William Shakespeare

William Shakespeare— born April 1564; baptised
April 26,
1564; died April 23,
1616 (O.S.), May 3, 1616 (N.S.)—has a reputation as the greatest of all writers in English.
His ability to capture and convey the most profound aspects of human nature
is regarded by many as unequalled and the English Renaissance has often been called
"the age of Shakespeare". He was among the few playwrights
who have excelled in both tragedy and comedy
and several of his plays contain songs that are among the finest lyric poems in
English. He also wrote 154 sonnets,
two narrative poems,
and a handful of shorter poems. Shakespeare wrote his works between 1588 and 1613, although the exact
dates and chronology of the plays attributed to him
are often uncertain.

William Shakespeare (National Portrait Gallery), in the famous Chandos portrait,
artist and authenticity unconfirmed.Shakespeare's influence on the
English-speaking world shows in the widespread use of quotations from Shakespearean plays ([ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]),
the titles of works
based on Shakespearean phrases, and the many adaptations of his plays.
Other signs of his continuing influence include his appearance in the top ten
of the "100 Greatest Britons" poll sponsored by the BBC, the frequent
productions based on his work, such as the BBC Television Shakespeare, and the
success of the fictional account of his life in the 1998 film

Reputation : Main
articles: Shakespeare's
reputation, Timeline of
Shakespeare criticism

Shakespeare's reputation has grown higher and higher
since his own time, as illustrated in a timeline of
Shakespeare criticism from the 17th to 20th century.

During his lifetime and shortly after his death, Shakespeare was
well-regarded, but not considered the supreme poet of his age. He was included
in some contemporary lists of leading poets, but he lacked the stature of Edmund Spenser or Philip Sidney. It is more difficult to assess
his contemporary reputation as a playwright: plays were considered ephemeral
and even somewhat disreputable entertainments rather than serious literature.
The fact that his plays were collected in an expensively produced folio in 1623
(the only precedent being Ben Jonson's Workes
of 1616) and the fact that that folio went into
another edition within nine years, indicate that he was held in unusually high
regard for a playwright.

John Dryden wrote about "the incomparable
Shakespeare" in 1668.

After the Interregnum stage ban of 1642—1660,
the new Restoration
theatre companies had the previous generation of playwrights as the mainstay of
their repertory, most of all the phenomenally popular Beaumont and Fletcher
team, but also Ben Jonson and Shakespeare. Old plays were often
adapted for the Restoration stage,
and where Shakespeare is concerned, this undertaking has seemed shockingly
respectless to posterity. A notorious example is Nahum Tate's happy-ending King Lear of 1681,
which held the stage until 1838. In the early 18th century, Shakespeare took over the lead on
the English stage from Beaumont and Fletcher, never to relinquish it again.

In literary criticism,
by contrast, Shakespeare held a unique position from the start. The unbending
French neo-classical "rules"
and the three unities of time,
place, and action were never strictly followed in England, and
practically all critics gave the more "correct" Ben Jonson second
place to "the incomparable Shakespeare" (John Dryden, 1668), the
follower of nature, the untaught genius, the great realist of
human character. The long-lived myth that the Romantics were the first generation to truly
appreciate Shakespeare and to prefer him to Ben Jonson is contradicted by
accolades from Restoration and 18th-century writers such as John Dryden, Joseph Addison, Alexander Pope, and Samuel Johnson. The 18th century is also largely
responsible for setting the text of Shakespeare's plays. Nicholas Rowe created the first truly scholarly
text for the plays in 1709, and Edmund Malone's Variorum Edition
(published posthumously in 1821) is still the basis of
modern editions of the plays.

At the beginning of the 19th century, Romantic critics such as Samuel Taylor
Coleridge raised admiration for Shakespeare to adulation or bardolatry, in line with
the Romantic reverence for the poet as prophet and genius.

Identity and authorship:
As noted
above, there is considerable historical evidence of the existence of a
William Shakespeare who lived in both Stratford-upon-Avon and London. The vast majority of academics
identify this Shakespeare as the Shakespeare, contrary to the theories
of some who believe that there were two different Shakespeares, one an actor, the other a playwright; or that some other writer
used the name "Shakespeare" as a pseudonym; or that the alternative spellings of
Shakespeare's surname were actually legitimate spellings of two different
names.

In
part, this debate stems from the scarcity and ambiguity of many of the
historical records of this period; even the painting that accompanies this
article (and that appears above the name "William Shakespeare" in the
National
Portrait Gallery, London) may not depict Shakespeare at all. Various
fringe scholars have suggested writers such as Sir Francis Bacon, Edward de Vere, Christopher Marlowe
and even Queen Elizabeth I
as alternative authors or co-authors for some or all of
"Shakespeare"'s work. The proponents of such claims necessarily rely
on conspiracy theories
to explain the lack of direct historical evidence for them.

A
related question in mainstream academia addresses whether Shakespeare himself
wrote every word of his commonly-accepted plays, given that collaboration
between dramatists routinely occurred in the Elizabethan theatre. Serious
academic work continues to attempt to ascertain the authorship of plays and
poems of the time, both those attributed to Shakespeare and others. See academic
Shakespearean authorship debates.

Plays and their
categories: Shakespeare's plays
first appeared in print as a series of folios and quartos,
and scholars, actors and directors continue to study and perform them
extensively. They form an established part of the Western
canon of literature.

One
could categorise his dramatic work as follows:

Tragedies
- Romeo and Juliet
- Macbeth
- King Lear
- Hamlet
- Othello
- Titus Andronicus
- Julius Caesar
- Antony and Cleopatra
- Coriolanus
- Troilus and Cressida
- Timon of Athens

Comedies
- The Comedy of Errors
- All's Well That Ends Well
- As You Like
  It
- A Midsummer Night's Dream
- Much Ado About Nothing
- Measure for Measure
- The Tempest
- Taming of the Shrew
- Twelfth Night or What You Will
- The Merchant of Venice
- The Merry Wives of Windsor
- Cymbeline
- The Winter's Tale
- The Two Noble Kinsmen

Histories
- Richard III
- Richard II
- Henry VI, part 1
- Henry VI, part 2
- Henry VI, part 3
- Henry V
- Henry IV, part 1
- Henry IV, part 2
- Henry VIII
- King John

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William Shakespeare

William Shakespeare

رد: William Shakespeare

رد: William Shakespeare