William Shakespeare (born the April 23rd 1564, baptized the April 26th 1564, deceased the April 23rd 1616) is largely regarded as largest Poète, Dramaturge and writer of the Anglo-Saxon culture . He is famous for his control of the poetic and literary forms; its capacity to represent the aspects of the human nature is often proposed by its amateurs.

Eminent character of the Occidental culture, Shakespeare continues to influence the artists of today. He is translated in a great number of languages and its parts are regularly played everywhere in the world. Shakespeare is one of rare the Dramaturge S to have practiced as well the Comédie as the Tragédie. It is also extremely rare to see a writer of the 16th century whose texts can give, in our modern time, of successful films.

Shakespeare wrote thirty-seven dramatic works between the years 1580 and 1613. But the exact chronology of its parts is still prone to discussion. However, the volume of its creations should not appear exceptional compared to the standards of the time.

One measures the influence of Shakespeare on the Anglo-Saxon culture by observing the many references which are made to him, that it is through quotations, titles of works or the innumerable adaptations of his work. Doesn't one say a English that it is “the language of Shakespeare” in the same way as that which one says French that it is “the language of Molière”, of the German that it is “the language of Goethe”, of the Spanish that it is “the language of Cervantes” or the Italian that it is “the language of Dante”?

Biography

The majority of the specialists agree to say that there exists from now on enough of historical traces to define in detail the life of Shakespeare. These “traces” are made up mainly by official documents, and give a very limited outline of the life of the Dramaturge. Even if certain researchers tried to speculate in certain facts and anecdotes, trying to distinguish in his works from the reflections from his intimate life, we must be solved with the idea that we know of the character only unimportant details, or almost. Certain researchers have even marked that there did not exist or that it was not its true name. Borrowed name or not, it remains one of the more great authors of the history of the theater.

First years

William Shakespeare is born the April 23rd 1564 with Stratford-upon-Avon, in the Warwickshire (center), in England. His/her father, John Shakespeare, were prosperous a leather gantier and merchant, in addition to being a man of a certain position in the town of Stratford: in 1565, it had been elected there city council man, then large baillif (or Maire) in 1568. In 1557, it had married Mary Arden, a middle-class woman, and both lived in a house located on Henley Street.

The act of Baptême of the William young person is dated from the April 26th 1564: one baptized the infants in the few days which followed their birth, and by tradition, one agrees to quote on April 23rd like the birth date of the playwright. Besides that makes it possible to outline a curious symmetry since he died the same day in 1616. Moreover, it is completely suitable that the birth of the largest English playwright coincides with the festival of Saint-Georges, the patron saint of England.

The comfortable medium in which Shakespeare was born probably resulted it in attending, after the elementary level, the secondary school “King Edward VI” in the center of Stratford, where teaching included/understood an intensive training of the Latin language and the literature, as well as Histoire, Logique and Rhétorique. Even if the registers of inscriptions did not survive, it is in logic that Shakespeare attended this establishment. There does not exist more evidence to attest of an education continued beyond the secondary school.

The November 28th, 1582, in Temple Grafton close to Stratford, Shakespeare marries Anne Hathaway, 8 years its elder. Two neighbors of the bride, Fulk Sandalls and John Richardson published the banns of marriage, to mean that the union did not meet opposition. It appears however that the ceremony had been organized in haste: Anne was pregnant three months. After its marriage, Shakespeare leaves only rare traces in the historical registers, before reappearing on the artistic scene London.

The continuation of the years 1580 is thus known like the time of the “lost years” of the life of the playwright: we do not have any trace to explain the life of the writer during this amount of time, and we cannot explain why it left Stratford for London. A legend, now fallen in discredit, tells that it had been taken in the train braconner in the park of Sir Thomas Lucy, a local Justice of the Peace, and had thus fled to escape the continuations. Another theory suggests that it would have joined the troop of the Lord Chamberlain whereas the actors made Stratford a stage of their round. The Biographe of the 17th century John Aubrey brings back the testimony of an actor of the troop of Shakespeare, telling that it would have spent a few years as a teacher.

It is known on the other hand, that the May 26th 1583, Susanna, first child of Shakespeare, is baptized with Stratford. Two twins, Hamnet and Judith, are baptized some time later, the February 2nd 1585. Hamnet, his/her single son, knows very young person a disastrous destiny, since he dies a few years later: it is buried the August 11th 1596. Many suggests that this death inspired to the playwright the tragedy Hamlet (approx. 1601), a history built according to several influences, among which a Danish part (remained untraceable) Hamlet, or Thomas Kyd.

London and the theater

In 1592, the trace of Shakespeare reappears with London, where it is recorded as a Acteur and Dramaturge. At this stage, it has already sufficient reputation to be openly criticized by Robert Greene, which speaks about him like “ arrogant corbel, embellished by our feathers, “whose heart of tiger is hidden by the mask of the actor”, and who supposes that it is able to swallow the worms as well as best among you: in addition to being a poor wretch scribouillard, it is put in scene in its dramatic vanity. ” - Greene, in its Lampoon, refers here to Henry VI, 3rd part, by taking again the worms: “ Oh, heart of tiger hidden in the center of a woman. ”

One can thus conjecture that it had to be on the London scene for a certain time, and the specialists estimate that it left Stratford about 1587.

Shakespeare becomes Acteur, writer and finally Sociétaire of a theatrical, known company under the name of “The Lord Chamberlain' S Men”, troop for which he exclusively writes since 1594. The company draws its name, like wanted it the time, of the Mécène Aristocrate which supports the troop (Lord Chamberlain was a minister responsible for the royal entertainments. This title indicated a long time the function of the main thing critic of the British artistic scene). In addition to playing itself in his own works, one knows for example that he interprets the spectrum of the father in Hamlet and Adam in As he you will like , it also appears in Tête of poster of parts of Ben Jonson: in 1598 in Each man in his character (Every Man In His Humor) and in 1603 in Sejanus . The company becomes very popular: after the death of Elisabeth I {{Re}} and the crowning of the king Jacques I {{er}} (1603), the new monarch adopts the troop which bears from now on the name of the “Men of the King” (King' S Men). The troop ends up becoming resident theater of the Globe, whose exact counterpart is again in activity with London.

In 1604, Shakespeare plays a part of intermediary for the marriage of the girl of his owner. Legal documents of 1612, date where the business is carried to the court, show that in 1604, Shakespeare is tenant in a craftsman Huguenot which manufactures diadems in the North-West of London, certain Christopher Mountjoy (Montjoie). The apprentice of Montjoie, Stephen Belott wished to marry the girl of his owner; Shakespeare thus becomes the appointed intermediary, to help to negotiate the details of the dowry. On its own promises, the marriage takes place. But eight years later, Belott continues his/her father-in-law to have poured only part of the dowry. Shakespeare has to testify, but only remembers very vaguely the business.

Later, various documents coming from the courts or the commercial registers show that Shakespeare became sufficiently rich to buy a property in the London district of Blackfriars (southern bank of the the Thames, the district of the theaters (and the prisons!)). At that time, it also has a great property with Stratford.

Reprocess and end-of-life

Towards 1611, Shakespeare decides to take its retirement, which proved at the very least agitated: it was implied in legal contentions in connection with grounds which it had. At the time, the enclosed grounds allowed the pasture of the sheep, but deprived at the same time the poor of invaluable resources. For much, the very fuzzy position that Shakespeare adopted during the business was disappointing, because it aimed at protecting its own interests with the contempt from the needy one.

During the last weeks of his life, the had a presentiment of son-in-law of its Judith daughter - Thomas Quiney, a landlord - were convened by the parochial court for “fornication”. A woman of the name of Margaret Wheeler had been confined and claimed that the child was of the landlord; but the mother and the child died shortly after this dark episode. Quiney was dishonoured, and Shakespeare corrected its will to ensure that the interests of Judith were to him protected with its name.

Shakespeare died the April 23rd 1616, at the 52 years age. There remained married in Anne until her death and his/her two daughters survived to him. Susanna married Dr. John Hall, and even if the two girls of Shakespeare had themselves of the children, none them had descendants. To date, there are thus no direct descendants of the poet.

Shakespeare is buried in the chorus of the church of the Trinity with Stratford-upon-Avon. It accepted the right to be buried in the chorus of the church, not thanks to its life of playwright, but after he had become member of the church by paying the dîme parish (£440, an important sum). A bust ordered by its family represents it, writing, on the adjacent wall with its tomb. Each year, at the supposed date of his birthday, one places a new goose feather in the right hand of the poet.

At the time of Shakespeare, it was current to make place in the parochial tombs by moving them in another cemetery. By fear which its skin is not removed from the tomb, one thinks that it composed this epitaph for its tomb stone:

My friend, for the love of the Saver, abstain from

digging the dust deposited on me.
Blessed either the man who will save these stones
But cursed or that violating my ossuary.

The popular legend wants that new works rest in the tomb of Shakespeare, but nobody checked forever, by fear undoubtedly of the curse evoked in the epitaph.

See also its contemporaries Christopher Marlowe, Ben Jonson, Thomas Kyd, the Queen Elizabeth I {{Re}} and Edward de Vere.

Works

Above all known for its dramaturgic works, Shakespeare is a general-purpose artist: historical sonnets, jokes, comedies, parts and tragedies… The writer passes from one kind to the other without effort, scrambling the tracks and making difficult the work of classification. Moreover, it seems so prolific that one allots (or withdraws) certain contemporary compositions to him.

Dramatic works and their classification

The parts are traditionally classified in several categories: historical tragedies, comedies and parts, while following the logical order of publication; however, modern criticisms gave the name of “part to problem” for certain works which escaped a too simplistic categorization and which go obviously against traditional conventions. Moreover, the last comedies of Shakespeare are commonly called the “lovesongs”.

The following list gives the parts in their order of classification according to the first Folio of 1623 (the first complete edition of the parts in the same volume). An asterisk indicates a part classified today as “a lovesong”; two asterisks indicate those considered as “parts to problem” - even if certain comedies are still in the center of the critical debate. To see the parts in their order of drafting, see the Chronologie of the parts of Shakespeare.

Tragedies of Shakespeare

Comedies of Shakespeare

historical Parts of Shakespeare

  • Richard III

  • Richard II
  • Henri VI, 1 part, 2nd part, 3rd part ( Henry VI, Share 1, Share 2, Share 3 )
  • Henri V ( Henry V )
  • Henri IV, 1 part, 2nd part ( Henry IV, Share 1, Share 2 )
  • Henri VIII ( Henry VIII )
  • the King Jean ( King John )
  • Edouard III ( Edward III )
  • Sir Thomas More

late Lovesongs of Shakespeare

Its other literary works include:

  • the Sonnets (see Sonnet)
  • Long poems

Collaboration with other playwrights

Like the majority of the writers of its time, Shakespeare did not write solely as a recluse: a certain number of its works result from collaborations, even if their exact number is still dubious. For some of attributions which follow (as The Two Noble Kinsmen ) one has a very documented scientific research; other parts (as Titus Andronicus ) remains prone to controversy and depends on the next linguistic analyzes, it is probable also that certain parts were partly written during the repetitions and contain the transcription of personal capital contributions of the actors.

  • Henry VI , 1st part: probably fruit of a team of writers, which one can only suggest the identities. Certain researchers allot only one weak 20% of the text to Shakespeare.

  • Titus Andronicus : could be a collaboration with George Peele, as joint author or Re-reader. It should be noted that the paternity of this work itself was blamed: if the first editors of the work of Shakespeare allotted it to him, as of 1687 the adapter Edward Ravenscroft declared that Shakespeare was not the author. In 1905, J.M.Robertson tried to establish that this part was the work of Peele, with the probable collaboration of Christopher Marlowe. It nevertheless is admitted, nowadays, that this part was actually written by Shakespeare, but that it was hastily composed or revised.
  • Péricles, prince de Tyr : a work of George Wilkins includes, as collaborator or Re-reader.
  • Tiller of Athens : the tragedy could be the result of a collaboration between Shakespeare and Thomas Middleton; it could explain the inconsistencies in the narration and the general tone with resonances curiously cynical.
  • Henry VIII : regarded as a collaboration with John Fletcher.
  • the Two Noble Cousins : the part was published in edition fourthly in 1654; John Fletcher and William Shakespeare are the joint authors, and collaborated for it for half of the text each one.
  • Cardenio , lost part; criticisms agree to say that Shakespeare collaborated here with John Fletcher.
  • Macbeth : Thomas Middleton composed a revision of the tragedy in 1615, incorporating additional musical sequences.
  • Measurement for measurement: the comedy probably underwent a light revision by Thomas Middleton, at a certain stage of its original composition.

Lost parts

  • gained Sorrows of love (' S Labor's Won Coils): a writer of second half of the 16th century, Francis Mothers, as well as a small card of bookseller attest of a similar title in recent works of Shakespeare, but no part carrying this title reached us. It could be lost, or the title could indicate another name of an existing part, like Beaucoup of noise for nothing or All's well that ends well .
  • Cardenio , a late composition by Shakespeare and Fletcher, did not survive but remains attested in several documents. The part took as a starting point an adventure of Don Quichotte. In 1727, Lewis Theobald published a part entitled Double Falshood (sic), of which he claimed that it was based on three manuscripts of a lost part of Shakespeare which he did not name. Double Falshood takes again in fact the subject of Cardenio, and the critics think that the part of Theobald is the only trace which remains lost part.

Poems

Poetic works of Shakespeare include/understand:
  • the Sonnets
  • Venus and Adonis
  • the Rape of Lucrèce
  • impassioned Pilgrim the
  • Phoenix and the Dove
  • the Lament of an in love

Works apocryphal books

  • Edward III : Certain researchers recently decided to allot this part to Shakespeare, on the basis of versification. Others refuse this theory while quoting, inter alia, the bad quality of the characters. If Shakespeare were actually implied, he worked probably only as collaborator.
  • Sir Thomas More : a team work perhaps including Shakespeare. Its exact role remains unknown.
  • has Funeral Elegy by W.S. (?) : for a long time, several researchers thought that Shakespeare had composed this reduced for William Peter, by basing their theories on evidence stylistics (Donald Foster as a leader). However, this argumentation appeared fallacious thereafter, and the majority of the specialists (Foster including) agree to currently say that the elegiac poem was born under the feather from John Ford.
  • The King James Version off the Bible : some think that Shakespeare would have contributed to the translation of the version of King James, by revising certain passages to make them more poetic; their theory is based on the fact that the style of several verses resembles that of Shakespeare. They quote psalm 46, where the verb “shake” (to shake) appears 46 words as from the beginning of the song, and the word “spear” (spear), 46 words as from the end. The debate still is very discussed, and the majority of the researchers refute the theory, even if Neil Gaiman were inspired some for its cartoon " The Wake".

Style

The influence of Shakespeare on the modern theater is considerable. Not only Shakespeare created some of the most admired parts Western literature, but it also largely contributed to the transformation of the English dramaturgy, opening the field of the possibilities of creation on the characters, psychology, the action, the language and the kind. Its poetic art helped the emergence of a popular theater, enabling him to be admired as much by intellectuals as by in love ones with the pure entertainment.

The theater is in full evolution when Shakespeare arrives at London towards the end of the year 1580 or the beginning of the year 1590. Previously, the usual shapes of the popular English theater were the Moralité S of the time Tudor. These parts, which mix piety, joke and burlesque, are allegories in which the characters incarnate virtues morals preaching a pious life, in incentive the protagonist to rather choose such a life than going towards the evil. The characters and the situations are symbolic systems rather than realistic. Child, Shakespeare probably attended this type of parts (with Mystères and Miracle S ). At the same time, in the universities, of the parts based on the Roman dramaturgy were represented. These parts, often played in Latin, used a poetic model more academic than the Moralités , but were also more static, privileging the long discourses rather than the dramatic action.

At the end of the 16th century the popularity of the Moralities and academic parts weakens, while the rise of the English Rebirth and the playwrights like Thomas Kyd and Christopher Marlowe start to revolutionize the theater. Their parts mix morality and academic theater to form a new tradition. This new drama with poetic splendor and the philosophical depth of the academic dramaturgy and the populism ribald of moralities, however more ambiguous and complex in its significances, and less occupied by simplistic allegories morals. Inspired by this new model, Shakespeare hoisted these changes on a new level, creating parts which not only resound émotionnellement for the public but moreover the bases of the questioning pose on the human nature.

Modern visions of work

Until the 19th century, the parts of Shakespeare are interpreted in contemporary costumes. With the time victorienne, the artists have a fascination for the historical realism, and the stage performances of this time are marked by a research of reconstitution of time.

The design of Gordon Craig for Hamlet, in 1911, inaugurates its influence cubist. Craig gives up its approach of scenography constructivist with the profit of a purified decoration made up of simple levels, monochromic colors extended on the practicable ones of wood combined to support itself between them. Although this use of scenic space is not new, it is the first time that a director uses it for Shakespeare. The practicable ones being able to be arranged in many configurations, that makes it possible to create an abstracted architectural volume, adaptable to any theater in Europe or the United States. This design iconoclast of Craig opens the way with the various visions of Shakespeare of the 20th century.

In 1936, Orson Welles is in its innovative turn while assembling a Macbeth with Harlem, while transposing not only the time of the part but employing only actors Afro-Americans. This very discussed spectacle, called Macbeth Voodoo , replaçait the action in Haiti showing a king with the catches with the African black magic. What also caused the scandal is that, when the main actor is falls ill, it is Orson Welles itself which decides to replace it, grimant the face in black. The black community supported this production, bringing it until Broadway then for a national round. Many spectacles since followed this tendency consisting in transposing the action of parts of Shakespeare in a very contemporary and political world.

Shakespeare: the problem of the edition

In the difference of its contemporary Ben Jonson, Shakespeare did not take part in the edition and the publication of its parts. The existing texts for the majority transcribed of memory after the representation on scene, or are thus drawn from the manuscript autograph of the writer. There existed also a copy for the manager (“prompt-book”) on which could base the editor.

The first impressions are intended for a popular public, and the specimens are carried out without true preoccupation with a coherence. The format used is called Fourthly, since one obtains the layers of the book by folding a sheet of printing works into four. But the form even of Fourthly is not reliable: if one recopies a text on a sheet for then folding it into four and obtaining a small booklet, one very quickly realizes that it is necessary to launch out in complex calculations before managing to publish work in the good sense and the good order.

The second wave of publication is intended for a richer public, and one attaches more importance to the presentation. One thus prints on simple layers, and the specimen thus takes the name of Folio. The first Folio of works of Shakespeare was printed in 1623: it is preserved at the library of the Université Harvard.

The question of knowing which text of origin wrote Shakespeare became the major concern of the modern editors. Misprints, shells, bad interpretations of the copyist, lapses of memory of worms: these awkwardnesses are the usual batch of Quartos and the First Folio. Moreover, at one time when the orthography was not fixed yet, the playwright often employed several C-Ws communication for the same word, adding to the confusion of the copyist. The modern editors have thus the heavy task to rebuild the original worms and to eliminate the faults from copies.

In certain cases, the edition of the text does not pose such an amount of problem. In Macbeth for example, the critics think that a playwright as Thomas Middleton adapted and shortened the original text to obtain the existing text in the First Folio, which thus remains our official text. For other parts ( Periclès , or Tiller of Athens ), the text could be corrupted up to a certain point, but we do not have other versions to confront to them. Nowadays, the editor can thus only regularize and correct the faults of reading which survived in the printed versions.

The problem can sometimes become more complicated. The modern critics think that Shakespeare itself revised its own compositions through the years, thus allowing two different versions to coexist. To arrive at an acceptable text, the editors must thus make a choice between the first version and its revision, which remains generally more “theatrical”.

Formerly, the editors settled the question by amalgamating the texts to obtain what they believed being an original text, but the critics admit now that this process is contrary for Shakespeare. In the King Lear for example, two independent versions, with each one their own characteristics, coexist in the edition in Fourthly and the First Folio. The modifications of Shakespeare exceeded there the simple corrections for touching with the total structure of the part. From there, the edition of works of Shakespeare by the University of Oxford provides two versions different from the same part, with the same statute of authenticity. This problem exists with at least four other works of Shakespeare: Henry IV 1 part, Hamlet , Troilus and Cressida and Othello .

Polemics

The exceptional statute of Shakespeare on the Anglo-Saxon literary scene naturally involved a worship around its person, materialized by a research criticizes increasingly more pointed. The scarcity of information concerning its biography involved many polemics and handing-over in question, mainly around the identity even of the playwright. We do not make here a summary exhaustive of the question, but we draw up a list of the most important attempts in the general debate.

Reputation and critical research

The fame of William Shakespeare continued to increase after the time élisabéthaine, as the volume of critical works shows it which were dedicated to him as of the 17th century. However, even if it had an excellent reputation of alive sound, Shakespeare was not regarded as the best poet of the time. One integrated it in the list of the artists more in sight, but it did not reach the level of Edmund Spenser or Philip Sidney. It is difficult to evaluate its reputation as a writer for the scene: the plays were then regarded as transitory works, unworthy entertainments without true literary value. However, the Folio of 1623 and its republication nine years later prove that it was passably respected all the same as a playwright: the costs of impression operated a kind of selection preliminary for the “publishable” authors; before him, Ben Jonson had been a pioneer in this field, with the publication of its works in 1616.

After interregnum (1642 - 1660, period during which the theaters were prohibited), the theatrical troops of the Restoration on the occasion to draw from a beautiful fish pond of playwrights of the former generation: Beaumont and Fletcher were extremely popular, but also Ben Jonson and William Shakespeare. Their works were often adapted for the dramaturgy of the Restoration, whereas it seems to us blasphématoire to have been able today to mutilate works of Shakespeare. A famous example concerns King Lear of 1681, asepticized by Nahum Tate to finish in happy-end, version which however remained played until in 1838. As of the 18th century, the Anglo-Saxon scene up to that point dominated by Beaumont and Fletcher made place with William Shakespeare, who held it until our days.

On the other hand, for literary criticism, Shakespeare became immediately the number one. The rigid rules of the traditional Théâtre (unit of time, place and action) had never been followed by the English playwrights, and criticisms agreed to give to Ben Jonson puffing a second place. But the gold medal was immediately granted to “incomparable Shakespeare” (John Dryden, 1668), the intuitive naturalness, the self-educated genius, the great painter of mankind. The myth which wanted that the romantic ones were the first to appreciate Shakespeare with its right value does not resist enthusiastic testimonys of the writers of the Restoration and the 18th century, like John Dryden, Joseph Addison, Alexander Pope and Samuel Johnson. One also owes to the specialists in this period the establishment of the text of works of Shakespeare: Nicholas Rowe composed the first academic edition of the text in 1709, and the Variorum Edition of Edmund Malone (published in posthumous title in 1821) is used still today basic for the modern editions. At the beginning of the 19th century, romantic criticisms as Samuel Taylor Coleridge dedicated an extreme admiration for Shakespeare (the “bardolâtrie”), an adulation completely in the romantic line, dedicating a reverence with the character of the poet, at the same time genius and prophet.

The question of the identity

As the official documents prove it (see the biography, higher), we have now sufficient historical testimonys to establish that certain a William Shakespeare had indeed lived with Stratford-upon-Avon and London. The majority of the critical authors is from now on of agreement to identify this “William Shakspere” like true William Shakespeare. However, there was formerly an enthralling polemic on the identity of the playwright, maintained by writers like Walt Whitman, Mark Twain (“Is Shakespeare Dead? ”), Henry James or Sigmund Freud: they doubted that the man of Stratford, baptized William Shaksper or Shakspere really composed works which are allotted to him.

Their arguments were multiple: absence of mention of literary works in its will, circumstances very fuzzy around the training of the young artist, differences in orthography in its patronym, style and poetic of works themselves. The specialists are currently able to refute this kind of sales leaflet, and think of having cleared up the mysteries around the identity of the poet. It is interesting to note that the debate started as from the 19th century, on unreasonable extrapolations in connection with the lack of education of the author. Previously, criticisms had been unanimous to agree on the identity of the bard.

Of course, the debate is also based on the extreme scarcity of the historical documents and mysterious contradictions in its biography: even the worthy institution of the National Portrait Gallery of London refused to authenticate celebrates it “Flower Portrait” of Stratford-upon-Avon, which fell in discredit after it had proven that it was about a counterfeit of the 19th century (after analysis of the pigments, one discovered Jaune of chromium, color unknown at the time of Shakespeare). Certain franc-tireurs thus suggested that writers like Francis Bacon, Christopher Marlowe or even the queen Elisabeth I {{Re}} hid behind whole or part of works of Shakespeare, as principal authors or joint authors. Their aristocratic origins would thus explain the suprenante stylistic control of the young man of Stratford. Conspiracy? Occulted truth? The cruel lack of indisputable information forces us with us to hold of it with a single identity, even if the orthodoxe history leaves in the shade certain aspects of the life of the playwright.

The thesis Bacon rests primarily on a cryptogram discovered in the original edition of works of Francis Bacon, in particular the " Of rerum organum " : this edition conceals, encrypted and coded, an autobiography of F. Bacon, which does not hesitate to proclaim that it “carried out various works, comedies, tragedies, which knew a great fame under the name of Shakespeare”. This text however in addition contains a number of improbabilities such as one cannot seriously grant credit to him.

Edward de Vere, the 17th count d' Oxford, noble familiar of the Queen Elizabeth, became also the most serious candidate who would have hidden behind the identity of Shakespeare. As of the Years 1920, the partisans of the count d' Oxford outlined theories being based on resemblances striking between the life of noble and the events described in the sonnets shakespeariens. Moreover, Edward de Vere was regarded of sound alive as a talented poet and writer, and had a luggage and an experiment which one could await oneself from a playwright of the stature of Shakespeare. However, it is to be stressed that this count was born fourteen years after Shakespeare and died twelve years before him.

The corollary question with the identity is that of the integrity of the texts: criticisms encounter difficulties as for determining the exact share of the compositions allotted to Shakespeare. At the time élisabéthaine, collaborations between playwrights were frequent, and the specialists continue to study the texts of the time to draw a more precise contour of the real contribution of the poet.

The religion of Shakespeare

Some contemporary researchers wrote that Shakespeare was with the margins of the Anglicanism and had strong inclinations towards the Catholic religion.

Lastly, various authors maconnic affirmed that Shakespeare was member of the cabins. Some go until saying that he was the creator of freemasonry.

The question is irresolute: Shakespeare could not have been a good catholic if he were member of the cabins, because freemasonry was frequently condemned by the popes. Moreover, the Anglicanism was very close to Catholicism on many aspects and leant continuously between a catholic branch and a Protestant branch.

The question of sexuality

See also: Sexuality of Shakespeare

The contents of the works allotted to Shakespeare raised the question of its sexual identity. Its possible bisexuality scandalized international criticism, have regard to its statute of universal icon.

It should be noted that the question of knowing if a élisabéthain were " gay" in the modern direction is anachronistic, the concepts of Homosexualité and from Bisexualité emerged only at the 19th century. While the Sodomie was a crime at the time of Shakespeare, there was no word to indicate an exclusively homosexual identity. Although twenty-six of the sonnets of Shakespeare are the poetries of love addressed to a married woman (known like the “dark lady” - the lady sinks), hundred twenty-six are addressed to an young man (known like it “to fair Lord” - the bright prince). The tonality in love with the last group, which concentrates on the beauty of the young man, was interpreted like proof of the bisexuality of Shakespeare, although others consider that these sonnets refer only to one intense friendship, a platonic love .

Other controversies

The Colonel Kadhafi claims that Shakespeare was in fact an Arab writer of the name of Sheik Zubayr and an Italian professor, Martino Iuvara, advances that it was called in fact Crollalanza and had been born with Messine.

Others put forth the assumption of a work collective, only able to explain the extent of knowledge of the playwright in Latin, Greek, history, right, Italian culture, etc

The vanity of these quarrels was underlined by Alphonse Allais: forever existed Shakespeare. All its parts were written by an unknown which bore the same name as him .

Anecdotes

  • In the science fiction novel “1984” of Georges Orwell, only artistic works which have escaped with the censure is works of Shakespeare.

  • Shakespeare and Cervantes died at the same date but not in the same calendar. Indeed, Spain, catholic, had then passed to the Gregorian Calendrier whereas England, Anglican, had not carried out this modification of calendar yet. Victor Hugo, which had been unaware of this detail, had been filled with wonder that these two experts of the human heart sought to leave this Ground together. This topic was used besides in news of Science-fiction.

  • the Reduced Shakespeare Company is a troop of actors which occurs since 1995 with the Théâtre Criterion on Piccadilly Circus, with London. They wrote and played successfully the part The Compleat Works off Wllm Shkspr (abridged) (complete works of William Shakespeare in summary), is 37 parts of Shakespeare condensed in 107 minutes. On behalf of BBC, a radio version also was recorded and diffused in 1994.

  • the film Shakespeare in Coils , left in 1999 on a scenario Tom Stoppard, is inspired (perhaps) by an episode of the life of Shakespeare which has occurred in 1593: involved in debt to the neck and badgered by its silent partner, Shakespeare promises to quickly deliver a new part to him, which it entitled Romeo and Ethel, the girl of the pirate . But, out the title, the playwright does not have the least inspiration… Violated, a young Lady appreciating the sonnets of Shakespeare, dreams to go up on scene, which is rigorously interdict with the women at that time. She disguises herself then as a boy and takes down the role of Romeo. Shakespeare discovering the identity of sound young first falls in love then from there and finds finally the intrigue and the new title of its part Romeo and Juliette puffed up in a tavern by some Christopher Marlowe…

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