William Shakespeare

William Shakespeare Biography

William Shakespeare was born to John Shakespeare and mother Mary Arden some time in late April 1564 in Stratford-upon-Avon. There is no record of his birth, but his baptism was recorded by the church, thus his birthday is assumed to be the 23 of April. His father was a prominent and prosperous alderman in the town of Stratford-upon-Avon, and was later granted a coat of arms by the College of Heralds. All that is known of Shakespeare's youth is that he presumably attended the Stratford Grammar School, and did not proceed to Oxford or Cambridge. The next record we have of him is his marriage to Anne Hathaway in 1582. The next year she bore a daughter for him, Susanna, followed by the twins Judith and Hamnet two years later.
Seven years later Shakespeare is recognized as an actor, poet and playwright, when a rival playwright, Robert Greene, refers to him as "an upstart crow" in A Groatsworth of Wit. A few years later he joined up with one of the most successful acting troupe's in London: The Lord Chamberlain's Men. When, in 1599, the troupe lost the lease of the theatre where they performed, (appropriately called The Theatre) they were wealthy enough to build their own theatre across the Thames, south of London, which they called "The Globe." The new theatre opened in July of 1599, built from the timbers of The Theatre, with the motto "Totus mundus agit histrionem" (A whole world of players) When James I came to the throne (1603) the troupe was designated by the new king as the King's Men (or King's Company). The Letters Patent of the company specifically charged Shakespeare and eight others "freely to use and exercise the art and faculty of playing Comedies, Tragedies, Histories, Inerludes, Morals, Pastorals, stage plays ... as well for recreation of our loving subjects as for our solace and pleasure."
Shakespeare entertained the king and the people for another ten years until June 19, 1613, when a canon fired from the roof of the theatre for a gala performance of Henry VIII set fire to the thatch roof and burned the theatre to the ground. The audience ignored the smoke from the roof at first, being to absorbed in the play, until the flames caught the walls and the fabric of the curtains. Amazingly there were no casualties, and the next spring the company had the theatre "new builded in a far fairer manner than before." Although Shakespeare invested in the rebuilding, he retired from the stage to the Great House of New Place in Statford that he had purchased in 1597, and some considerable land holdings ,where he continued to write until his death in 1616 on the day of his 52nd birthday.
In his time William wrote 13 Comedies, 13 Historical Plays, 6 Tragedies, 4 Tragicomedies, as well as many sonnets (154) , which were mostly dedicated to his patron, Henry Wriothsley, The Earl of Southampton.
Comedies
"Comedy of Errors" 1592
"The Taming of the Shrew" 1592-94
"Love's Labor's Lost" 1594-95
"Two Gentlemen of Verona" 1594-95
"A Midsummer Night's Dream" 1595-96
"The Merchant of Venice" 1596-97
"Much Ado About Nothing" 1598-99
"As You Like It" 1599-1600
"Twelfth Night" 1599-1600
"Merry Wives of Windsor" 1601-02
"Troilus and Cressida" 1601-02
"All's Well That Ends Well" 1602-03
"Measure for Measure" 1604-05
Historical
"Henry VI" parts I, II, III 1590-92
"Richard III" 1590-92
"King John" 1594-96
"Richard II" 1597-(?)
"King Henry IV" part I, part II 1597-98
"Henry V (1599)" 1598-99
"Julius Caesar" 1599-1600
"Henry VIII" 1613-(?)
"Antony and Cleopatra" 1606-07
"Coriolanus" 1607-08
Tragedies
"Titus Andronicus" 1593-94
"Romeo and Juliet" 1594-95
"Hamlet" 1600-01
"Othello" 1604-05
"The Tragedy of King Lear" 1605-06
"Macbeth" 1605-06
Tragicomedies
"Timon of Athens" 1607-(?)
"Cymbeline" 1609-10
"The Winter's Tale" 1610-11
"Tempest" 1611-12
Poems 

A Fairy Song 
Over hill, over dale,
Thorough bush, thorough brier,
Over park, over pale,
Thorough flood, thorough fire!
I do wander everywhere,
Swifter than the moon's sphere;
And I serve the Fairy Queen,
To dew her orbs upon the green;
The cowslips tall her pensioners be;
In their gold coats spots you see;
Those be rubies, fairy favours;
In those freckles live their savours;
I must go seek some dewdrops here,
And hang a pearl in every cowslip's ear. 
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A Lover's Complaint 

FROM off a hill whose concave womb reworded
A plaintful story from a sistering vale,
My spirits to attend this double voice accorded,
And down I laid to list the sad-tuned tale;
Ere long espied a fickle maid full pale,
Tearing of papers, breaking rings a-twain,
Storming her world with sorrow's wind and rain.

Upon her head a platted hive of straw,
Which fortified her visage from the sun,
Whereon the thought might think sometime it saw
The carcass of beauty spent and done:
Time had not scythed all that youth begun,
Nor youth all quit; but, spite of heaven's fell rage,
Some beauty peep'd through lattice of sear'd age.

Oft did she heave her napkin to her eyne,
Which on it had conceited characters,
Laundering the silken figures in the brine
That season'd woe had pelleted in tears,
And often reading what contents it bears;
As often shrieking undistinguish'd woe,
In clamours of all size, both high and low.

Sometimes her levell'd eyes their carriage ride,
As they did battery to the spheres intend;
Sometime diverted their poor balls are tied
To the orbed earth; sometimes they do extend
Their view right on; anon their gazes lend
To every place at once, and, nowhere fix'd,
The mind and sight distractedly commix'd.

Her hair, nor loose nor tied in formal plat,
Proclaim'd in her a careless hand of pride
For some, untuck'd, descended her sheaved hat,
Hanging her pale and pined cheek beside;
Some in her threaden fillet still did bide,
And true to bondage would not break from thence,
Though slackly braided in loose negligence.

A thousand favours from a maund she drew
Of amber, crystal, and of beaded jet,
Which one by one she in a river threw,
Upon whose weeping margent she was set;
Like usury, applying wet to wet,
Or monarch's hands that let not bounty fall
Where want cries some, but where excess begs all.

Of folded schedules had she many a one,
Which she perused, sigh'd, tore, and gave the flood;
Crack'd many a ring of posied gold and bone
Bidding them find their sepulchres in mud;
Found yet moe letters sadly penn'd in blood,
With sleided silk feat and affectedly
Enswathed, and seal'd to curious secrecy.

These often bathed she in her fluxive eyes,
And often kiss'd, and often 'gan to tear:
Cried 'O false blood, thou register of lies,
What unapproved witness dost thou bear!
Ink would have seem'd more black and damned here!'
This said, in top of rage the lines she rents,
Big discontent so breaking their contents.

A reverend man that grazed his cattle nigh--
Sometime a blusterer, that the ruffle knew
Of court, of city, and had let go by
The swiftest hours, observed as they flew--
Towards this afflicted fancy fastly drew,
And, privileged by age, desires to know
In brief the grounds and motives of her woe.

So slides he down upon his grained bat,
And comely-distant sits he by her side;
When he again desires her, being sat,
Her grievance with his hearing to divide:
If that from him there may be aught applied
Which may her suffering ecstasy assuage,
'Tis promised in the charity of age.

'Father,' she says, 'though in me you behold
The injury of many a blasting hour,
Let it not tell your judgment I am old;
Not age, but sorrow, over me hath power:
I might as yet have been a spreading flower,
Fresh to myself, If I had self-applied
Love to myself and to no love beside.

'But, woe is me! too early I attended
A youthful suit--it was to gain my grace--
Of one by nature's outwards so commended,
That maidens' eyes stuck over all his face:
Love lack'd a dwelling, and made him her place;
And when in his fair parts she did abide,
She was new lodged and newly deified.

'His browny locks did hang in crooked curls;
And every light occasion of the wind
Upon his lips their silken parcels hurls.
What's sweet to do, to do will aptly find:
Each eye that saw him did enchant the mind,
For on his visage was in little drawn
What largeness thinks in Paradise was sawn.

'Small show of man was yet upon his chin;
His phoenix down began but to appear
Like unshorn velvet on that termless skin
Whose bare out-bragg'd the web it seem'd to wear:
Yet show'd his visage by that cost more dear;
And nice affections wavering stood in doubt
If best were as it was, or best without.

'His qualities were beauteous as his form,
For maiden-tongued he was, and thereof free;
Yet, if men moved him, was he such a storm
As oft 'twixt May and April is to see,
When winds breathe sweet, untidy though they be.
His rudeness so with his authorized youth
Did livery falseness in a pride of truth.

'Well could he ride, and often men would say
'That horse his mettle from his rider takes:
Proud of subjection, noble by the sway,
What rounds, what bounds, what course, what stop
he makes!'
And controversy hence a question takes,
Whether the horse by him became his deed,
Or he his manage by the well-doing steed.

'But quickly on this side the verdict went:
His real habitude gave life and grace
To appertainings and to ornament,
Accomplish'd in himself, not in his case:
All aids, themselves made fairer by their place,
Came for additions; yet their purposed trim
Pieced not his grace, but were all graced by him.

'So on the tip of his subduing tongue
All kinds of arguments and question deep,
All replication prompt, and reason strong,
For his advantage still did wake and sleep:
To make the weeper laugh, the laugher weep,
He had the dialect and different skill,
Catching all passions in his craft of will:

'That he did in the general bosom reign
Of young, of old; and sexes both enchanted,
To dwell with him in thoughts, or to remain
In personal duty, following where he haunted:
Consents bewitch'd, ere he desire, have granted;
And dialogued for him what he would say,
Ask'd their own wills, and made their wills obey.

'Many there were that did his picture get,
To serve their eyes, and in it put their mind;
Like fools that in th' imagination set
The goodly objects which abroad they find
Of lands and mansions, theirs in thought assign'd;
And labouring in moe pleasures to bestow them
Than the true gouty landlord which doth owe them:

'So many have, that never touch'd his hand,
Sweetly supposed them mistress of his heart.
My woeful self, that did in freedom stand,
And was my own fee-simple, not in part,
What with his art in youth, and youth in art,
Threw my affections in his charmed power,
Reserved the stalk and gave him all my flower.

'Yet did I not, as some my equals did,
Demand of him, nor being desired yielded;
Finding myself in honour so forbid,
With safest distance I mine honour shielded:
Experience for me many bulwarks builded
Of proofs new-bleeding, which remain'd the foil
Of this false jewel, and his amorous spoil.

'But, ah, who ever shunn'd by precedent
The destined ill she must herself assay?
Or forced examples, 'gainst her own content,
To put the by-past perils in her way?
Counsel may stop awhile what will not stay;
For when we rage, advice is often seen
By blunting us to make our wits more keen.

'Nor gives it satisfaction to our blood,
That we must curb it upon others' proof;
To be forbod the sweets that seem so good,
For fear of harms that preach in our behoof.
O appetite, from judgment stand aloof!
The one a palate hath that needs will taste,
Though Reason weep, and cry, 'It is thy last.'

'For further I could say 'This man's untrue,'
And knew the patterns of his foul beguiling;
Heard where his plants in others' orchards grew,
Saw how deceits were gilded in his smiling;
Knew vows were ever brokers to defiling;
Thought characters and words merely but art,
And bastards of his foul adulterate heart.

'And long upon these terms I held my city,
Till thus he gan besiege me: 'Gentle maid,
Have of my suffering youth some feeling pity,
And be not of my holy vows afraid:
That's to ye sworn to none was ever said;
For feasts of love I have been call'd unto,
Till now did ne'er invite, nor never woo.

''All my offences that abroad you see
Are errors of the blood, none of the mind;
Love made them not: with acture they may be,
Where neither party is nor true nor kind:
They sought their shame that so their shame did find;
And so much less of shame in me remains,
By how much of me their reproach contains.

''Among the many that mine eyes have seen,
Not one whose flame my heart so much as warm'd,
Or my affection put to the smallest teen,
Or any of my leisures ever charm'd:
Harm have I done to them, but ne'er was harm'd;
Kept hearts in liveries, but mine own was free,
And reign'd, commanding in his monarchy.

''Look here, what tributes wounded fancies sent me,
Of paled pearls and rubies red as blood;
Figuring that they their passions likewise lent me
Of grief and blushes, aptly understood
In bloodless white and the encrimson'd mood;
Effects of terror and dear modesty,
Encamp'd in hearts, but fighting outwardly.

''And, lo, behold these talents of their hair,
With twisted metal amorously impleach'd,
I have received from many a several fair,
Their kind acceptance weepingly beseech'd,
With the annexions of fair gems enrich'd,
And deep-brain'd sonnets that did amplify
Each stone's dear nature, worth, and quality.

''The diamond,--why, 'twas beautiful and hard,
Whereto his invised properties did tend;
The deep-green emerald, in whose fresh regard
Weak sights their sickly radiance do amend;
The heaven-hued sapphire and the opal blend
With objects manifold: each several stone,
With wit well blazon'd, smiled or made some moan.

''Lo, all these trophies of affections hot,
Of pensived and subdued desires the tender,
Nature hath charged me that I hoard them not,
But yield them up where I myself must render,
That is, to you, my origin and ender;
For these, of force, must your oblations be,
Since I their altar, you enpatron me.

''O, then, advance of yours that phraseless hand,
Whose white weighs down the airy scale of praise;
Take all these similes to your own command,
Hallow'd with sighs that burning lungs did raise;
What me your minister, for you obeys,
Works under you; and to your audit comes
Their distract parcels in combined sums.

''Lo, this device was sent me from a nun,
Or sister sanctified, of holiest note;
Which late her noble suit in court did shun,
Whose rarest havings made the blossoms dote;
For she was sought by spirits of richest coat,
But kept cold distance, and did thence remove,
To spend her living in eternal love.

''But, O my sweet, what labour is't to leave
The thing we have not, mastering what not strives,
Playing the place which did no form receive,
Playing patient sports in unconstrained gyves?
She that her fame so to herself contrives,
The scars of battle 'scapeth by the flight,
And makes her absence valiant, not her might.

''O, pardon me, in that my boast is true:
The accident which brought me to her eye
Upon the moment did her force subdue,
And now she would the caged cloister fly:
Religious love put out Religion's eye:
Not to be tempted, would she be immured,
And now, to tempt, all liberty procured.

''How mighty then you are, O, hear me tell!
The broken bosoms that to me belong
Have emptied all their fountains in my well,
And mine I pour your ocean all among:
I strong o'er them, and you o'er me being strong,
Must for your victory us all congest,
As compound love to physic your cold breast.

''My parts had power to charm a sacred nun,
Who, disciplined, ay, dieted in grace,
Believed her eyes when they to assail begun,
All vows and consecrations giving place:
O most potential love! vow, bond, nor space,
In thee hath neither sting, knot, nor confine,
For thou art all, and all things else are thine.

''When thou impressest, what are precepts worth
Of stale example? When thou wilt inflame,
How coldly those impediments stand forth
Of wealth, of filial fear, law, kindred, fame!
Love's arms are peace, 'gainst rule, 'gainst sense,
'gainst shame,
And sweetens, in the suffering pangs it bears,
The aloes of all forces, shocks, and fears.

''Now all these hearts that do on mine depend,
Feeling it break, with bleeding groans they pine;
And supplicant their sighs to you extend,
To leave the battery that you make 'gainst mine,
Lending soft audience to my sweet design,
And credent soul to that strong-bonded oath
That shall prefer and undertake my troth.'

'This said, his watery eyes he did dismount,
Whose sights till then were levell'd on my face;
Each cheek a river running from a fount
With brinish current downward flow'd apace:
O, how the channel to the stream gave grace!
Who glazed with crystal gate the glowing roses
That flame through water which their hue encloses.

'O father, what a hell of witchcraft lies
In the small orb of one particular tear!
But with the inundation of the eyes
What rocky heart to water will not wear?
What breast so cold that is not warmed here?
O cleft effect! cold modesty, hot wrath,
Both fire from hence and chill extincture hath.

'For, lo, his passion, but an art of craft,
Even there resolved my reason into tears;
There my white stole of chastity I daff'd,
Shook off my sober guards and civil fears;
Appear to him, as he to me appears,
All melting; though our drops this difference bore,
His poison'd me, and mine did him restore.

'In him a plenitude of subtle matter,
Applied to cautels, all strange forms receives,
Of burning blushes, or of weeping water,
Or swooning paleness; and he takes and leaves,
In either's aptness, as it best deceives,
To blush at speeches rank to weep at woes,
Or to turn white and swoon at tragic shows.

'That not a heart which in his level came
Could 'scape the hail of his all-hurting aim,
Showing fair nature is both kind and tame;
And, veil'd in them, did win whom he would maim:
Against the thing he sought he would exclaim;
When he most burn'd in heart-wish'd luxury,
He preach'd pure maid, and praised cold chastity.

'Thus merely with the garment of a Grace
The naked and concealed fiend he cover'd;
That th' unexperient gave the tempter place,
Which like a cherubin above them hover'd.
Who, young and simple, would not be so lover'd?
Ay me! I fell; and yet do question make
What I should do again for such a sake.

'O, that infected moisture of his eye,
O, that false fire which in his cheek so glow'd,
O, that forced thunder from his heart did fly,
O, that sad breath his spongy lungs bestow'd,
O, all that borrow'd motion seeming owed,
Would yet again betray the fore-betray'd,
And new pervert a reconciled maid!' 
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A Madrigal 

Crabbed Age and Youth
Cannot live together:
Youth is full of pleasance,
Age is full of care;
Youth like summer morn,
Age like winter weather;
Youth like summer brave,
Age like winter bare:
Youth is full of sports,
Age's breath is short,
Youth is nimble, Age is lame:
Youth is hot and bold,
Age is weak and cold,
Youth is wild, and Age is tame:-
Age, I do abhor thee;
Youth, I do adore thee;
O! my Love, my Love is young!
Age, I do defy thee-
O sweet shepherd, hie thee,
For methinks thou stay'st too long. 
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All the World's a Stage 

All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first, the infant,
Mewling and puking in the nurse's arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything. 
........................................................................................................................................................................
Aubade 
HARK! hark! the lark at heaven's gate sings,
   And Phoebus 'gins arise,
His steeds to water at those springs
   On chaliced flowers that lies;
And winking Mary-buds begin
   To ope their golden eyes:
With everything that pretty bin,
   My lady sweet, arise!
   Arise, arise!   
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Comedies of Shakespeare  

As You Like It
Play by Shakespeare 

Introduction 
This section is dedicated to As You Like It, the play by William Shakespeare. The picture is 18th century and image displayed represents the essence of the play which, we hope, will bring to life a famous scene or character from the play. The information provided on this section of william-shakespeare.info includes famous quotes / quotations from As You Like It, summary of the plot or story, facts about the play, a list of the cast and characters and access to the full text - script of As You Like It play by William Shakespeare 

Summary of the plot or story 
As You Like It is considered by many to be one of Shakespeare's greatest comedies, and the heroine, Rosalind, is praised as one of his most inspiring characters and has more lines than any of Shakespeare's female characters. Rosalind, the daughter of a banished duke falls in love with Orlando the disinherited son of one of the duke's friends. When she is banished from the court by 
her usurping uncle, Duke Frederick , Rosalind switches genders and as Ganymede travels with her loyal cousin Celia and the jester Touchstone to the Forest of Arden, where her father and his friends live in exile. Observations on life and love follow (including love, aging, the natural world, and death) friends are made, and families are reunited. By the play's end Ganymede, once again Rosalind, marries her Orlando. Two other sets of lovers are also wed, one of them Celia and Orlando's mean older brother Oliver . As Oliver becomes a gentler, kinder young man so the Duke conveniently changes his ways and turns to religion and so that the exiled Duke, father of Rosalind, can rule once again.  
Famous Quotes 

"All the world 's a stage, and all the men and women merely players. They have their exits and their entrances; And one man in his time plays many parts" As You Like It - (Act II, Scene VII).

"Can one desire too much of a good thing?". As You Like It (Act IV, Scene I).

"True is it that we have seen better days". As You Like It - Act II, Scene VII).

"For ever and a day". As You Like It - (Act IV, Scene I).

"The fool doth think he is wise, but the wise man knows himself to be a fool". (Act V, Scene I). 

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The Comedy of Errors
Play by Shakespeare  

Introduction 

This section is dedicated to The Comedy of Errors, the play by William Shakespeare. The picture is 18th century and image displayed represents the essence of the play which, we hope, will bring to life a famous scene or character from the play. The information provided in this section of william-shakespeare.info includes famous quotes / quotations from The Comedy of Errors, summary of the plot or story, facts about the play, a list of the cast and characters and access to the full text - script of The Comedy of Errors play by William Shakespeare.
Summary of the plot or story
The Comedy of Errors relies heavily on mix-ups and witty dialogue. The characters include two sets of twins, Antipholus of Ephesus and Antipholus of Syracuse and Dromio of Ephesus and Dromio of Syracuse. Dromio of Ephesus is the slave of Antipholus of Ephesus, and Dromio of Syracuse is the slave of Antipholus of Syracuse. Antipholus of Ephesus is unaware that he has a twin brother, Antipholus of Syracuse. And Dromio of Ephesus is unaware that he also has a twin brother, Dromio of Syracuse. Farcical mix-ups occur when all the twins converge in Ephesus.  
Famous Quotes 
"For slander lives upon succession,
For ever housed where it gets possession". (Act III, Scene I) 

"It is thyself, mine own self's better part; 
Mine eye's clear eye, my dear heart's dearer heart; 
My food, my fortune, and my sweet hope's aim; 
My sole earth's heaven, and my heaven's claim." (Act III, Scene II) 

"Time is a very bankrupt, and owes more than he's worth to season. 
Nay, he's a thief, too: have you not heard men say, 
That time comes stealing on by night and day?" (Act IV, Scene II)

Shakespeare makes mention of America The Comedy of Errors, Antipholus of Syracuse asks, "Where America, the Indies?" (Act III, Scene II) 

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The Taming of the Shrew
Play by Shakespeare 

Introduction 
This section is dedicated to The Taming of the Shrew, the play by William Shakespeare. The picture is 18th century and image displayed represents the essence of the play which, we hope, will bring to life a famous scene or character from The Taming of the Shrew. The information provided in this section of william-shakespeare.info includes famous quotes / quotations from The Taming of the Shrew, summary of the plot or story, facts about the play, a list of the cast and characters and access to the full text - script of Taming of the Shrew the play by William Shakespeare. 
Summary of the plot or story 
The play starts with the Induction where a trick is played by a nobleman on the drunkard Christopher Sly who arranges for an acting troupe to perform a play called The Taming of the Shrew...
The beautiful and gentle Bianca has no shortage of admirers (Lucentio, Gremio and Hortensio) but her father insists that she will not marry until her shrewish sister, Katharina, is betrothed. Bianca's suitors persuade fortune-seeker Petruchio to court her. The suitors pay for any costs involved and there is also the goal of Katharina's dowry.

Sparks fly between Katharina and Petruchio and they enter into various slanging matches but not to be put off Petruchio marries Katharina. His behaviour following the wedding is intolerable and he carries Katharina off to his country house with his servant Grumio. Petruchio intends to browbeat 
Katharina into submission and he craftily denies her food and sleep, whilst continuously singing her praises. He also finds fault with her new clothes and she is forced to wear old ones. This is the final straw and Katharina starts agreeing and pleasing her husband - she has been tamed.
On their return to Padua Lucentio has won Bianca and Hortensio has married a widow. At a banquet they wager on who has the most obedient wife. Each wife is issued with commands but only Katharina obeys and promptly lectures everyone on the importance of wifely submission!
The theme of the play is a farcical comedy but the question is did Shakespeare really believe that a woman was in no way equal to a man or was this play tongue in cheek and was he portraying how men would simply like things to be! 
Famous Quotes 
"I 'll not budge an inch". (Induction, Scene I).
"Out of the jaws of death". Act III, Scene IV).
"Thus the whirligig of time brings in his revenges". (Act V, Scene I). 
 

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Love's Labour's Lost
Play by Shakespeare 

Introduction 
This section is dedicated to Love's Labour's Lost, the play by William Shakespeare. The picture is 18th century and image displayed represents the essence of the play which, we hope, will bring to life a famous scene or character from the play. The information provided in this section of william-shakespeare.info includes famous quotes / quotations from Love's Labour's Lost, summary of the plot or story, facts about the play, a list of the cast and characters and access to the full text - script of Love's Labour's Lost play by William Shakespeare.
Summary 
The Princess of France and her company of ladies Rosaline, Maria and Katherine tell the men wooing them (Ferdinand the King of Navarre, Biron, Longaville and Dumain) that they must wait and undergo tests to prove that their love is not simply infatuation. King Ferdinand and his compatriots decide to isolate themselves for three years to study great books vowing that they will keep no company with women during this time. However, when beautiful women arrive on a diplomatic mission, the men immediately fail to keep their oaths. The ladies discover the situation and the gentlemen realise that they truly love the ladies. The ladies banish the men to a hermitage for a further year before they will associate with them.




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A Midsummer Night's Dream
Play by Shakespeare 

Introduction 
This section is dedicated to A Midsummer Night's Dream, the play by William Shakespeare. The picture is 18th century and image displayed represents the essence of the play which, we hope, will bring to life a famous scene or character from A Midsummer Night's Dream. The information provided on this page includes famous quotes / quotations, summary of the plot or story, facts about the play, a list of the cast and characters and access to the full text - script of A Midsummer Night's Dream play by William Shakespeare.
Summary of the plot or story
The main plot of Midsummer is a complex farce that involves two sets of couples (Hermia & Lysander and Helena & Demetrius) whose romantic intrigues are confused and complicated still further by entering the forest 
where Oberon, the King of the Fairies and his Queen, Titania, preside. Puck (or Robin Goodfellow) is a major character who is full of mischief and tricks. Other visitors to the enchanted forest include Bottom the weaver and his friends Snug, Snout, Quince and Flute who want to rehearse their dire but hilarious rendering of the play Pyramus and Thisbe. The themes illustrated in the play are that Love triumphs in the end and the pleasure of Dreaming the Impossible Dream.
Famous Quotes 
"The course of true love never did run smooth". (Act I, Scene I).
"The lunatic, the lover, and the poet are of imagination all compact." (Act V, Scene I).

          

The Merchant of Venice
Play by Shakespeare 

Introduction 
This section is dedicated to The Merchant of Venice, the play by William Shakespeare. The picture is 18th century and image displayed represents the essence of the play which, we hope, will bring to life a famous scene or character from the play. The information provided in this section of william-shakespeare.info includes famous quotes / quotations from The Merchant of Venice, summary of the plot or story, facts about the play, a list of the cast and characters and access to the full text - script of The Merchant of Venice by William Shakespeare .
Summary of the plot or story
The character of Shylock has raised a debate over whether the play should be condemned as anti-Semitic, and this controversy has overshadowed many other aspects of the play.
The plot involves a vengeful, greedy creditor, Shylock, a Jewish money-lender Shylock who seeks a literal pound of flesh from his Christian opposite, the generous, faithful Antonio. Shakespeare's version of the chest-choosing device revolves around the play's Christian heroine, Portia, who steers her lover Bassanio toward the correct humble casket and then successfully defends his bosom friend Antonio from Shylock's horrid legal suit. Shylock, is a Jew whose beloved daughter is lost to him when she elopes with a man who belongs to a virulently anti-Semitic society. When grief, anger and vengeance overcome common sense he ends up literally forced to his knees to renounce his faith and his fortune. 
 
  
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