Shakespeare, William baptized April 26, 1564, Stratford-upon-Avon, Warwickshire, Eng. died April 23, 1616, Stratford-upon-Avon Shakespeare also spelled Shakspere, byname Bard of Avon, or Swan of Avon English poet, dramatist, and actor, often called the English national poet and considered by many to be the greatest dramatist of all time. Introduction Shakespeare occupies a position unique in world literature. Other poets, such as Homer and Dante, and novelists, such as Leo Tolstoy and Charles Dickens, have transcended national barriers; but no writer's living reputation can compare with that of Shakespeare, whose plays, written in the late 16th and early 17th centuries for a small repertory theatre, are now performed and read more often and in more countries than ever before. The prophecy of his great contemporary, the poet and dramatist Ben Jonson, that Shakespeare "was not of an age, but for all time," has been fulfilled. It may be audacious even to attempt a definition of his greatness, but it is not so difficult to describe the gifts that enabled him to create imaginative visions of pathos and mirth that, whether read or witnessed in the theatre, fill the mind and linger there. He is a writer of great intellectual rapidity, perceptiveness, and poetic power. Other writers have had these qualities, but with Shakespeare the keenness of mind was applied not to abstruse or remote subjects but to human beings and their complete range of emotions and conflicts. Other writers have applied their keenness of mind in this way, but Shakespeare is astonishingly clever with words and images, so that his mental energy, when applied to intelligible human situations, finds full and memorable expression, convincing and imaginatively stimulating. As if this were not enough, the art form into which his creative energies went was not remote and bookish but involved the vivid stage impersonation of human beings, commanding sympathy and inviting vicarious participation. Thus Shakespeare's merits can survive translation into other languages and into cultures remote from that of Elizabethan England. Shakespeare the man Life Although the amount of factual knowledge available about Shakespeare is surprisingly large for one of his station in life, many find it a little disappointing, for it is mostly gleaned from documents of an official character. Dates of baptisms, marriages, deaths, and burials; wills, conveyances, legal processes, and payments by the court--these are the dusty details. There is, however, a fair number of contemporary allusions to him as a writer, and these add a reasonable amount of flesh and blood to the biographical skeleton. Early life in Stratford The parish register of Holy Trinity Church in Stratford-upon-Avon shows that Shakespeare was baptized there on April 26, 1564, but his birthday is traditionally celebrated on April 23. His father, John Shakespeare, was a burgess of the borough, who in 1565 was chosen an alderman and in 1568 bailiff (the position corresponding to mayor, before the grant of a further charter to Stratford in 1664). He was engaged in various kinds of trade and appears to have suffered some fluctuations in prosperity. His wife, Mary Arden, of Wilmcote, Warwickshire, came from an ancient family and was the heiress to some land. (Given the somewhat rigid social distinctions of the 16th century, this marriage must have been a step up the social scale for John Shakespeare.) Stratford enjoyed a grammar school of good quality, and the education there was free, the schoolmaster's salary being paid by the borough. No lists of the pupils who were at the school in the 16th century have survived, but it would be absurd to suppose the bailiff of the town did not send his son there. The boy's education would consist mostly of Latin studieslearning to read, write, and speak the language fairly well and studying some of the classical historians, moralists, and poets. Shakespeare did not go on to the university, and indeed it is unlikely that the tedious round of logic, rhetoric, and other studies then followed there would have interested him. Instead, at the age of 18 he married. Where and exactly when are not known, but the episcopal registry at Worcester preserves a bond dated November 28, 1582, and executed by two yeomen of Stratford, named Sandells and Richardson, as a security to the bishop for the issue of a license for the marriage of William Shakespeare and "Anne Hathaway of Stratford," upon the consent of her friends and upon once asking of the banns. (Anne died in 1623, seven years after Shakespeare. There is good evidence to associate her with a family of Hathaways who inhabited a beautiful farmhouse, now much visited, two miles from Stratford.) The next date of interest is found in the records of the Stratford church, where a daughter, named Susanna, born to William Shakespeare, was baptized on May 26, 1583. On February 2, 1585, twins were baptized, Hamnet and Judith. (The boy Hamnet, Shakespeare's only son, died 11 years later.) How Shakespeare spent the next eight years or so, until his name begins to appear in London theatre records, is not known. There are stories--given currency long after his death--of stealing deer and getting into trouble with a local magnate, Sir Thomas Lucy of Charlecote, near Stratford; of earning his living as a schoolmaster in the country; of going to London and gaining entry to the world of theatre by minding the horses of theatregoers; it has also been conjectured that Shakespeare spent some time as a member of a great household and that he was a soldier, perhaps in the Low Countries. In lieu of external evidence, such extrapolations about Shakespeare's life have often been made from the internal "evidence" of his writings. But this method is unsatisfactory: one cannot conclude, for example, from his allusions to the law that Shakespeare was a lawyer; for he was clearly a writer, who without difficulty could get whatever knowledge he needed for the composition of his plays. Career in the theatre The first reference to Shakespeare in the literary world of London comes in 1592, when a fellow dramatist, Robert Greene, declared in a pamphlet written on his deathbed: It is difficult to be certain what these words mean; but it is clear that they are insulting and that Shakespeare is the object of the sarcasms. When the book in which they appear (Greenes, groats-worth of witte, bought with a million of Repentance, 1592) was published after Greene's death, a mutual acquaintance wrote a preface offering an apology to Shakespeare and testifying to his worth. This preface also indicates that Shakespeare was by then making important friends. For, although the puritanical city of London was generally hostile to the theatre, many of the nobility were good patrons of the drama and friends of actors. Shakespeare seems to have attracted the attention of the young Henry Wriothesley, the 3rd earl of Southampton; and to this nobleman were dedicated his first published poems, Venus and Adonis and The Rape of Lucrece. One striking piece of evidence that Shakespeare began to prosper early and tried to retrieve the family fortunes and establish its gentility is the fact that a coat of arms was granted to John Shakespeare in 1596. Rough drafts of this grant have been preserved in the College of Arms, London, though the final document, which must have been handed to the Shakespeares, has not survived. It can scarcely be doubted that it was William who took the initiative and paid the fees. The coat of arms appears on Shakespeare's monument (constructed before 1623) in the Stratford church. Equally interesting as evidence of Shakespeare's worldly success was his purchase in 1597 of New Place, a large house in Stratford, which as a boy he must have passed every day in walking to school. It is not clear how his career in the theatre began; but from about 1594 onward he was an important member of the Lord Chamberlain's Company of players (called the King's Men after the accession of James I in 1603). They had the best actor, Richard Burbage; they had the best theatre, the Globe; they had the best dramatist, Shakespeare. It is no wonder that the company prospered. Shakespeare became a full-time professional man of his own theatre, sharing in a cooperative enterprise and intimately concerned with the financial success of the plays he wrote. Unfortunately, written records give little indication of the way in which Shakespeare's professional life molded his marvellous artistry. All that can be deduced is that for 20 years Shakespeare devoted himself assiduously to his art, writing more than a million words of poetic drama of the highest quality. Private life Shakespeare had little contact with officialdom, apart from walking--dressed in the royal livery as a member of the King's Men--at the coronation of King James I in 1604. He continued to look after his financial interests. He bought properties in London and in Stratford. In 1605 he purchased a share (about one-fifth) of the Stratford tithes--a fact that explains why he was eventually buried in the chancel of its parish church. For some time he lodged with a French Huguenot family called Mountjoy, who lived near St. Olave's Church, Cripplegate, London. The records of a lawsuit in May 1612, due to a Mountjoy family quarrel, show Shakespeare as giving evidence in a genial way (though unable to remember certain important facts that would have decided the case) and as interesting himself generally in the family's affairs. No letters written by Shakespeare have survived, but a private letter to him happened to get caught up with some official transactions of the town of Stratford and so has been preserved in the borough archives. It was written by one Richard Quiney and addressed by him from the Bell Inn in Carter Lane, London, whither he had gone from Stratford upon business. On one side of the paper is inscribed: "To my loving good friend and countryman, Mr. Wm. Shakespeare, deliver these." Apparently Quiney thought his fellow Stratfordian a person to whom he could apply for the loan of £30--a large sum in Elizabethan money. Nothing further is known about the transaction, but, because so few opportunities of seeing into Shakespeare's private life present themselves, this begging letter becomes a touching document. It is of some interest, moreover, that 18 years later Quiney's son Thomas became the husband of Judith, Shakespeare's second daughter. Shakespeare's will, which was made on March 25, 1616, is a long and detailed document. It entailed his quite ample property on the male heirs of his elder daughter, Susanna. (Both his daughters were then married, one to the aforementioned Thomas Quiney and the other to John Hall, a respected physician of Stratford.) As an afterthought, he bequeathed his "second-best bed" to his wife; but no one can be certain what this notorious legacy means. The testator's signatures to the will are apparently in a shaky hand. Perhaps Shakespeare was already ill. He died on April 23. No name was inscribed on his gravestone in the chancel of the parish church of Stratford-upon-Avon. Early posthumous documentation Shakespeare's family or friends, however, were not content with a simple gravestone, and, within a few years, a monument was erected on the chancel wall. It seems to have existed by 1623. Its epitaph, written in Latin and inscribed immediately below the bust, attributes to Shakespeare the worldly wisdom of Nestor, the genius of Socrates, and the poetic art of Virgil. This apparently was how his contemporaries in Stratford-on-Avon wished their fellow citizen to be remembered. The tributes of his colleagues The memory of Shakespeare survived long in theatrical circles, for his plays remained a major part of the repertory of the King's Men until the closing of the theatres in 1642. The greatest of Shakespeare's great contemporaries in the theatre, Ben Jonson, had a good deal to say about him. To William Drummond of Hawthornden in 1619 he said that Shakespeare "wanted art." But, when he came to write his splendid poem prefixed to the Folio edition of Shakespeare's plays in 1623, he rose to the occasion with stirring words of praise: Besides almost retracting his earlier gibe about Shakespeare's lack of art, he gives testimony that Shakespeare's personality was to be felt, by those who knew him, in his poetry--that the style was the man. Jonson also reminded his readers of the strong impression the plays had made upon Queen Elizabeth I and King James I at court performances: Shakespeare seems to have been on affectionate terms with his theatre colleagues. His fellow actors John Heminge and Henry Condell (who, with Burbage, were remembered in his will) dedicated the First Folio of 1623 to the Earl of Pembroke and the Earl of Montgomery, explaining that they had collected the plays " . . . without ambition either of self-profit or fame; only to keep the memory of so worthy a friend and fellow alive as was our Shakespeare, . . . 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