtown1234, Road to a ducentillion user-
names, !seakinggirl, Heywane1337, Roflmonkies, Fatpeoplerule, Baseballscfan, Joshy485, Agdaman4life, Mahoneyj2, Baseballbaker23,
DeadPie, Hariki, Geekmaster34, Sun Creator, Fredfredpup, Beth22, Jotterbot, Flubajub boy, Blackwelder, Mlp9815, Azertymenneke,
Mopafloor, Etzoc, Bye987, Dekisugi, Asilonline~enwiki, Stevok777, L.Wadsworth, 6afraidof7, Roberto999, Tfhammertime, JasonAQuest,
BoyStarr, Jackerious, Thehelpfulone, Kolyavmk, Giacomoz4, Dazdoc15, Jtle515, Ckpinna, Conradtayeri, Fabechicken, Meloncholic, Joh-
nuniq, Veronique50, SoxBot III, Vanished user uih38riiw4hjlsd, Jaaches, Alyxsylvr, EstherLois, Cowardly Lion, Dweedlebug, Puneet-
minda, BodhisattvaBot, HaereMai, Mr.blugums, Albert159, Clinleyj, MarmadukePercy, Good Olfactory, Slipknot94, Matt5215, Zainboy,
Osarius, King Pickle, GuerrillaWarrior, Autofire153, Coolguy588, Michael Corleone93, Beamathan, Bobocheese, Penriceman, Scope-
sie, Cheese64, Rockliffe, Sully123123, Tim Dole, ChanelBrunette14, TutterMouse, Dela01241, Masterchef1022, Emperor1993, Con-
tiAWB, Twoey, Ashton1983, Admiral meriweather, Noozgroop, DrJos, Bngsudheer, Fredric89, Crazyandy30, The Shadow-Fighter, Z.
Patterson, Craigdavidcrevasse, Doniago, LinkFA-Bot, JGKlein, Lemonade100, Mattmattmattmatty, Blaylockjam10, Der lektor, Sardur,
RW Dutton, Numbo3-bot, F Notebook, Tide rolls, Stratford490, Cream horn, Contributor777, Matt.T, Ctdi, Alexsaidani, Luckas-bot,
Wooblz!, Yobot, Granpuff, Dperry3128, Geshrwh, AHLU, Scrizzatch, Smileypirate, DORC, Allen721, Eric-Wester, Snemelc, Sza-
jci, AnomieBOT, Zekscrab, Hadrian89, Taam, Zxabot, NedQQ, Jaymeethepirate, Citation bot, E2eamon, Bob Burkhardt, ArthurBot,
LilHelpa, Goblineat4, Xqbot, Ubux123, Grifterlake, Pali139, Lostprophetsown, Gilo1969, Jsmith1000, The Evil IP address, Aa77zz,
Almabot, GrouchoBot, Ericherdman, BorderlineWaxwork, Thatindividual, Omnipaedista, Bahahs, Headhitter, Auréola, DiscreteBeyon-
dreason, Nietzsche 2, Horrifico, Blue33109, Thehelpfulbot, Green Cardamom, Pr1nce0fDarkn3ss, Egern~enwiki, FrescoBot, Artimaean,
NSH002, Anna Roy, GenericBob, LucienBOT, Pitcherd, Zenecan, Jc3s5h, HJ Mitchell, Hell in a Bucket, Kwiki, Twiki98, Ladwiki,
Keiwei11, Hairbearhog, Citation bot 1, Sneezes, Pshent, Homo Ergaster, Mimzy1990, Noghiri, 2lz, Haaqfun, Pslide, MastiBot, Île flot-
tante, Subhamrony, A1 Aardvark, Hessamnia, Reconsider the static, Riccardo.fabris, Ciaoping, Doltna, Tim1357, Kgrad, FoxBot, To-
beBot, Trappist the monk, Declan Clam, CLC Editorial, Chromatikoma, Judaskampf, Wotnow, Vrenator, Wikiwiserick, Ktlynch, Di-
annaa, Nyg212530, Tbhotch, Derild4921, Daniel the Monk, Weijiya, Munkitty Tunkitty, RjwilmsiBot, TjBot, Grondemar, EmausBot,
Alexpope, John of Reading, Orphan Wiki, Techguy78, WikitanvirBot, EclecticEnnui, Atwarwiththem, Immunize, Look2See1, Jdkag,
Bua333, Sumsum2010, Bleip, Exok, Jamesmcdonald1994, Lindsaywinn, Solarra, Tommy2010, P. S. F. Freitas, Sturgeonz1, Mikey-
Mouse10, Malcolm77, Kkm010, ZéroBot, Misty MH, Illegitimate Barrister, Drpeter, Josve05a, Laroti, Skydog892, AvicAWB, Ever-
ard Proudfoot, Medeis, Niferthesnifer, Dikaiosynenemesis, AndrewOne, Xela47, Rcsprinter123, Scythia, Intelligentsock, Helenatherat,
Brandmeister, Peterh5322, Thomasroper, Kieranseal, Svrfan100, Ludovica1, Jozzzie, Polisher of Cobwebs, Chewings72, Karlhillmann,
Carmichael, Mlang.Finn, Cccasper123, Wliiam·Shakespeare, Spicemaster10, Mike-Man12, Faramir1138, ClueBot NG, AlbertBickford,
Ohnoshespassed, Serranopoint, V8dude2, Wendyroseberry, NinaGreen, Joefromrandb, Goose friend, Movses-bot, Rafton5, Caffiend67,
Bright Darkness, Knitwitted, Frietjes, Maadikhah, Ateo75, Dominic123456789, Zackaback, Murderdollsfan, Matthew890p, Oddbodz,
Helpful Pixie Bot, Ssteinburg, Narayan89, TGilmour, Mohamed CJ, Winning79, Rubinator7, Graham11, Pikachufan1336, BizarreLove-
Triangle, JOHNDOE, Hart Wud, Snow Rise, Solomon7968, StefSom, Euphoria42, Akramsoldier, Bev V, Smmmaniruzzaman, Gowps14,
Alarbus, Rob0074, Loriendrew, Cengime, Sozertsatel, Johnpauljonesdad, Christophe95, HistorkierMatte, Cloptonson, Arr4, Aristokitty,
StovePicture, Basemetal, Michaelm55, AutomaticStrikeout, Libby995, Dexbot, Br'er Rabbit, Cauveren, MrDamonCorbz, VIAFbot, Ilike-
peanutbutter1000, Hillbillyholiday, Nimetapoeg, Dubhlad, Reverse polish, Pincrete, VanishedUser 2313214sad1, Lomicmenes, CsDix,
FamAD123, Melonkelon, Eyesnore, Sogenius, American In Brazil, Wuerzele, RaphaelQS, CensoredScribe, Wgc120, The Herald, Exo-
planetaryscience, Philroc, Dominicmgm, Thephil12312, FelixRosch, Trinacrialucente, WackyPhysicist, Monkbot, EdgarCabreraFariña,
Covynj, TheEpicGirl, N-C16, Five Antonios, ♥Golf, Zacwill, Qwertyxp2000, Vandawk8, Ssven2, 115ash, Sigehelmus, Korea peace, Jack
Matelot, DangerousJXD, 19thcenturylit, Rtalbot55, Oldstone James, Shebinabdulmuneer, Gertandalice, Maru Alava, Starstarstar123, Kas-
parBot, Chrish65, JerrySa1, Antonios1994, Professor JR, BelgradeGreeks, Baconfish69, LiaElbaz, IvanScrooge98, Clockchime, Laksh
talreja, Kingshowman, Neel.arunabh, Zamaster4536, Guysayshi, Starmaker1234, Galapagew, Juneright and Anonymous: 1884

13.2 Images
• File:A_Scene_from_Troilus_and_Cressida_-_Angelica_Kauffmann.jpg Source: https://upload.wikimedia.org/wikipedia/commons/
0/04/A_Scene_from_Troilus_and_Cressida_-_Angelica_Kauffmann.jpg License: Public domain Contributors: This image is available
from the United States Library of Congress's Prints and Photographs division under the digital ID pga.03274.
This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information.
Original artist: Angelica Kauffman
• File:Brutus_and_the_Ghost_of_Caesar_1802.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/fd/Brutus_and_the_
Ghost_of_Caesar_1802.jpg License: Public domain Contributors: Copperplate engraving from painting by Richard Westall Original artist:
Edward Scriven
• File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: CC-BY-SA-3.0 Contribu-
tors: ? Original artist: ?
• File:Dagger-14-plain.png Source: https://upload.wikimedia.org/wikipedia/commons/3/37/Dagger-14-plain.png License: CC0 Contrib-
utors: Own work Original artist: RexxS
• File:DeverellAsYouLikeIt.JPG Source: https://upload.wikimedia.org/wikipedia/commons/3/30/DeverellAsYouLikeIt.JPG License:
Public domain Contributors: http://www.english.emory.edu/classes/Shakespeare_Illustrated/Deverell.AYLI.html Originally uploaded to
the Afrikaans Wikipedia by Anrie. Original artist: Walter Deverell
24 13 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

• File:Edward_the_third_title_page_(2).jpg Source: https://upload.wikimedia.org/wikipedia/commons/9/9d/Edward_the_third_title_

page_%282%29.jpg License: Public domain Contributors: Transferred from en.wikipedia to Commons. Original artist: William Shake-
speare
• File:First_Folio,_Shakespeare_-_0558.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/d1/First_Folio%2C_
Shakespeare_-_0558.jpg License: Public domain Contributors: Schoenberg Center for Electronic Text & Image (SCETI) Original artist:
William Shakespeare
• File:Gavin_Hamilton_-_Coriolanus_Act_V,_Scene_III_edit2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/e1/
Gavin_Hamilton_-_Coriolanus_Act_V%2C_Scene_III_edit2.jpg License: Public domain Contributors: This image is available from the
United States Library of Congress's Prints and Photographs division under the digital ID pga.00443.
This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information.
Original artist: Gavin Hamilton
• File:Gilbert_WShakespeares_Plays.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/82/Gilbert_WShakespeares_
Plays.jpg License: Public domain Contributors: http://www.flickr.com/photos/sofi01/5936437813/?rb=1 Original artist: John Gilbert
• File:Globe_theatre_london.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a0/Globe_theatre_london.jpg License:
CC-BY-SA-3.0 Contributors: ? Original artist: ?
• File:Helena_and_the_Countess.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/73/Helena_and_the_Countess.jpg Li-
cense: CC BY-SA 4.0 Contributors: Folger Shakespeare Library Digital Image Collection http://luna.folger.edu/luna/servlet/s/79a2dl Orig-
inal artist: John Masey Wright
• File:Henry_Fuseli_rendering_of_Hamlet_and_his_father’{}s_Ghost.JPG Source: https://upload.wikimedia.org/wikipedia/
commons/f/fa/Henry_Fuseli_rendering_of_Hamlet_and_his_father%27s_Ghost.JPG License: Public domain Contributors: ? Original
artist: Henry Fuseli
• File:Johann_Heinrich_Füssli_039.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/e1/Johann_Heinrich_F%C3%
BCssli_039.jpg License: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN
3936122202. Distributed by DIRECTMEDIA Publishing GmbH. Original artist: Henry Fuseli
• File:John_Opie_-_Winter’{}s_Tale,_Act_II._Scene_III.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/09/John_
Opie_-_Winter%27s_Tale%2C_Act_II._Scene_III.jpg License: Public domain Contributors: This image is available from the United States
Library of Congress's Prints and Photographs division under the digital ID pga.02782.
This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information.
Original artist: John Opie
• File:Kirk-TitusAct4ProtectSon.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c2/Kirk-TitusAct4ProtectSon.jpg Li-
cense: Public domain Contributors: http://library.georgetown.edu/dept/speccoll/guac/boydell_04/titus_iv2.jpg Original artist: engraving by
J. Hogg (dates unknown) after painting by Thomas Kirk (1765–1797)
• File:Loves_labours_tp.jpg Source: https://upload.wikimedia.org/wikipedia/commons/9/9b/Loves_labours_tp.jpg License: Public do-
main Contributors: ? Original artist: ?
• File:Macbeth_consulting_the_Vision_of_the_Armed_Head.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/24/
Macbeth_consulting_the_Vision_of_the_Armed_Head.jpg License: Public domain Contributors: ? Original artist: Henry Fuseli
• File:Much_Ado_About_Nothing_by_Alfred_Elmore_1846.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/20/
Much_Ado_About_Nothing_by_Alfred_Elmore_1846.jpg License: Public domain Contributors: http://journey-and-destination.blogspot.
in/2013/09/shakespeare-scenes-in-art.html Original artist: Alfred W. Elmore
• File:Oberon,_Titania_and_Puck_with_Fairies_Dancing._William_Blake._c.1786.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/1/12/Oberon%2C_Titania_and_Puck_with_Fairies_Dancing._William_Blake._c.1786.jpg License: Public domain
Contributors: Tate Britain Image Original artist: William Blake
• File:Office-book.svg Source: https://upload.wikimedia.org/wikipedia/commons/a/a8/Office-book.svg License: Public domain Contribu-
tors: This and myself. Original artist: Chris Down/Tango project
• File:Pericles_1609.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c6/Pericles_1609.jpg License: Public domain Con-
tributors: Pericles titlepage 1609 Original artist: William Shakespeare, George Wilkins
• File:Pity.jpg Source: https://upload.wikimedia.org/wikipedia/en/0/05/Pity.jpg License: PD Contributors: ? Original artist: ?
• File:Procession_of_Characters_from_Shakespeare’{}s_Plays_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/7/78/Procession_of_Characters_from_Shakespeare%27s_Plays_-_Google_Art_Project.jpg License: Public domain
Contributors: 0QHOMxCB-XDE7Q at Google Cultural Institute maximum zoom level Original artist: Unknown artist (manner of Thomas
Stothard)
• File:R_Staines_Malvolio_Shakespeare_Twelfth_Night.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3e/R_
Staines_Malvolio_Shakespeare_Twelfth_Night.jpg License: Public domain Contributors: http://www.lib.utc.edu/manuscripts/mss086/
Shakespeare1.html Original artist: Daniel Maclise
• File:Robson_Crane_Comedy_of_Errors.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/5f/Robson_Crane_
Comedy_of_Errors.jpg License: Public domain Contributors: ? Original artist: ?
• File:Shakespeare’{}s_King_John_at_Drury_Lane_Theatre.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/50/
Shakespeare%27s_King_John_at_Drury_Lane_Theatre.jpg License: Public domain Contributors: The Illustrated London News, Dec. 9,
1865, p. 556 Original artist: Uncredited
• File:ShakespeareMonument_cropped.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/26/ShakespeareMonument_
cropped.jpg License: Public domain Contributors: Cropped from Image:ShakespeareMonument.JPG released to PD by Tom Reedy Original
artist: Cropped from original by current uploader. License as before.
• File:Shakespeare_(oval-cropped).png Source: https://upload.wikimedia.org/wikipedia/commons/d/dd/Shakespeare_
%28oval-cropped%29.png License: Public domain Contributors: National Portrait Gallery[#cite_note-NPG-1 [1]] Original artist:
13.2 Images 25

• John Taylor[#cite_note-NPG-1 [1]]

• File:Shakespeare_coat-of-arms.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/54/Shakespeare_coat-of-arms.jpg
License: Public domain Contributors: College of Heralds, London Original artist: not known for certain, some say it may be William
Shakespeare
• File:Shakespeare_grave_-Stratford-upon-Avon_-3June2007.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/24/
Shakespeare_grave_-Stratford-upon-Avon_-3June2007.jpg License: CC BY 2.0 Contributors: originally posted to Flickr as And curst
be he yt moves my bones Original artist: David Jones
• File:Shylock_icon.png Source: https://upload.wikimedia.org/wikipedia/commons/8/8d/Shylock_icon.png License: Public domain Con-
tributors:
• C_macklin_shylock.jpg Original artist: Johann Zoffany
• File:Sonnets1609titlepage.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f6/Sonnets1609titlepage.jpg License: Public
domain Contributors: Shake-Speare’s Sonnets, quarto published by Thomas Thorpe, London, 1609, http://www.folger.edu/imgdtl.cfm?
imageid=642&cid=926 Original artist: William Shakespeare
• File:Souchon1872ImogenCymbeline.jpg Source: https://upload.wikimedia.org/wikipedia/commons/9/99/
Souchon1872ImogenCymbeline.jpg License: Public domain Contributors: http://www.binbin.net/compare/
Imogen-from-Shakespeares-Cymbeline-1872-Giclee-Print.htm Original artist: Wilhelm Ferdinand Souchon (German, 1825-1876)
• File:Sound-icon.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/47/Sound-icon.svg License: LGPL Contributors:
Derivative work from Silsor's versio Original artist: Crystal SVG icon set
• File:Speaker_Icon.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/21/Speaker_Icon.svg License: Public domain Con-
tributors: No machine-readable source provided. Own work assumed (based on copyright claims). Original artist: No machine-readable
author provided. Mobius assumed (based on copyright claims).
• File:Symbol_book_class2.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/89/Symbol_book_class2.svg License: CC
BY-SA 2.5 Contributors: Mad by Lokal_Profil by combining: Original artist: Lokal_Profil
• File:Tameing_a_Shrew;_or,_Petruchio’{}s_Patent_Family_Bedstead,_Gags_&_Thumscrews.png Source: https://upload.
wikimedia.org/wikipedia/commons/5/58/Tameing_a_Shrew%3B_or%2C_Petruchio%27s_Patent_Family_Bedstead%2C_Gags_%26_
Thumscrews.png License: Public domain Contributors: This image is available from the United States Library of Congress's Prints and
Photographs division under the digital ID cph.3f03804.
This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information.
Original artist: Charles Williams (died 1830)[1]
• File:The_Death_of_Cleopatra_arthur.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/d9/The_Death_of_Cleopatra_
arthur.jpg License: Public domain Contributors: Unknown Original artist: Reginald Arthur (1871-1934)
• File:The_Two_Noble_Kinsmen_by_John_Fletcher_William_Shakespeare_1634.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/8/89/The_Two_Noble_Kinsmen_by_John_Fletcher_William_Shakespeare_1634.jpg License: Public domain
Contributors: Beinecke Rare Book & Manuscript Library, Yale University [2] Original artist: John Fletcher, William Shakespeare
• File:Thomas_Keene_in_Othello_1884_Poster.JPG Source: https://upload.wikimedia.org/wikipedia/commons/1/14/Thomas_Keene_
in_Othello_1884_Poster.JPG License: Public domain Contributors: This image is available from the United States Library of Congress's
Prints and Photographs division under the digital ID cph.3h00058.
This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information.
Original artist: W.J. Morgan & Co. Lith.
• File:TimonAthens01.JPG Source: https://upload.wikimedia.org/wikipedia/commons/4/41/TimonAthens01.JPG License: Public domain
Contributors: Tales from Shakespeare Original artist: McLoughlin Brothers, NY
• File:Title_page_William_Shakespeare’{}s_First_Folio_1623.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8c/
Title_page_William_Shakespeare%27s_First_Folio_1623.jpg License: Public domain Contributors: Beinecke Rare Book & Manuscript
Library, Yale University [2] Original artist: Martin Droeshout
• File:Valentine_rescuing_Silvia.JPG Source: https://upload.wikimedia.org/wikipedia/commons/f/f3/Valentine_rescuing_Silvia.JPG
License: Public domain Contributors: http://www.barbarapaul.com/shake/2gents.html Original artist: Francis Wheatley
• File:Wikibooks-logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/fa/Wikibooks-logo.svg License: CC BY-SA 3.0
Contributors: Own work Original artist: User:Bastique, User:Ramac et al.
• File:Wikiquote-logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/fa/Wikiquote-logo.svg License: Public domain
Contributors: Own work Original artist: Rei-artur
• File:Wikisource-logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg License: CC BY-SA 3.0
Contributors: Rei-artur Original artist: Nicholas Moreau
• File:Wiktionary-logo-v2.svg Source: https://upload.wikimedia.org/wikipedia/commons/0/06/Wiktionary-logo-v2.svg License: CC BY-
SA 4.0 Contributors: Own work Original artist: Dan Polansky based on work currently attributed to Wikimedia Foundation but originally
created by Smurrayinchester
• File:William_Dyce_-_King_Lear_and_the_Fool_in_the_Storm.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4b/
William_Dyce_-_King_Lear_and_the_Fool_in_the_Storm.jpg License: Public domain Contributors: Art UK Original artist: William Dyce
• File:William_Hamilton_Prospero_and_Ariel.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/6a/William_
Hamilton_Prospero_and_Ariel.jpg License: Public domain Contributors: Unknown Original artist: William Hamilton
• File:William_Hunt_Claudio_and_Isabella_Shakespeare_Measure_for_Measure.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/2/29/William_Hunt_Claudio_and_Isabella_Shakespeare_Measure_for_Measure.jpg License: Public domain
Contributors: ? Original artist: William Holman Hunt
• File:William_Shakespeare_(Spoken_Article).ogg Source: https://upload.wikimedia.org/wikipedia/commons/a/a1/William_
Shakespeare_%28Spoken_Article%29.ogg License: CC-BY-SA-3.0 Contributors:
26 13 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

• Derivative of [2] Original artist: Speaker: [[User:|]]

Authors of the article
• File:William_Shakespeare_Statue_in_Lincoln_Park.JPG Source: https://upload.wikimedia.org/wikipedia/commons/5/50/William_
Shakespeare_Statue_in_Lincoln_Park.JPG License: CC0 Contributors: Transferred from en.wikipedia to Commons by Innotata using
CommonsHelper.
Original artist: Victorgrigas at English Wikipedia
• File:William_Shakespeares_birthplace,_Stratford-upon-Avon_26l2007.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/7/7e/William_Shakespeares_birthplace%2C_Stratford-upon-Avon_26l2007.jpg License: CC BY 2.0 Contributors: originally
posted to Flickr as Stratford upon Avon Original artist: John

13.3 Content license

• Creative Commons Attribution-Share Alike 3.0