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Roberta Brandes Gratz contradicts this conventional view. The influence of younger dramatists such as John Marston and Ben Jonson is seen not only in the problem plays, which dramatise intractable human problems of greed and lust, but also in the darker tone of the Jacobean tragedies. As a sharer in both the Globe and in the King's Men, Shakespeare never wrote for the boys' companies; however, his early Jacobean work is markedly influenced by the techniques of the new, satiric dramatists.

One play, Troilus and Cressida , may even have been inspired by the War of the Theatres.

Shakespeare's final plays hark back to his Elizabethan comedies in their use of romantic situation and incident. This change is related to the success of tragicomedies such as Philaster , although the uncertainty of dates makes the nature and direction of the influence unclear. From the evidence of the title-page to The Two Noble Kinsmen and from textual analysis it is believed by some editors that Shakespeare ended his career in collaboration with Fletcher, who succeeded him as house playwright for the King's Men. During the reign of Queen Elizabeth, "drama became the ideal means to capture and convey the diverse interests of the time.

Later on, he retired at the height of the Jacobean period, not long before the start of the Thirty Years' War. His verse style, his choice of subjects, and his stagecraft all bear the marks of both periods. While many passages in Shakespeare's plays are written in prose , he almost always wrote a large proportion of his plays and poems in iambic pentameter. In some of his early works like Romeo and Juliet , he even added punctuation at the end of these iambic pentameter lines to make the rhythm even stronger.

To end many scenes in his plays he used a rhyming couplet to give a sense of conclusion, or completion. Shakespeare's writing especially his plays also feature extensive wordplay in which double entendres and rhetorical flourishes are repeatedly used. Although a large amount of his comical talent is evident in his comedies, some of the most entertaining scenes and characters are found in tragedies such as Hamlet and histories such as Henry IV, Part 1. Shakespeare's humour was largely influenced by Plautus. Shakespeare's plays are also notable for their use of soliloquies , in which a character makes a speech to him- or herself so the audience can understand the character's inner motivations and conflict.

In his book Shakespeare and the History of Soliloquies , James Hirsh defines the convention of a Shakespearean soliloquy in early modern drama.

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He argues that when a person on the stage speaks to himself or herself, they are characters in a fiction speaking in character; this is an occasion of self-address. Furthermore, Hirsh points out that Shakespearean soliloquies and " asides " are audible in the fiction of the play, bound to be overheard by any other character in the scene unless certain elements confirm that the speech is protected.

Therefore, a Renaissance playgoer who was familiar with this dramatic convention would have been alert to Hamlet 's expectation that his soliloquy be overheard by the other characters in the scene. Moreover, Hirsh asserts that in soliloquies in other Shakespearean plays, the speaker is entirely in character within the play's fiction. Saying that addressing the audience was outmoded by the time Shakespeare was alive, he "acknowledges few occasions when a Shakespearean speech might involve the audience in recognising the simultaneous reality of the stage and the world the stage is representing.

As was common in the period, Shakespeare based many of his plays on the work of other playwrights and recycled older stories and historical material. His dependence on earlier sources was a natural consequence of the speed at which playwrights of his era wrote; in addition, plays based on already popular stories appear to have been seen as more likely to draw large crowds.

There were also aesthetic reasons: Renaissance aesthetic theory took seriously the dictum that tragic plots should be grounded in history. The Ur-Hamlet may in fact have been Shakespeare's, and was just an earlier and subsequently discarded version. This structure did not apply to comedy, and those of Shakespeare's plays for which no clear source has been established, such as Love's Labour's Lost and The Tempest , are comedies.

Even these plays, however, rely heavily on generic commonplaces. While there is much dispute about the exact chronology of Shakespeare plays , the plays tend to fall into three main stylistic groupings. The first major grouping of his plays begins with his histories and comedies of the s. Shakespeare's earliest plays tended to be adaptations of other playwrights' works and employed blank verse and little variation in rhythm.

However, after the plague forced Shakespeare and his company of actors to leave London for periods between and , Shakespeare began to use rhymed couplets in his plays, along with more dramatic dialogue. Almost all of the plays written after the plague hit London are comedies, perhaps reflecting the public's desire at the time for light-hearted fare. The middle grouping of Shakespeare's plays begins in with Julius Caesar.

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For the next few years, Shakespeare would produce his most famous dramas, including Macbeth , Hamlet , and King Lear. The plays during this period are in many ways the darkest of Shakespeare's career and address issues such as betrayal, murder, lust, power and egoism. The romances are so called because they bear similarities to medieval romance literature. Among the features of these plays are a redemptive plotline with a happy ending, and magic and other fantastic elements.

Except where noted, the plays below are listed, for the thirty-six plays included in the First Folio of , according to the order in which they appear there, with two plays that were not included Pericles, Prince of Tyre and The Two Noble Kinsmen being added at the end of the list of comedies and Edward III at the end of the list of histories. Note : Plays marked with LR are now commonly referred to as the " late romances ". Plays marked with PP are sometimes referred to as the " problem plays ". The three plays marked with FF were not included in the First Folio. Like most playwrights of his period, Shakespeare did not always write alone, and a number of his plays were collaborative, although the exact number is open to debate.

Some of the following attributions, such as for The Two Noble Kinsmen , have well-attested contemporary documentation; others, such as for Titus Andronicus , remain more controversial and are dependent on linguistic analysis by modern scholars. Note: For a comprehensive account of plays possibly by Shakespeare or in part by Shakespeare, see the separate entry on the Shakespeare Apocrypha. Unlike his contemporary Ben Jonson , Shakespeare did not have direct involvement in publishing his plays and produced no overall authoritative version of his plays before he died.

As a result, the problem of identifying what Shakespeare actually wrote is a major concern for most modern editions. One of the reasons there are textual problems is that there was no copyright of writings at the time. As a result, Shakespeare and the playing companies he worked with did not distribute scripts of his plays, for fear that the plays would be stolen. This led to bootleg copies of his plays, which were often based on people trying to remember what Shakespeare had actually written.

Textual corruptions also stemming from printers' errors, misreadings by compositors, or simply wrongly scanned lines from the source material litter the Quartos and the First Folio. Additionally, in an age before standardised spelling, Shakespeare often wrote a word several times in a different spelling, and this may have contributed to some of the transcribers' confusion. Modern editors have the task of reconstructing Shakespeare's original words and expurgating errors as far as possible.

In some cases the textual solution presents few difficulties. In the case of Macbeth for example, scholars believe that someone probably Thomas Middleton adapted and shortened the original to produce the extant text published in the First Folio , but that remains our only authorised text. In others the text may have become manifestly corrupt or unreliable Pericles or Timon of Athens but no competing version exists. The modern editor can only regularise and correct erroneous readings that have survived into the printed versions.

The textual problem can, however, become rather complicated.

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Modern scholarship now believes Shakespeare to have modified his plays through the years, sometimes leading to two existing versions of one play. To provide a modern text in such cases, editors must face the choice between the original first version and the later, revised, usually more theatrical version. In the past editors have resolved this problem by conflating the texts to provide what they believe to be a superior Ur-text , but critics now argue that to provide a conflated text would run contrary to Shakespeare's intentions.

In King Lear for example, two independent versions, each with their own textual integrity, exist in the Quarto and the Folio versions. Shakespeare's changes here extend from the merely local to the structural. Hence the Oxford Shakespeare , published in second edition , provides two different versions of the play, each with respectable authority.

During Shakespeare's lifetime, many of his greatest plays were staged at the Globe Theatre and the Blackfriars Theatre. Shakespeare's plays continued to be staged after his death until the Interregnum — , [37] when all public stage performances were banned by the Puritan rulers. After the English Restoration , Shakespeare's plays were performed in playhouses with elaborate scenery and staged with music, dancing, thunder, lightning, wave machines, and fireworks.

During this time the texts were "reformed" and "improved" for the stage, an undertaking which has seemed shockingly disrespectful to posterity. Victorian productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets. The staging of the reported sea fights and barge scene in Antony and Cleopatra was one spectacular example. Towards the end of the 19th century, William Poel led a reaction against this heavy style.

In a series of "Elizabethan" productions on a thrust stage , he paid fresh attention to the structure of the drama. In the early twentieth century, Harley Granville-Barker directed quarto and folio texts with few cuts, [39] while Edward Gordon Craig and others called for abstract staging. Both approaches have influenced the variety of Shakespearean production styles seen today. From Wikipedia, the free encyclopedia.

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Plays written by William Shakespeare. Comedies [ edit ] Main article: Shakespearean comedy. Main article: Shakespearean history. Main article: Shakespearean tragedy.

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Main article: Shakespeare's collaborations. Main article: Shakespeare in performance. Logan, Ashgate Publishing, , page Shakespeare: The Biography. London: Chatto and Windus. Elizabethan and Jacobean. Oxford: Clarendon Press. Fairleigh Dickinson Univ Press. Shakespeare's Wordplay. Shakespeare Navigators. Archived from the original on 13 June Retrieved 8 June John F. Charles Scribner's Sons, New York. December Clemen, translated by Charity S. Stokes, Routledge, , page Shakespeare Quarterly. Hamlet in his Modern Guises. Accessed 23 October In de Grazia, Margreta ; Wells, Stanley eds.

The New Cambridge companion to Shakespeare 2 ed. Cambridge, England: Cambridge University Press. Retrieved 15 May — via NYTimes. M Shakespeare's Stage. Shakespeare Among the Moderns.

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    William Shakespeare 's Antony and Cleopatra. Parallel Lives. The False One c. Antony and Cleopatra William Shakespeare 's Coriolanus. Volumnia Virgilia.