William Shakespeare, in
terms of his life and his body of work, is the most written-about author in the
history of Western civilization. His canon includes 38 plays, 154 sonnets, and 2
epic narrative poems. The First Folio (cover shown at left) was published
posthumously in 1623 by two of Shakespeare's acting companions, John Heminges
and Henry Condell. Ever since then, the works of Shakespeare have been studied,
analyzed, and enjoyed as some of the finest masterpieces of the English
language.
It is all the more wondrous
when one can study the works and see Shakespeare developing as a playwright
right there upon the pages. Love's Labours Lost and the early comedies are
the work of a gifted and clever author. Perhaps such plays alone would have
earned him literary fame in later days. The grandeur of a Hamlet or King
Lear, however, is the work of a master who learned from his own writing and
long practice.
In his time, Shakespeare
was the most popular playwright of London. As centuries have passed, his genius
eclipses all others of his age; Jonson, Marlowe, Kyd, Greene, Dekker,
Heywood—none approach the craft or the humanity of character that marks the
Bard's work. He took the art of dramatic verse and honed it to perfection. He
created the most vivid characters of the Elizabethan—or any other—stage. His
usage of language, both lofty and low, shows a remarkable wit and subtlety.
Most importantly, his themes are so universal that they transcend generations
to stir the imaginations of audiences everywhere to this day.
His plays generally fall
into four categories:
The first period has its
roots in Roman and medieval drama—the construction of the plays, while good, is
obvious and shows the author's hand moreso than the later works. The earliest
Shakespeare also owes a debt to Christopher Marlowe, whose writing probably
gave much inspiration at the onset of the Bard's career.
The second period showed
more growth in style, and the construction becoming less labored. The histories
of this period are Shakespeare's best, portraying the lives of kings and
royalty in most human terms. He also begins the interweaving, in these
histories, of comedy and tragedy which would become one of his stylistic
signatures. His comedies mature in this period as well, portraying more
characterization in their subjects than previously.
The third period marks the
great tragedies, and the principal works which would earn the Bard his fame in
later centuries. His tragic figures rival those of Sophocles, and might well
have walked off the Greek stage straight onto the Elizabethan. Shakespeare is
at his best in these tragedies. The comedies of this period, however, show
Shakespeare at a literary crossroads—moody and without the clear comic
resolution of previous comedies. Hence, the term "problem plays" to
describe them.
The fourth period
encompasses romantic tragicomedy. Shakespeare at the end of his career seemed
preoccupied with themes of redemption. The writing is more serious yet more
lyrical, and the plays show Shakespeare at his most symbolic. It is argued
between scholars whether this period owed more to Shakespeare's maturity as a
playwright or merely signified a changing trend in Elizabethan theatre at the
time.
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