Did William Shakespeare Actually Never Live?

How shakespeare's life went through the next eight years is unknown until he goes to London with his horse to make a living as a school principal in his country and his name begins to appear in London theater records. there are only records of fines imposed on him long before his death stealing deer from charlecote sir thomas lucy near stratford and getting into trouble with a local master. It is also assumed that shakespeare is a soldier, perhaps as a member of a large family, in the pit countries. Instead of external evidence, these extrapolations about shakespeare's life are often made from the internal evidence of his writings. however, this method is not satisfactory: for example, we cannot conclude from shakespeare's references to the law that he is a lawyer because he was a writer who did not have difficulty in obtaining the information he needed for the composition of his plays.

theater career
In London's literary world, the first reference to shakespeare appeared in 1592, in a booklet written by Robert Greene, a dramatist, on his deathbed:
"There's a crow embellished with our feathers, he thinks he can decorate a rhyme poem with the heart of tygers hiding his actors, and being an absolute housekeeper is the only" shake "in the country."

It is difficult to determine what these words mean, but it is clearly insulting and shakespeare is the target of the regiment itself. When the book in which the words were written was published after the death of greene, he wrote a foreword to a mutual acquaintance shakespeare apologizing and witnessing its value. this preface also shows that shakespeare made important friends. Although the puritenist city of london was often hostile to the theater, most of the nobility were bosses and friends of actors. shakespeare also seems to have caught the attention of young henry wriothesley, the third earl of southampton. The rape of lucrece, with his first published poems venus and adonis, was dedicated to this noble person.

One of the striking evidences that shakespeare started to develop early and tried to increase the fortunes of his family is that in 1596 a shag of rigging was given to john shakespeare. The drafts and the final document to be submitted for this grant have been preserved at the college of arms in london, although no shakespeare survived. almost exclusively william took the initiative for this grant and crest and paid the fees himself. his coat of arms is present in shakespeare's memorial in the stratford church. Another equally interesting thing as the proof of shakespeare's worldwide success was the acquisition of the new place in stratford in 1597.
It is unclear how his career at the theater started, but from 1594 the actors of lord chamberlain were an important member of the company (the king's men after the arrival of James I in 1603). this community had the best actor richard burbage, the best theater the globe (finished in fall 1599), and the best playwright shakespeare. The high level of the company's welfare is not surprising with this staff. In a shakespeare cooperative business, he became a full-time professional man of the theater, closely interested in the financial success of his plays.

unfortunately, written recordings are not an indication of how shakespeare shaped the marvelous art of his professional life. The only thing that can be achieved is that for 20 years, shakespeare devoted himself to his art and wrote more than one million poetic drama words of the highest quality.

private life
shakespeare, in 1604 i. He attended the coronation ceremony of James as a member of the king's men. Apart from the ceremony, he officially made very little contact with the royal family and focused his attention on taking care of his financial interests. He bought properties in London and Stratford. In 1605, shakespeare paid about a fifth of the stratford tax. this explains why it was carefully embedded in the church. for a while in london st. He stayed with a family of french huguenot named mountjoy, who lived near the olave ​​church. The case records of the mountjoy family fights in May 1612 show that shakespeare witnessed a murder (although he may not remember some important facts that could conclude the case, it is said to be genial) and is often related to the family's affairs.

No letter from Shakespeare has survived, but a special letter has emerged for the official operations of the town of stratford, and is therefore preserved in the county archives. this letter was written by a man named richard quiney, and he came from the bell inn in carter lane, london, where he went to work from stratford. it is written on one side of the paper:
“My dear friend and a good citizen, Mr. Wm. I would like you to forward them to shakespeare. "
apparently quiney thought of his friend from stratford as someone he could apply for a £ 30 loan, which was a huge sum during elizabeth periods. Although nothing else is known about the procedure, a beggar letter becomes a very touching document because there is so little opportunity to see shakespeare's private life, even if it is small. Moreover, it is interesting that 18 years later, the son of quiney, Thomas, was the husband of shakespeare's second daughter, Judith.

shakespeare's will is a long and detailed document. her eldest daughter, susanna, had a much larger legacy than her male heirs. (one of the girls married to Thomas quiney, mentioned above, and the other to stratford's respected doctor, John Hall.) Then he left his "second best bed" to his wife; no one can be sure what this famous heritage means. shakespeare made his will with his seemingly shaky hand, perhaps it was because shakespeare was sick and died on April 23, 1616. No name was written on the tombstone at the stratford-upon-avon parish church. instead, these lines probably came up with their own expression:
"ancient friend,
For Christ's sake, don't scatter the dust of this tomb.
God bless those who guard this tombstone.
and damn those who move my bones. "

sexual orientation
Like many conditions in shakespeare's personal life, his sexual nature overlaps with uncertainty. In 1582, she married Anne Hathaway, a woman eight years older than her. their first child, susanna, was born on May 26, 1583, about six months after the marriage ceremony. Church approval was given for marriage on 27 November 1582. The consent declared that marriage was for one time only and included giving any party the opportunity to make legal appeals in possible cases. this procedure and the rapid arrival of the couple's first child suggest that pregnancy is unplanned, exactly as it was before marriage. hence the marriage seems to be an “accident bullet” wedding. The mother gave birth to twins named hamnet and judith, who were baptized on February 2, 1585, 21 months after the birth of susanna. after that, william and mom did not have children. They remained married until William's death in 1616.

Were they compatible or would William choose to live apart from the mother during their marriage because of discontent? When he moved to London between 1585 and 1592, he did not take his family with him. It was almost impossible to get a divorce during this period. Were there medical or other reasons for not having more children? Was William Stratford when his only son, Hamnet, died at the age of 11 in 1596?
He bought a good home for his family in stratford and bought other real estate nearby. In 1623 the mother was buried in the holy trinity church in stratford, where she joined her. probably shakespeare retired from london in 1612 and returned to stratford. He had lived in a very busy professional life for at least twenty years, apart from his wife and children. Except that he left his last second wish, his “second best bed” to the mother, many academics claim that the marriage started due to an unplanned pregnancy because his wife's name did not pass.

how was your love life in london while away from the shakespeare family? this issue is ambiguous at best. According to a diary on March 13, 1602, the writer of a law student named john manningham had a brief relationship with shakespeare after he got close to a woman in the lead role of richard iii with richard burbage, who was also a member of the community to which shakespeare belongs. . Benefiting from overhearing the conversations of the woman with burbage, it was claimed that shakespeare was "entertained" by the woman at the place where the game was organized and was printed on the job when burbage came. In fact, he writes that shakespeare's "conqueror william * comes before the third richard" (shakespeare's name is also known as William), stating that he actually came to "third richard". Because it is unconfirmed and can speak with the thought of actors to be considered free spirits and bohemians, it must be met with skepticism.But the story was so fun that it was discovered, embellished and transferred to a general view of the stage * before manningham's diary. though this note at least suggests that shakespeare is heterosexual and occasionally unfaithful to the vow of marriage.when shakespeare in love film presents shakespeare purely fictional, romeo and juliet who are willing to be actors in a professional acting company inspiring viola de lesseps named young woman with b Offers u proof.

Apart from these interesting conditions, there is little evidence other than poems and plays by Shakespeare. can anything be learned from them? In the sonnets, perhaps written over a long period from the early 1590s to the 1600s, an in-depth loving relationship between the printer of the sonnets and a well-known young man is being chronic. The poet's speech is largely continued with love that seems to be mutual from time to time. more often the relationship is filled with jealousy, with the perception that the poet has gained the love of the young man, and the deep unhappiness of a downright desolation, as he eventually gets away from the young man, a black-haired beauty he likes sexually (as at 129 in the end, in his unbridled lust most Without a little disgust). Although this narrative seems to show the poet's desires in the heterosexual direction, previous sonnets also offer a desire for a young man. the relationship between them is depicted as very emotional and dependent; The narrator of the poem cannot live without a friend, and that friend fervently returns the love he feels to the narrator of the poem. however, today it is not easy to say whether love is intended to be physically completed. Indeed, the narrator of the poem denies this possibility by saying to his friend “the only thing that makes my goal nothing” (the only thing is a penis.) which means that physicality should be seen only as in a friendship relationship. In the 20th sonnet: "For women who have created manhood, you take my love, they will exploit your treasure." The emphasis on “masculinity” emphasizes the sexual meaning of the ending couple of sone. critic joseph pequigney states that sonnets still remind of a physical relationship consumed between the poeter's speaker and friend, but most commentators have avoided such a bold claim.
Another important challenge is that the sonnets cannot be sure that they are autobiographical. shakespeare is a masterful dramatist who can easily imagine creating such an interesting story line as the basis of his sonnets. Well, are the sonnets still printed as shakespeare intended? it seems that many of them did not differ from their publication in 1609, long after it was written.

plays and other poems are also vaguely involved in these speculations. Loving relationships between the two men are sometimes portrayed extraordinarily deep. Antonio on the twelfth night dictates that even at great risk, he should accompany Sebastian in his adventures: "Let me be your servant if you are not going to kill me for my love" (curtain ii, scene 1, lines 33–34). I mean, if you leave me behind, I'll die. Another antonio in the venetian merchant puts his life at risk for his beloved friend bassanio. Actors in today's theaters regularly portray these relationships as homosexuals, and in fact actors are often angry with anyone who suspects the situation. for example, in troilus and cressida, patroklos is presented as the "male prostitute" of akhilleus, as suggested by homeros;

"If a woman is grown arrogant and masculine,
becomes more attractive than a feminine man
action * on time. "

In the modern scene, this relationship is often explicitly or even explicitly depicted sexually, but it is another matter whether shakespeare sees it like this or if he evaluates his homosexuality or bisexuality in the game.

of course heterosexuality, romeo and juliet, orlando and rosalind, v. He finds plenty in the love of henry and katharine. he is also a master of shakespeare sexual ambiguity demonstrations. viola - cesario, disguised as a young man, wins precisely on the twelfth night - the love between the two men who transformed the love of the duke orsino into the heterosexual pairing of orsino and viola. uncertainty is reinforced by the knowledge that the role of viola / cesario in the audience's shakespeare theater is played by a 16-year-old actor. With all the opposite dressing situations in the comedy, viewers can funly explore portia in the venetian merchant, rosalind / ganymede in cymbeline, the uncertain genders in their other games.
memory of his death
shakespeare's family or friends did not settle for a simple tombstone, and within a few years a monument that seemed to have been built in 1623 was erected on the sarcophagus. The words written in Latin are attributed to shakespeare, the wisdom of Nestor, the genius of Socrates, and the poetic art of Vergilius.

praise of colleagues
The memory of shakespeare lived in theater circles for a long time because their play remained an important part of the repertoire of the king's men until the theaters closed in 1642. shakespeare was especially praised by ben jonson. ben jonson told william drummond in 1619 that he wanted "the art of shakespeare" and jonson wrote a glorious poem to the preface of the work that shakespeare collected:

"Happy Britain, you have someone to show your victory!
Someone to be respected in all the scenes of Europe.
not just an age, but someone who will rule all ages! "

shakespeare is considered to be good with his theater colleagues. shakespeare's favorite actors john heminge and henry condell (so called burbage, his will) announced that they were collecting games without "the slightest intervention" by dedicating the first collection in 1623 to the ears of pembroke and montgomery: "for glory or fame" not just to keep the memory of a dear friend and friend like our shakespeare alive. ”

documents about
seventeenth century writers began collecting anecdotes about shakespeare, but a serious life story was not written until 1709, when nicholas rowe tried to gather information from all available sources to produce a narrative. Some local characters had funny stories about a local tradition in stratford. for example, in 1661, stratford's vice-diary wrote: "shakespeare, drayton and ben jonson drank too hard on a happy date, and shakespeare died of alcohol fever." he did not own it; he lived in shoreditch; he did not live in pleasure and wrote his works only in pain if the invitation came. ” lichfield's archbishop richard davies said, "he died as a catholic." How unreliable he can be trusted in such a story is uncertain. In the early 18th century, queen elizabeth's shakespeare was forced to "write in love the sir john falstaff game" There was a story that included performing the task * .There are a lot of other stories that are some simple fabrications with uncertain originality like this one.
When serious research began in the 18th century, it was too late to get something from unwritten sources. however, documents were beginning to be discovered. shakespeare's will was found in 1747 and the marriage certificate was found in 1836. Documents related to the mountjoy case I mentioned above were also found in 1910 and were published. modern research is more concerned with shakespeare's social circles in both stratford and london. but this is not easy because there is a separate life as a writer and an ordinary person. With a respectable country gentleman in stratford, a bohemian artist in London, maybe different characters, who knows?

shakespeare as a poet and dramatist: his intellectual background
Shakespeare lived at a time when the ideas and social structures established in the middle ages still informed human thinking and behavior. queen i. Elizabeth was the deputy of God in the world, and lords and commons had their own place in society, under the queen. his responsibilities would rise to God through the queen and go down to more modest ranks, but the orders of the queen would not be considered indisputable. Atheism still challenged the beliefs and lifestyles of the majority of elizabeticians, but Christian belief was no longer the only one. the British churches challenged the authority of rome with numerous small religious sects, martin lutherci and john calvinci. the royal concession was challenged in the parliament. economic and social orders from the rise of capitalism, viii. Henry was disturbed by the disintegration of monasteries, the expansion of education, and the flow of new wealth with the discovery of new lands.

The interaction of old and new ideas was a typical example of the time: the new generation was encouraged to obey. however, the Italian political theorist niccolo machiavelli, who caused the British to be afraid of Italian Machiavelism, introduced a new and practical policy law that asked men to do what they had to do instead of asking what was expected. In hamlet, the declaration that human belief has become rotten at inappropriate times reflects a clearly growing concern and skepticism. The translation of montaigne's essays * in 1603 made it possible to read in the distance as well, and shakespeare also showed that he was one of the many who read this work in direct and important quotations in the tempest. this work in shakespeare's philosophical inquiries, aristoteles' traditional "why?" not the question, "how?" stated the question as the driving force to move forward. The plays written by shakespeare between 1603 and 1606 clearly reflect his mistrust * for a new jacobian era. Claiming to be a divine authority like Elizabeth, James was far less capable of maintaining the authority of the throne than Elizabeth. With the gunpowder plot *, a challenge was targeted by a small minority to the state, and the struggle between James' new men and the house of comics reveals the inadequacy of management.
poetic order and dramatic traditions
Latin comedies of plautus and terence were familiar at elizabeth schools and universities, and sometimes their English translations or adaptations were done by students. Seneca's rhetorical and sensational tragedies were also translated and often imitated. There was also a strong indigenous dramatic tradition, which was sourced from medieval miracle games that continued to take place in various cities until it was banned during Elizabeth's reign. this indigenous drama absorbed French popular shenanigans and religiously inspired moral games in abstract themes, and combined mixed or short entertainments using single chargers and actors' 'turns'. shakespeare's plays used more popular narrative formats.

changes in language
Meanwhile, the English language was changing and its range was expanding. The poet edmund spenser pioneered the restoration of old words, and almost all of the lecturers, poets, sophisticated palaces and travelers contributed to more distant languages, as well as to France, Italy and classical rome. Thanks to the market, which has become cheaper with the increasing availability of printed books, standardization in grammar and vocabulary has begun. frank bacon, an ambitious essayist and philosopher, wrote his works in both latin and english; if only he lived a few decades later, he would have had complete accuracy in his own language.

things that shakespeare literally owes
shakespeare's most prominent debt was historian raphael holinshed, who wrote chronicles * where he prepared story material for several plays such as macbeth and king lear. Other debts clearly stand out in shakespeare's previous works: plautus for the comedy of mistakes; poets ovidius and seneca for discourses and events in titus andronicus; to Christopher Marlowe for emotions and characterization in the Richard IIive Venice Merchant; he owes commedia dell'arte, the italian popular comedy tradition, for characterization and dramatic style in the combative girl. In the tempest (perhaps the most original of all his games in terms of play, form, theme and language), he owes his noble entertainment, also known as masquerade, developed by ben jonson.

cardenio, one of the late works of shakespeare, was based on the events of cardenio, located in don quijote of miguel de cervantes. this wonderful work was written in 1613 by don quijote translated into english by thomas shelton in 1612, by shakespeare and john fletcher. fletcher was again impressed by cervantes in some of his later games
theater conditions
The globe theater and its predecessor, "the theater", were public playgrounds led by the men of lord chamberlain, a leading theater company with which shakespeare is a member. With the exception of many puritan and similarly thought reformers, almost all classes of citizens would come to these scenes for fun in the afternoon. The actors were also called to the palace to showcase the games in front of the ruler and the accompanying nobles. In the times of the plague, usually in the summer, they traveled around the city and occasionally played in the london court (law students' associations), universities and large houses. popularity had led to an insatiable demand for games: in early 1613 the king's men (chamberlain's men) were able to offer an average of fourteen games. The theater soon became fashionable, and the king's men, founded in 1608-09, began performing regularly at blackfriars, a "private" indoor theater where high entrance fees provided a more exclusive and sophisticated audience for their performances.

Shakespeare seems to have established Chamberlain’s first relationship with his men as an actor. There is no information about whether he has a lead role after 1603, and he only took secondary roles like the "ghost" in hamlet and the man in whatever comes to you. In time, this community gave shakespeare the power to work directly with all aspects of the theater. Many episodes in shakespeare's plays show conscious anxiety for theater arts and audience reactions. Especially hamlet gives expert advice in performing art, directing the actors. Prospero in the tempest speaks of life as a kind of "riot" or a theatrical performance. "Just like a dream, it will end soon."
Duke of york ii. Richard is aware of how the theater should be;
"… In the eyes of the people, when a well-decorated actor in a theater leaves the scene in a contrasting way after leaving the stage, his poor voice is boring."

In the days of shakespeare there was little time for group rehearsals, and the actors were only promised their own episodes. therefore, the most important scenes in shakespeare's plays were played only between two or three characters, or with a character dominating a crowded scene. most women's sections are written for men. shakespeare wouldn't write big roles for women or make them actively engage on stage for a long time.
dating shakespeare's plays
Despite a lot of historical controversy, it is often impossible to precisely date a particular game. however, there is a general consensus especially for games written after 1588-1601, 1605-07 and 1609. The composition dates used here are based on internal and external evidence, general style and thematic thoughts, and the observation of not having more than two games a year during periods when dating is much clearer.

Venus and adonis, the rape of lucrece, two of Shakespeare's two narrative poems, belongs precisely to the years when they performed stunning performances in London, just before the spread of the plague. however, especially sonnets pose many problems; they could not be written all at once, and most authorities set them to be 1593-1600. There are chronologically accepted works at the end of the article.

I bow
In the renaissance period, acting companies in London were constantly looking for new games. they often staged the play of freelance writers in pieces, without continuity. shakespeare was a very important exception; As a member of the lord chamberlain's men and the king's men, he was constantly writing as a stakeholder in these companies' capitalist initiatives.

companies weren't eager to sell their games to publishers, especially when the games were still popular from their repertoire. however, at certain times, companies could have difficulty doing this, when they were dispersed or when plague outbreaks and games could no longer be staged. (The companies that own the games do not have the intellectual property rights of the authors after the games are sold to the players.)

such games are usually published in quarto format. that is, it is printed on both sides of the four large page sheets. When the sheet is folded and tied twice, each of the eight printed pages forms the shirring. Several games were also printed in octavo format.
Half of shakespeare's plays have been printed in quarto for life. rarely, seemingly unauthorized games were released, so shakespeare's games were hardly sold to the publisher by the company. The quarto title page of romeo and juliet begins with the inscription, "the venerable lord chamberlain is staged publicly at various times by his servants." Similarly, Hamlet's second quarto writes, "printed and enlarged in an almost new way according to the real and perfect copy." indeed the hamlet's first quarto was very important but shorter than the second and was extended to the required extent. the main difference appeared in romeo and juliet. The first quarto lacked 800 words in its successor. The second quarto also corrected errors. The first quarto of love labor vain is presented as “edited and enlarged”, implying that it corrects an earlier version, although the previous quarto it mentions has never been found.

A few years after shakespeare's death in 1616, John Heminge and henry condell, the colleagues of the king's men, assumed the assembly of the raid. His works, published in 1623 according to the original copies of william shakespeare, included only comedies and tragedies. They did not have poems, and they added the pericles as the questionable person.

heminge and condell took on a difficult task in choosing which works to offer to print, because they had a lot of authoritative manuscripts and other documents containing their works (especially valuable because they received a performance license.) among them, those that appear to be trusted text by editors were published. : titus andronicus, romeo and juliet (second quarto); richard ii, richard iii, love's labor in vain; henry iv (part 1), henry iv (part 2), a summer night dream, venetian merchant, dry noise, hamlet, king lear, troilus and cressida and othello. henry vi (part 1) and henry vi (part 2) have been published in abbreviated form and under different titles ("the contention betwixt the two famous houses of york and lancaster" and "the true tragedy of richard duke of york") It was not used in this form by heminge and condell in the 1623 edition.
shakespeare's resources
With a few exceptions, shakespeare had not created the subjects of his games from nothing. sometimes he used old stories **. sometimes he used both well-known stories ** and less well-known * stories by italian authors such as giovanni boccaccio. He used popular prose fiction of his contemporaries in whatever way he came to you and in the winter tale. While writing his historical plays, he dominated the Roman and Helen stories, benefiting from the work of the noble Greek and Roman lives, which belonged to the plutharkos translated by Sir Thomas North. Thanks to the chronicles of the historian Edward Hall and Raphael Holinshed, he provided resources for his plays based on British history.

shakespeare had to figure out which books he could read when he needed. Its immense vocabulary contains resources from different languages ​​literally as well as the spoken language. It is not known which libraries he used for his research, but the huguenot family he lived in london had french books. moreover, london appears to have made an interesting connection with the book trade. It was Richard Field, son of "Henry Field of Stratford-On-Avon", which published Shakespeare's two poems (Venus and Adonis with the rape of Lucrece) in 1593-94. Until Henry Field died in 1592, William's father, John Shakespeare, was doing business with Henry Field. Henry's son Richard had apprenticeship in 1579 and was probably the same age as William. By re-publishing north's plutarkhos translation from 1587, richard developed himself as an important literary publisher. There is no direct evidence of a close friendship between field and shakespeare. nevertheless the field had been published by shakespeare's first poems and it is estimated that he benefited from the field's library and publications. In the next period, there were now many literary contacts for shakespeare, which became famous, and many books were available.

The first collection of information about the sources of the Elizabethian games was published in the 17th century. gerard langbaine stated that shakespeare found material for some games in his account of the english dramatick poets (1691). however, during the 17th century, shakespeare was considered to be an extraordinary "natural" writer whose intellectuality was of relatively minor importance. "He was reading and learning, but there was no need to refer to books to read the nature." In 1668, John Dryden spoke of the insignificance of shakespeare's knowledge. it provided evidence that the world was carefully reviewed.
The first collection of source material for shakespeare's plays, arranged to be readable, was made by charlotte lennox in the 18th century. The revised successors of the library of shakespeare, especially prepared by john payne collier, appeared more fully. these old collections became a seven-volume version edited by geoffrey bullough as narrative and dramatic sources of shakespeare (1957-72).

Thus, it became more possible to see the original in the dramatic art of shakespeare. Thanks to his dramatic perspective, he had developed characters of known style (mercutio, touchstone, falstaff, pandarus) and created completely new characters (dromio brothers, beatrice and benedick, sir toby belch, malvolio, paulina, roderigo, lear's clown). pushed the boundaries of recognized characters and rearranged their stories for more effective contrasts of results (macbeth, othello, winter tale, whatever it seems to you). it was not enough, it brought a broader philosophical perspective (hamlet, coriolanus, troilus and cressida, if it ends well) in all, it helped intensify dialogue and transformed old works into entirely higher levels of creative new works.

Apart from the evidence of the sources of his plays, it seems possible that shakespeare will have a fair impression as a reader, nurturing his imagination with a moderate understanding of the literary achievements of other people and other ages. For example, he quotes himself from his contemporary Christopher, Marlowe, just as he comes to you. On the twelfth night, he refers to the aethiopica of heliodorus (the history of Ethiopia was translated by thomas underdown in 1569). He must have read the metamorphoses of ovidius translated by Arthur Golding, who passed through seven editions between 1567 and 1612, in which many of his works are cited. The translation of Homer's Iliad by George Chapman influenced him, but he used some of the materials in a troubled tone in Troilus and Cressida. The tempest took the ironic expression of an ideal republic from the trials of montaigne (part of it).

shakespeare was familiar with the variety of poetic styles that characterized the works of other authors. A brilliant little poem (screen 5, scene 2) composed by shakespeare for hamlet shows that poets such as john donne, who wrote astronomical and unifying love poems, ironically perceives the poetic qualities of the last years of the 16th century, presented with skepticism and moral paradoxes. His style, found in an ancient mode in pericles, clearly shows that 14th century poet john gower was reading confessio amantis. The influence of sir philip sydney, who wrote arcadia for the first time in 1590 and has been widely read for generations, is often felt in the writings of shakespeare. Finally, in shakespeare's style, the importance of the Bible in terms of its domain should not be overlooked. His works show a familiarity with the works read in the church every Sunday throughout the year. Shakespeare, which is a milestone not only for English literature but also for world literature, is an artist of all time, not only of its age, and will continue to exist forever with both its plays and sonnets.
Shakespeare's Plays in Chronological Order
The exact order of the composition and performances of Shakespeare’s plays is difficult to prove—and therefore often disputed. The dates listed below are approximate and based on the general consensus of when the plays were first performed:

"Henry VI Part I" (1589–1590)
"Henry VI Part II" (1590–1591)
"Henry VI Part III" (1590–1591)
"Richard III" (1592–1593)
"The Comedy of Errors" (1592–1593)
"Titus Andronicus" (1593–1594)
"The Taming of the Shrew" (1593–1594)
"The Two Gentlemen of Verona" (1594–1595)
"Love’s Labour’s Lost" (1594–1595)
"Romeo and Juliet" (1594–1595)
"Richard II" (1595–1596)
"A Midsummer Night’s Dream" (1595–1596)
"King John" (1596–1597)
"The Merchant of Venice" (1596–1597)
"Henry IV Part I" (1597–1598)
"Henry IV Part II" (1597–1598)
"Much Ado About Nothing" (1598–1599)
"Henry V" (1598–1599)
"Julius Caesar" (1599–1600)
"As You Like It" (1599–1600)
"Twelfth Night" (1599–1600)
"Hamlet" (1600–1601)
"The Merry Wives of Windsor" (1600–1601)
"Troilus and Cressida" (1601–1602)
"All’s Well That Ends Well" (1602–1603)
"Measure for Measure" (1604–1605)
"Othello" (1604–1605)
"King Lear" (1605–1606)
"Macbeth" (1605–1606)
"Antony and Cleopatra" (1606–1607)
"Coriolanus" (1607–1608)
"Timon of Athens" (1607–1608)
"Pericles" (1608–1609)
"Cymbeline" (1609–1610)
"The Winter’s Tale" (1610–1611)
"The Tempest" (1611–1612)
"Henry VIII" (1612–1613)
"The Two Noble Kinsmen" (1612–1613)