The Merry Wives of Windsor

The Merry Wives of Windsor is a comedy by William Shakespeare first published in 1602, though believed to have been written in or before 1597. The Windsor of the play's title is a reference to the town of Windsor, also the location of Windsor Castle in Berkshire, England. Though nominally set during the reign of King Henry IV or early in the reign of Henry V, the play makes no pretence to exist outside contemporary Elizabethan-era English middle-class life. It features the character Sir John Falstaff, the fat knight who had previously been featured in Henry IV, Part 1 and Part 2. It has been adapted for the opera at least ten times. The play is one of Shakespeare's lesser-regarded works among literary critics. Tradition has it that The Merry Wives of Windsor was written at the request of Queen Elizabeth I. After watching Henry IV Part I, she asked Shakespeare to write a play depicting Falstaff in love.

Measure for Measure

Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604 and first performed in 1604, according to available records. It was published in the First Folio of 1623.

   The play's plot features its protagonist, Duke Vincentio of Vienna, stepping out from public life to observe the affairs of the city under the governance of his deputy, Angelo. Angelo's harsh and ascetic public image is compared to his abhorrent personal conduct once in office, in which he exploits his power to procure a sexual favor from Isabella, whom he considers enigmatically beautiful. The tension in the play is eventually resolved through Duke Vincentio's intervention.

      Measure for Measure was printed as a comedy in the First Folio and continues to be classified as one. Though it shares features with other Shakespearean comedies, such as the use of wordplay and irony, and the employment of disguise and substitution as plot devices, it also features tragic elements such as executions and soliloquies, with Claudio's speech in particular having been favorably compared to tragic heroes like Prince Hamlet. Today it is often cited as one of Shakespeare's problematic plays due to its ambiguous tone.

Timon of Athens

Timon of Athens is a play written by William Shakespeare, and probably also Thomas Middleton, circa 1606. It was published in the First Folio in 1623. Timon lavishes his wealth on parasitic companions until he is poor and rejected by them. He rejects mankind and goes to live in a cave.

     The earliest-known production of the play was in 1674, when Thomas Shadwell wrote an adaptation under the title The History of Timon of Athens, The Man-Hater. Multiple other adaptations followed over the next century by writers such as Thomas Hull, James Love, and Richard Cumberland. The straight Shakespearean text was performed at Smock Alley in Dublin in 1761, but adaptations continued to dominate the stage until well into the 20th Century.

     Timon of Athens was originally grouped with his tragedies, but some scholars consider it one of his problem plays.

Love's Labour's Lost

Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s for a performance at the Inns of Court before Queen Elizabeth I. It follows the King of Navarre and his three companions as they attempt to swear off the company of women for three years in order to focus on study and fasting. Their subsequent infatuation with the Princess of France and her ladies makes them forsworn (break their oath). In an untraditional ending for a comedy, the play closes with the death of the Princess's father, and all weddings are delayed for a year. The play draws on themes of masculine love and desire, reckoning and rationalization, and reality versus fantasy.

     Though first published in 1598, the play's title page suggests a revision of an earlier version of the play. There are no obvious sources for the play's plot. The use of apostrophes in the play's title varies in early editions, though it is most commonly given as Love's Labor's Lost.

  Shakespeare's audiences were familiar with the historical figures portrayed and the political situation in Europe relating to the setting and action of the play. Scholars suggest the play lost popularity as these historical and political portrayals of Navarre's court became dated and less accessible to theatergoers of later generations. The play's sophisticated wordplay, pedantic humor and dated literary allusions may also be cause for its relative obscurity, as compared with Shakespeare's more popular works. Love's Labor's Lost was rarely staged in the 19th Century, but it has been seen more often in the 20th and 21st Centuries with productions by both the Royal Shakespeare Company and the National Theatre, among others. It has also been adapted as a musical, an opera, for radio, television, and as a musical film.

     Love's Labor's Lost features the longest scene (5.2), the longest single word 'honorificabilitudinitatibus' (5.1.39–40), and (depending on editorial choices) the longest speech (4.3.284–361) in all of Shakespeare's plays.

Troilus and Cressida

Troilus and Cressida is a play by William Shakespeare, probably written in 1602. At Troy during the Trojan War, Troilus and Cressida begin a love affair. Cressida is forced to leave Troy to join her father in the Greek camp. Meanwhile, the Greeks endeavour to lessen the pride of Achilles. 

   The tone alternates between bawdy comedy and tragic gloom. Readers and theater-goers have frequently found it difficult to understand how they are meant to respond to the characters. The category of genre is one easy way in which to make sense of a play, but then naturally arises the question, but to which genre does this play belong? It has been called a tragedy, a comedy of disillusion, a wry-mouthed comedy, a satire, a piece of propaganda, a morality play, and (of course) a problem play. Unfortunately, neither critics nor dramatists have been successful in its categorization.

Pericles, Prince of Tyre

Pericles, Prince of Tyre is a play written at least in part by William Shakespeare and included in modern editions of his collected works despite questions over its authorship, as it was not included in the First Folio. While various arguments support that Shakespeare is the sole author of the play (notably DelVecchio and Hammond's Cambridge edition of the play), modern editors generally agree that Shakespeare is responsible for almost exactly half the play—827 lines—the main portion after Scene IX that follows the story of Pericles and Marina. Modern textual studies indicate that the first two acts of 835 lines detailing the many voyages of Pericles were written by a collaborator, which strong evidence suggests to have been the dramatist and pamphleteer George Wilkins.

As to the disagreement between editors and Shakespearean experts about the authorship of this play, I wholeheartedly believe Shakespeare definitely at least had a hand in penning this play. Despite it's tragic rising action and climax, the play wraps up the way many of Shakespeare's tragedy/comedy plays wrap up: everyone is happy in the end, despite hardships and trials. The beginning of this play is a little tough to swallow, but if you can get past this initial section, the rest of the play reads as well as any other Shakespearean play, as long as you truly enjoy the bard's work.

All's Well That Ends Well

All's Well That Ends Well is a play by William Shakespeare, published in the First Folio in 1623, where it is listed among the comedies. There is a debate regarding the dating of the composition of the play, with possible dates ranging from 1598 to 1608.

    The play is considered one of Shakespeare's "problem plays"—a play that poses complex ethical dilemmas that require more than typically simple solutions. The play is based on a tale (tale nine of day three) of Boccaccio's The Decameron. Shakespeare may have read a French translation of the tale in William Painter's Palace of Pleasure.

I don't really know how to explain the plot of this play. I can tell you who the characters are, what happens to these characters, and how the play ends, but I don't think I can really give an analysis which would be accepted by most critics. The title itself is one of Shakespeare's most quoted and famous lines, but the plot of this play, I believe, would have some real trouble getting off the ground in this day and age. The way marriages were bonded during our playwright's time may have lent itself to an audience more attuned or more understanding of the actions of Helena and how and why Bertram accepted his fate; however, even though this play is basically about a woman trapping the man she loves into a lifetime of basically servitude, I believe both men and women of this day would hold protests. Despite the controversies of this plot, the play is still penned by the most beautiful and artistic playwright ever, so if you read it or view it strictly for its poetry, you won't be disappointed.

Titus Andronicus

Titus Andronicus is a tragedy by William Shakespeare, believed to have been written between 1588-1593, probably in collaboration with George Peele. It is thought to be Shakespeare's first tragedy and is often seen as his attempt to emulate the violent and bloody revenge plays of his contemporaries, which were extremely popular with audiences throughout the 16th Century.

    The play is set during the latter days of the Roman Empire and tells the story of Titus, a fictional general in the Roman army, who is engaged in a cycle of revenge with Tamora, Queen of the Goths. It is Shakespeare's bloodiest and most violent work. Traditionally it is one of his least respected plays. Although extremely popular in its day, it had fallen out of favor by the late-17th Century. The Victorian era disapproved of it largely because of what was regarded as its distasteful graphic violence. However, beginning around the middle of the 20th Century, its reputation began to improve.

Even as a younger man, during the earlier days when my Shakespearean love affair was only but in the courting phase, I admired the complexity of this play. With the twists and turns abound, as well as a reader's own shifting loyalties, Shakespeare penned a brilliant soap-operatic, bloody piece of literature. As my love for Shakespeare's plays grew, I rarely returned to this play, because his other plays offer a little more dramatic insight into the human condition as well as more decomposable turns of phrase. However, even though I wouldn't list this play in the top ten of my favorite Shakespeare plays, I would recommend a read through or a viewing, even though it hasn't been made into many film versions (Titus, with Anthony Hopkins, is a fair production), if only to gain a broader scope of Shakespeare's talent.

Henry IV, Part II

Henry IV Part 2 is a history play by William Shakespeare, believed written between 1596-1599. It is the third part of a tetralogy, preceded by King Richard II and Henry IV Part 1, succeeded by King Henry V.

    The play is often seen as an extension of aspects of Henry IV Part 1 rather than a straightforward continuation of the historical narrative, placing more emphasis on the highly popular character of Falstaff and introducing other comic figures as part of his entourage, including Ancient Pistol, Doll Tearsheet, and Justice Robert Shallow. Several scenes specifically parallel episodes in Henry IV Part 1.

The Tempest

The Tempest is a play by William Shakespeare, believed written in 1610-1611; many critics believe it was the last play Shakespeare wrote alone. It is set on a remote island, where the sorcerer Prospero, rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skillful manipulation. He conjures up a storm, the eponymous tempest, to lure his usurping brother Antonio and the complicit King Alonso of Naples to the island. There, his machinations bring about the revelation of Antonio’s lowly nature, the redemption of the King, and the marriage of Miranda to Alonso’s son, Ferdinand.

    The Tempest did not attract a significant amount of attention before the ban on the performance of plays in 1642 and only attained popularity after the Restoration, and then only in adapted versions. In the mid-Nineteenth Century, theater productions began to reinstate the original Shakespearean text, and in the Twentieth Century, critics and scholars undertook a significant re-appraisal of the play’s value to the extent it is now considered one of Shakespeare’s greatest works.

Antony and Cleopatra

Antony and Cleopatra is a tragedy by William Shakespeare. The play was performed first circa 1607 at the Blackfriars Theater or the Globe Theater by the King’s Men. Its first appearance in print was in the Folio of 1623.

   The plot is based on Thomas North’s translation of Plutarch’s Lives and follows the relationship between Cleopatra and Mark Antony from the time of the Sicilian revolt to Cleopatra’s suicide during the Final War of the Roman Republic. The major antagonist is Octavius Caesar, one of Antony’s fellow triumvirs (a political regime dominated by three powerful individuals) of the Second Triumvirate and the first emperor of the Roman Empire. The tragedy is mainly set in Rome and Egypt and is characterized by swift shifts in geographical location and linguistic register as it alternates between sensual, imaginative Alexandria, and a more pragmatic, austere Rome.

   Many consider Shakespeare’s Cleopatra, whom Antony describes as having ‘infinite variety,” as one of the most complex and fully developed female characters in the playwright’s body of work. She is frequently vain and histrionic enough to provoke an audience almost to scorn; at the same time, Shakespeare invests her and Antony with tragic grandeur. These contradictory features have led to famously divided critical responses. It is difficult to classify Antony and Cleopatra as belonging to a single genre. It can be described as a history play (although it does not completely adhere to historical accounts), as a tragedy (although not completely in Aristotelian terms), as a comedy, as a romance, and according to some critics, e.g. McCarter, a problem play. All one can say with certainty is it is a Roman play, possibly even a sequel to another of Shakespeare’s tragedies, Julius Caesar.

Henry IV, Part I

Henry IV Part 1 is a history play by William Shakespeare, believed written no later than 1597. It is the second play in Shakespeare’s tetralogy dealing with the successive reigns of King Richard II, King Henry IV (two plays, including Henry IV Part 2), and King Henry V. Henry IV Part 1 depicts a span of history beginning with Hotspur’s battle at Homildon in Northumberland against Douglas late in 1402 and ends with the defeat of the rebels at Shrewsbury in the middle of 1403. From the start it has been an extremely popular play both with the public and critics.

Much Ado About Nothing

Much Ado About Nothing is a comedic play by William Shakespeare written in 1598-1599 as Shakespeare approached the middle of his career. The play was included in the First Folio published in 1623. Much Ado About Nothing is generally considered one of Shakespeare’s best comedies because it combines elements of mistaken identities, love, and robust hilarity with more serious meditations on honor, shame, and court politics.

    Benedick and Beatrice are tricked into confessing their love for each other, and Claudio is tricked into rejecting Hero at the altar on the erroneous belief she has been unfaithful. At the end Benedick and Beatrice join forces to set things right, and the others join in a dance celebrating the marriages of the two couples.

Romeo and Juliet

Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families. It was among Shakespeare’s most popular plays during his lifetime and, along with The Tragedy of Hamlet, Prince of Denmark, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers.

    Romeo and Juliet belongs to a tradition of tragic romances stretching back to antiquity. The plot is based on an Italian tale translated into verse as The Tragical History of Romeus and Juliet by Arthur Brooke in 1562 and retold in prose in Palace of Pleasure by William Painter in 1567. Shakespeare borrowed heavily from both texts but expanded the plot by developing a number of supporting characters, particularly Mercutio and Paris. Believed written between 1591-1595, the play was first published in a quarto version in 1597. The text of the first quarto version was of poor quality, however, and later editions corrected the text to conform more closely with Shakespeare’s original.

King Richard II

King Richard II is a history play by William Shakespeare believed written in approximately 1595. It is based on the life of King Richard II of England (ruled 1377-1399) and is the first part of a tetralogy, referred to by some scholars as the “Henriad,” followed by three plays concerning Richard’s successors: King Henry IV Part 1; King Henry IV Part 2; and King Henry V.

     Although the First Folio (1623) edition of Shakespeare’s works lists the play as a history play, the earlier Quarto edition of 1597 calls it The Tragedie of King Richard the Second.

The Tragedy of Macbeth

Macbeth (full title The Tragedy of Macbeth) is a tragedy by William Shakespeare thought first performed in 1606. It dramatizes the damaging physical and psychological effects of political ambition on those who seek power for its own sake. Of all the plays Shakespeare wrote during the reign of King James I, who was patron of Shakespeare’s acting company, Macbeth most clearly reflects the playwright’s relationship with his sovereign. It was first published in the Folio of 1623, possibly from a prompt book, and is his shortest tragedy.

    A brave Scottish general named Macbeth receives a prophecy from a trio of witches one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the Scottish throne for himself. He is then wracked with guilt and paranoia. Forced to commit more and more murders to protect himself from enmity and suspicion, he soon becomes a tyrannical ruler. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of madness and death.

King John

King John, a history play by William Shakespeare, dramatizes the reign of King John of England (ruling 1199-1216), son of King Henry II of England and Eleanor of Aquitaine, and father of King Henry III of England. It is believed written in the mid-1590s but was not published until it appeared in the First Folio in 1623.

As You Like It

As You Like It is a comedy by William Shakespeare believed written in 1599 and first published in the First Folio, 1623. The play’s first performance is uncertain, although a performance at Wilton House in 1603 has been suggested as a possibility. As You Like It follows its heroine Rosalind as she flees persecution in her uncle’s court, accompanied by her cousin Celia to find safety and eventually love in the Forest of Arden. In the forest they encounter a variety of memorable characters, notably the melancholy traveler Jaques who speaks many of Shakespeare’s most famous quotes (such as “All the world’s a stage” and “A fool! A fool! I met a fool in the forest.”) Jaques provides a sharp contrast to the other characters in the play, always observing and disputing the hardships of life in the country. Historically, critical response has varied, with some critics finding the work of lesser quality than other Shakespearean works and some finding the play a work of great merit.

Julius Caesar

Julius Caesar is a tragedy by William Shakespeare, believed written in 1599.  It is one of several plays written by Shakespeare based on true events from Roman history, also including Coriolanus and Antony and Cleopatra.

     Although the title is Julius Caesar, Caesar is not the most visible character in its action, appearing alive in only three scenes. Marcus Brutus speaks more than four times as many lines, and the central psychological drama of the play focuses on Brutus’ struggle between the conflicting demands of honor, patriotism, and friendship.

King Henry VIII

King Henry VIII is a history play written by William Shakespeare (and now believed co-written by John Fletcher) based on the life of King Henry VIII of England. An alternative title, All is True, is recorded in contemporary documents, the title King Henry VIII not appearing until the play’s publication in the First Folio of 1623. Stylistic evidence indicates individual scenes were written by either Shakespeare or his collaborator and successor, John Fletcher. It is also somewhat characteristic of the late romances in its structure. It is noted for having more stage directions than any of Shakespeare’s other plays.

    During a performance of King Henry VIII at the Globe Theater in 1613, a cannon shot employed for special effects ignited the theater’s thatched roof (and the beams), burning the original Globe building to the ground.