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William Shakespeare

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Title: William Shakespeare


1
Group 3
  • ?????????
  • ????????
  • ????

2
William Shakespeare
?!
3
Shakespeare's Biography
4
Birth
  • William Shakespeare was born in
    Stratford-upon-Avon, allegedly on April 23, 1564.
  • Young William was born of John Shakespeare, a
    glover and leather merchant, and Mary Arden, a
    landed local heiress.
  • William, according to the church register, was
    the third of eight children in the Shakespeare
    householdthree of whom died in childhood.
  • John Shakespeare had a remarkable run of success
    as a merchant, alderman, and high bailiff of
    Stratford, during William's early childhood. His
    fortunes declined, however, in the late 1570s.

5
Stratford upon-Avon(????????)
  • Stratford upon-Avon Station

6
Stratford upon-Avon Street
7
Town Hall
8
18?????God Save the King?
9
Shakespeare's Birthplace
10
Shakespeare's Birthplace ???
11
Education
12
  • It is surmised by scholars that Shakespeare
    attended the free grammar school in Stratford,
    which at the time had a reputation to rival that
    of Eton??.
  • While there are no records extant to prove this
    claim, Shakespeare's knowledge of Latin and
    Classical Greek would tend to support this
    theory.
  • As the records do not exist, we do not know how
    long William attended the school, but certainly
    the literary quality of his works suggest a solid
    education.
  • What is certain is that William Shakespeare
    never proceeded to university schooling, which
    has stirred some of the debate concerning the
    authorship?? of his works.

13
Marriage
14
  • The next documented event in Shakespeare's life
    is his marriage to Anne Hathaway on November 28,
    1582.
  • William was 18 at the time, and Anne was 26and
    pregnant.
  • Their first daughter, Susanna, was born on May
    26, 1583. The couple later had twins, Hamnet and
    Judith, born February 2, 1585 and christened at
    Holy Trinity. Hamnet died in childhood at the age
    of 11, on August 11, 1596.

15
Career
16
  • It is estimated that Shakespeare arrived in
    London around 1588 and began to establish himself
    as an actor and playwright.
  • By 1594, he was not only acting and writing for
    the Lord Chamberlain's Men (called the King's Men
    after the ascension of James I in 1603), but was
    a managing partner in the operation as well.
  • With Will Kempe, a master comedian, and Richard
    Burbage, a leading tragic actor of the day, the
    Lord Chamberlain's Men became a favorite London
    troupe, patronized by royalty and made popular by
    the theatre-going public.

17
Death
??!??????
18
  • William Shakespeare wrote his will in 1611,
    bequeathing?? his properties to his daughter
    Susanna .To his surviving daughter Judith, he
    left 300, and to his wife Anne left "my second
    best bed.
  • " William Shakespeare allegedly died on his
    birthday, April 23, 1616. This is probably more
    of a romantic myth than reality, but Shakespeare
    was interred ??at Holy Trinity in Stratford on
    April 25.
  • In 1623, two working companions of Shakespeare
    from the Lord Chamberlain's Men, John Heminges
    and Henry Condell, printed the First Folio?????
    edition of his collected plays, of which half
    were previously unpublished.

19
Holy Trinity Church ????? (??????)
20
Shakespeare's Works
  • William Shakespeare, in terms of his life and his
    body of work, is the most written-about author in
    the history of Western civilization.
  • His canon??? includes 38 plays, 154 sonnets, and
    2 epic narrative poems.
  • The First Folio (cover shown at left) was
    published posthumously???in 1623 by two of
    Shakespeare's acting companions, John Heminges
    and Henry Condell.
  • Ever since then, the works of Shakespeare have
    been studied, analyzed, and enjoyed as some of
    the finest masterpieces of the English language.

21
  • In his time, Shakespeare was the most popular
    playwright of London.
  • As centuries have passed, his genius eclipses???
    all others of his age Jonson, Marlowe, Kyd,
    Greene, Dekker, Heywoodnone approach the craft
    or the humanity of character that marks the
    Bard's work.
  • He took the art of dramatic verse and honed? it
    to perfection. He created the most vivid
    characters of the Elizabethan stage.
  • His usage of language, both lofty and low, shows
    a remarkable wit and subtlety??. Most
    importantly, his themes are so universal that
    they transcend?? generations to stir the
    imaginations of audiences everywhere to this day.

22
His plays generally fall into four categories
  • Pre-1594 (Richard III, The Comedy of Errors)
  • 15941600 (Henry V, Midsummer Night's Dream)
  • 16001608 (Macbeth , King Lear )
  • Post-1608 (Cymbeline , The Tempest)

23
  • The first period has its roots in Roman and
    medieval???dramathe construction of the plays,
    while good, is obvious and shows the author's
    hand more brusquely??? than the later works.
  • The earliest Shakespeare also owes a debt to
    Christopher Marlowe, whose writing probably gave
    much inspiration at the onset of the Bard's??
    career.

24
  • The second period showed more growth in style,
    and the construction becoming less labored??????.
  • The histories of this period are Shakespeare's
    best, portraying??the lives of kings and royalty
    in most human terms.
  • He also begins the interweaving of comedy and
    tragedy, which would become one of his stylistic
    signatures.
  • His comedies mature in this period as well,
    portraying a greater characterization???? in
    their subjects.

25
  • The third period marks the great tragedies, and
    the principal works which would earn the Bard his
    fame in later centuries.
  • His tragic figures rival those of
    Sophocles???????, and might well have walked off
    the Greek stage straight onto the Elizabethan.
  • Shakespeare is at his best in these tragedies.
    The comedies of this period, however, show
    Shakespeare at a literary crossroadsmoody and
    without the clear comic resolution of previous
    comedies. Hence, the term "problem plays" to
    describe them.

26
  • The fourth period encompasses romantic
    tragicomedy.
  • Shakespeare at the end of his career seemed
    preoccupied with themes of redemption??.
  • The writing is more serious yet more
    lyrical?????, and the plays show Shakespeare at
    his most symbolic.
  • It is argued between scholars whether this period
    owed more to Shakespeare's maturity as a
    playwright or merely signified a changing trend
    in Elizabethan theatre (theater) at the time.

27
??
  • ???????(Romeo and Juliet)
  • ???(Macbeth)???????????????
  • ???(King Lear)
  • ????(Hamlet)?????????????????????
  • ???(Othello)?????
  • ?????????(Titus Andronicus)
  • ?????(Julius Caesar)
  • ??????????(Antony and Cleopatra)
  • ??????(Coriolanus)
  • ??????(Troilus and Cressida)
  • ?????(Timon of Athens)

28
To throw, or not to throw, that is the question.
VS
29
Ophelia(??????????)
30
(No Transcript)
31
??
  • ???(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)
  • ????(Love's Labour's Lost)
  • ??????(The Two Gentlemen of Verona)?????
  • ?????????(Pericles Prince of Tyre)
  • ???(Cymbeline)
  • ?????(The Winter's Tale)
  • ???(The Tempest)

32
(No Transcript)
33
???
  • ????,???(Henry IV, part 1)
  • ????,???(Henry IV, part 2)
  • ????(Henry V)
  • ????,???(Henry VI, part 1)
  • ????,???(Henry VI, part 2)
  • ????,???(Henry VI, part 3)
  • ????(Henry VIII)
  • ???(King John)
  • ????(Richard II)
  • ????(Richard III)

34
?
  • ????(The Sonnets)
  • ?????(A Lover's Complaint)?????
  • ???????(The Rape of Lucrece)??????????
  • ????????(Venus and Adonis)
  • ??????(The Passionate Pilgrim)???????
  • ?????(The Phoenix and the Turtle)

35
The Sonnets
36
Origin
  • The sonnet was arguably???? the most popular
    bound verse form in England when Shakespeare was
    writing.
  • Imported from Italy (as the Petrarchan or Italian
    sonnet), the form took on a distinctive English
    style of three distinctively rhymed quatrains
    capped by a rhymed couplet?? comprising 14 total
    lines of verse.
  • This allowed the author to build a rising pattern
    of complication in a three-act movement, followed
    by the terse ???denouement ??of the final two
    lines.
  • Conventional subject matter of the Elizabethan
    sonnet concerned love, beauty, and faith.

37
Shakespeare's sonnets
  • At some point in the early 1590s, Shakespeare
    began wring a compilation ??of sonnets.
  • The first edition of these appeared in print in
    1609. However, Frances Meres mentions Shakespeare
    sharing at least some of them among friends as
    early as 1598, and two (138 and 144) appear as
    early versions in the 1599 folio The Passionate
    Pilgrim.
  • Shakespeare's seeming ambivalence toward having
    the sonnets published stands in remarkable
    contrast to the poetic mastery they demonstrate.

38
Form
  • With only a few exceptionsSonnets 99, 126, and
    145Shakespeare's verses follow the established
    English form of the sonnet.
  • Each is a fourteen-line poem in iambic
    pentameter, comprising four sections three
    quatrains, or groups of four lines, followed by a
    couplet of two lines.
  • Traditionally, a differentthough relatedidea is
    expressed in each quatrain, and the argument or
    theme of the poem is summarized or generalized in
    the concluding couplet.

39
  • It should be noted that many of Shakespeare's
    couplets do not have this conventional effect.
    Shakespeare did, however, employ the traditional
    English sonnet rhyme-scheme
  • abab, cdcd, efef, gg.

40
141
  • In faith I do not love thee with mine
    eyes,For they in thee a thousand errors
    noteBut tis my heart that loves what they
    despise,Who in despite of view is pleased to
    dote.Nor are mine ears with thy tongues tune
    delightedNor tender feeling to base touches
    prone,Nor taste, nor smell, desire to be
    invitedTo any sensual feast with thee alone.But
    my five wits, nor my five senses canDissuade one
    foolish heart from serving thee,Who leaves
    unswayed the likeness of a man,Thy proud hearts
    slave and vassal wretch to be.Only my plague
    thus far I count my gain,That she that makes me
    sin awards me pain.

41
Content
  • The sonnets are poignant??? expressions on love,
    beauty, mortality, and the effects of time.
  • They also defy many expected conventions of the
    traditional sonnet by addressing praises of
    beauty and worth to the fair youth, or by using
    the third quatrain ???as part of the resolution
    of the poem.

42
  • Shakespeare's 154 sonnets, taken together, are
    frequently described as a sequence, and this is
    generally divided into two sections.
  • Sonnets 1-126 focus on a young man and the
    speaker's friendship with him, and Sonnets 127-52
    focus on the speaker's relationship with a woman.
  • However, in only a few of the poems in the first
    group is it clear that the person being addressed
    is a male.

43
  • And most of the poems in the sequence as a whole
    are not direct addresses to another person.
  • The two concluding sonnets, 153 and 154, are free
    translations or adaptations of classical verses
    about Cupid some critics believe they serve a
    specific purposethough they disagree about what
    this may bebut many others view them as
    perfunctory.

44
?????
  • ?????????

45
Sonnet 18
  • Quatrain 1 (four-line stanza) 
  • A  Shall I compare thee to a summer's DAY?
  • (If I compared you to a summer day) 
  •  B  Thou art more lovely and more temperATE
  • (I'd have to say you are more beautiful and
    serene)
  •   A   Rough winds do shake the darling buds of
    MAY
  • (By comparison, summer is rough on budding life) 
  •   B   And summer's lease hath all too short a
    DATE
  • (And doesn't last long either)  

46
Sonnet 18
  • Quatrain 2 (four-line stanza) 
  • C   Sometime too hot the eye of heaven SHINES
  • (At times the summer sun heaven's eye is too
    hot)  
  •  D   And often is his gold complexion DIMM'D
  • (And at other times clouds dim its brilliance) 
  •  C  And every fair from fair sometime deCLINES
  • (Everything fair in nature becomes less fair
    from time to time)
  •     D   By chance or nature's changing course
    unTRIMM'D
  • (No one can change trim nature or chance)  

47
Sonnet 18
  • Quatrain 3 (four-line stanza) 
  • E    But thy eternal summer shall not FADE
  • (However, you yourself will not fade) 
  • F    Nor lose possession of that fair thou
    OWEST
  • (Nor lose ownership of your fairness) 
  •   E    Nor shall Death brag thou wander'st in
    his SHADE
  • (Not even death will claim you)  
  • F    When in eternal lines to time thou
    GROWEST
  • (Because these lines I write will
    immortalize you)  

48
Sonnet 18
  • Couplet (two rhyming lines) 
  • G   So long as men can breathe or eyes can SEE
  • (Your beauty will last as long as men
    breathe and see)  
  • G    So long lives this and this gives life to
    THEE
  • (As Long as this sonnet lives and gives you
    life)  
  • The rhyme scheme is as follows  
    ............First stanza (quatrain) ABAB  
    ............Second stanza (quatrain) CDCD  
    ............Third stanza (quatrain) EFEF  
    ............Couplet GG. 

49
Sonnet 23
  • Quatrain 1 (four-line stanza) 
  • As an unperfect actor on the stage
  • Who with his fear is put besides his part,
  • Or some fierce thing replete with too much
    rage,
  • Whose strength's abundance weakens his own
    heart.
  • Quatrain 2 (four-line stanza) 
  • So I, for fear of trust, forget to say
  • The perfect ceremony of love's rite,
  • And in mine own love's strength seem to decay,
  • O'ercharged with burden of mine own love's
    might.

50
Sonnet 23
  • Quatrain 3 (four-line stanza) 
  • O, let my books be then the eloquence
  • And dumb presagers of my speaking breast,
  • Who plead for love and look for recompense
  • More than that tongue that more hath more
    express'd.
  • Couplet (two rhyming lines) 
  • O, learn to read what silent love hath writ
  • To hear with eyes belongs to love's fine wit.

51
Sonnet 116
  • Quatrain 1 (four-line stanza) 
  • Let me not to the marriage of true minds
  • Admit impediments. Love is not love
  • Which alters when it alteration finds,
  • Or bends with the remover to remove
  • Quatrain 2 (four-line stanza) 
  • O no! it is an ever-fixed mark
  • That looks on tempests and is never shaken
  • It is the star to every wandering bark,
  • Whose worth's unknown, although his height be
    taken.

52
Sonnet 116
  • Quatrain 3 (four-line stanza) 
  • Love's not Time's fool, though rosy lips and
    cheeks
  • Within his bending sickle's compass come
  • Love alters not with his brief hours and weeks,
  • But bears it out even to the edge of doom.
  • Couplet (two rhyming lines) 
  • If this be error and upon me proved,
  • I never writ, nor no man ever loved.

53
Sonnet 152
  • Quatrain 1 (four-line stanza) 
  • In loving thee thou know'st I am forsworn,
  • But thou art twice forsworn, to me love swearing,
  • In act thy bed-vow broke and new faith torn,
  • In vowing new hate after new love bearing.
  • Quatrain 2 (four-line stanza)
  • But why of two oaths' breach do I accuse thee,
  • When I break twenty? I am perjured most
  • For all my vows are oaths but to misuse thee
  • And all my honest faith in thee is lost,

54
Sonnet 152
  • Quatrain 3 (four-line stanza) 
  • For I have sworn deep oaths of thy deep kindness,
  • Oaths of thy love, thy truth, thy constancy,
  • And, to enlighten thee, gave eyes to blindness,
  • Or made them swear against the thing they see
  • Couplet (two rhyming lines) 
  • For I have sworn thee fair more perjured I,
  • To swear against the truth so foul a lie!

55
Twelfth Night
56
  • In the kingdom of Illyria, a nobleman named
    Orsino lies around listening to music, pining
    away for the love of Lady Olivia. He cannot have
    her because she is in mourning for her dead
    brother and refuses to entertain any proposals of
    marriage.

57
  • Meanwhile, off the coast, a storm has caused a
    terrible shipwreck. A young, aristocratic-born
    woman named Viola is swept onto the Illyrian
    shore. Finding herself alone in a strange land,
    she assumes that her twin brother, Sebastian, has
    been drowned in the wreck, and tries to figure
    out what sort of work she can do.

58
  • A friendly sea captain tells her about Orsinos
    courtship of Olivia, and Viola says that she
    wishes she could go to work in Olivias home. But
    since Lady Olivia refuses to talk with any
    strangers, Viola decides that she cannot look for
    work with her. Instead, she decides to disguise
    herself as a man, taking on the name of Cesario,
    and goes to work in the household of Duke Orsino.

59
  • Viola (disguised as Cesario) quickly becomes a
    favorite of Orsino, who makes Cesario his page.
    Viola finds herself falling in love with Orsinoa
    difficult love to pursue, as Orsino believes her
    to be a man. But when Orsino sends Cesario to
    deliver Orsinos love messages to the disdainful
    Olivia, Olivia herself falls for the beautiful
    young Cesario, believing her to be a man. The
    love triangle is complete Viola loves Orsino,
    Orsino loves Olivia, and Olivia loves Cesarioand
    everyone is miserable.

60
  • Meanwhile, we meet the other members of Olivias
    household her rowdy drunkard of an uncle, Sir
    Toby his foolish friend, Sir Andrew Aguecheek,
    who is trying in his hopeless way to court
    Olivia Olivias witty and pretty
    waiting-gentlewoman, Maria Feste, the clever
    clown of the house and Malvolio, the dour,
    prudish steward of Olivias household. When Sir
    Toby and the others take offense at Malvolios
    constant efforts to spoil their fun, Maria
    engineers a practical joke to make Malvolio think
    that Olivia is in love with him.

61
  • She forges a letter, supposedly from Olivia,
    addressed to her beloved (whose name is signified
    by the letters M.O.A.I.), telling him that if he
    wants to earn her favor, he should dress in
    yellow stockings and crossed garters, act
    haughtily, smile constantly, and refuse to
    explain himself to anyone. Malvolio finds the
    letter, assumes that it is addressed to him, and,
    filled with dreams of marrying Olivia and
    becoming noble himself, happily follows its
    commands. He behaves so strangely that Olivia
    comes to think that he is mad.

62
  • Meanwhile, Sebastian, who is still alive after
    all but believes his sister Viola to be dead,
    arrives in Illyria along with his friend and
    protector, Antonio. Antonio has cared for
    Sebastian since the shipwreck and is passionately
    (and perhaps sexually) attached to the young
    manso much so that he follows him to Orsinos
    domain, in spite of the fact that he and Orsino
    are old enemies.

63
  • Sir Andrew, observing Olivias attraction to
    Cesario (still Viola in disguise), challenges
    Cesario to a duel. Sir Toby, who sees the
    prospective duel as entertaining fun, eggs Sir
    Andrew on. However, when Sebastianwho looks just
    like the disguised Violaappears on the scene,
    Sir Andrew and Sir Toby end up coming to blows
    with Sebastian, thinking that he is Cesario.

64
  • Olivia enters amid the confusion. Encountering
    Sebastian and thinking that he is Cesario, she
    asks him to marry her.
  • He is baffled, since he has never seen her
    before. He sees, however, that she is wealthy and
    beautiful, and he is therefore more than willing
    to go along with her.

65
  • Meanwhile, Antonio has been arrested by Orsinos
    officers and now begs Cesario for help, mistaking
    him for Sebastian. Viola denies knowing Antonio,
    and Antonio is dragged off, crying out that
    Sebastian has betrayed him. Suddenly, Viola has
    newfound hope that her brother may be alive.

66
  • Malvolios supposed madness has allowed the
    gleeful Maria, Toby, and the rest to lock
    Malvolio into a small, dark room for his
    treatment, and they torment him at will. Feste
    dresses up as "Sir Topas," a priest, and pretends
    to examine Malvolio, declaring him definitely
    insane in spite of his protests. However, Sir
    Toby begins to think better of the joke, and they
    allow Malvolio to send a letter to Olivia, in
    which he asks to be released.

67
  • Eventually, Viola (still disguised as Cesario)
    and Orsino make their way to Olivias house,
    where Olivia welcomes Cesario as her new husband,
    thinking him to be Sebastian, whom she has just
    married. Orsino is furious, but then Sebastian
    himself appears on the scene, and all is
    revealed.

68
  • The siblings are joyfully reunited, and Orsino
    realizes that he loves Viola, now that he knows
    she is a woman, and asks her to marry him. We
    discover that Sir Toby and Maria have also been
    married privately. Finally, someone remembers
    Malvolio and lets him out of the dark room. The
    trick is revealed in full, and the embittered
    Malvolio storms off, leaving the happy couples to
    their celebration.

69
Analysis
70
Love as a Cause of Suffering
  • At one point, Orsino depicts love dolefully as an
    appetite that he wants to satisfy and cannot
    at another point, he calls his desires fell and
    cruel hounds . Olivia more bluntly describes
    love as a plague from which she suffers
    terribly . These metaphors contain an element of
    violence, further painting the love-struck as
    victims of some random force in the universe.
    Even the less melodramatic Viola sighs unhappily
    that My state is desperate for my masters love
    . This desperation has the potential to result in
    violence, when Orsino threatens to kill Cesario
    because he thinks that -Cesario has forsaken him
    to become Olivias lover.

71
  • Malvolio, who has pursued Olivia, must ultimately
    face the realization that he is a fool, socially
    unworthy of his noble mistress.
  • Antonio is in a more difficult situation, as
    social norms do not allow for the gratification
    of his apparently sexual attraction to Sebastian.

72
The Uncertainty of Gender
  • Gender is one of the most obvious and
    much-discussed topics in the play. Twelfth Night
    is one of Shakespeares so-called transvestite
    comedies, in which a female characterin this
    case, Violadisguises herself as a man. This
    situation creates a sexual mess Viola falls in
    love with Orsino but cannot tell him, because he
    thinks she is a man, while Olivia, the object of
    Orsinos affection, falls for Viola in her guise
    as Cesario.

73
  • There is a clear homoerotic subtext here Olivia
    is in love with a woman, even if she thinks he is
    a man, and Orsino often remarks on Cesarios
    beauty, suggesting that he is attracted to Viola
    even before her male disguise is removed. This
    latent homoeroticism finds an explicit echo in
    the minor character of Antonio, who is clearly in
    love with his male friend, Sebastian.

74
  • Even after Orsino knows that Viola is a woman, he
    says to her, Boy, thou hast said to me a
    thousand times / Thou never shouldst love woman
    like to me. Similarly, in his last lines, Orsino
    declares, Cesario, come / For so you shall be
    while you are a man / But when in other habits
    you are seen, / Orsinos mistress, and his
    fancys queen. Even once everything is revealed,
    Orsino continues to address Viola by her male
    name. We can thus only wonder whether Orsino is
    truly in love with Viola, or if he is more
    enamoured of her male persona.

75
The Folly of Ambition
  • The character of Malvolio, the steward, who seems
    to be a competent servant, if prudish and dour,
    but proves to be, in fact, a supreme egotist,
    with tremendous ambitions to rise out of his
    social class. Maria plays on these ambitions when
    she forges a letter from Olivia that makes
    Malvolio believe that Olivia is in love with him
    and wishes to marry him.

76
  • Sir Toby and the others find this fantasy
    hysterically funny, of coursenot only because of
    Malvolios unattractive personality but also
    because Malvolio is not of noble blood. In the
    class system of Shakespeares time, a noblewoman
    would generally not sully her reputation by
    marrying a man of lower social status.
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