thesis statement for william shakespeare

Essay on William Shakespeare

500 words essay on william shakespeare.

William Shakespeare was certainly a very famous writer. The man is credited with an unbelievable thirty-eight plays, two narrative poems, several other poems and a whopping one hundred fifty-four sonnets. So let us take a peek inside the life of this genius with this essay on William Shakespeare.

                                                                                                                               Essay On William Shakespeare

Early Life of William Shakespeare

Shakespeare is the world’s pre-eminent dramatist and according to many experts is the greatest writer in the English language. Furthermore, he is also called England’s National Poet and also has the nickname of the Bard of Avon. Such a worthy reputation is due to his top-notch unmatchable writing skills.

William Shakespeare was born to a successful businessman in Stratford-upon-Avon on 23rd April in the year 1564. Shakespeare’s mother was the daughter of a landlord and came from a well-to-do family. About the age of seven, William Shakespeare began attending the Stratford Grammar School.

The teachers at Stratford were strict in nature and the school timings were long. One can say that William Shakespeare’s use of nature in his writings was due to the influence of the fields and woods surrounding the Stratford Grammar School on him.

Warwickshire was an interesting place to live, especially for those who were writers. Furthermore, the river Avon ran down through the town and because of this Shakespeare later got the title ‘Bard of Avon’. At the age of eighteen, William Shakespeare married Anne Hathaway, a woman who in age was eight years older than him.

Illustrious Career of William Shakespeare

After his education, William Shakespeare became engaged in theatrical life in London. Furthermore, it was from here that his career likely took off. Moreover, by the year 1592, the popularity of William Shakespeare had grown to be very much.

Shakespeare became a member of one of the famous theatre companies in the city. Moreover, this company was ‘the Lord Chamberlain’s Men’. Also, the theatre companies during that era were commercial organizations that were dependent upon the audience who came to watch the plays.

From the year 1594, Shakespeare became the leading member of the acting group and remained that for almost the entire rest of his career. By the year 1594, the production of at least six plays had taken place by William Shakespeare.

Evidence shows that Shakespeare became a member of a well-known travelling theatre group. After joining this theatre, Shakespeare did plays in the presence of many dignitaries in various places.

Shakespeare, throughout his life, came up with some outstanding pieces of English literature , involving memorable timeless characters with human qualities. Furthermore, the human qualities and struggles of Shakespeare’s characters are such that one can relate with them even today. Shakespeare retired from his acting profession in 1613 and became completely devoted to writing many excellent plays.

Get the huge list of more than 500 Essay Topics and Ideas

 Conclusion of the Essay on William Shakespeare

William Shakespeare is, without a doubt, one of the greatest writers of all times. Furthermore, his excellence in story writing, narrative building, and character development is of the highest order. Individuals of such a high calibre appear once in a century or are even rarer than that.

FAQs For Essay on William Shakespeare

Question 1: Why is William Shakespeare so famous?

Answer 1:  William Shakespeare’s story writing skills are of an extremely high-quality. Furthermore, his works are characterized by outstanding narrative building around the topics of jealousy, mystery, love, magic, death, murder, life, revenge, and grief. That is why William Shakespeare is so famous.

Question 2: What are some of the most famous works of William Shakespeare?

Answer 2: Some of the most famous works of William Shakespeare are as follows:

• Romeo and Juliet
• The Merchant of Venice
• Much Ado About Nothing

Customize your course in 30 seconds

Which class are you in.

• Travelling Essay
• Picnic Essay
• Our Country Essay
• My Parents Essay
• Essay on Favourite Personality
• Essay on Memorable Day of My Life
• Essay on Knowledge is Power
• Essay on Gurpurab
• Essay on My Favourite Season
• Essay on Types of Sports

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Download the App

• Utility Menu

Jeffrey R. Wilson

• Shakespeare Research Guide

This guide is designed for Harvard students and faculty doing research on Shakespeare. Because of the vast number and range of Shakespeare studies, this guide is only an introduction to the field, a survey that is nowhere near exhaustive. The principle of selection was that "less is more": What are the essential readings someone needs to know about to begin research on a topic? It's usually not much more than a couple of classic studies and one or two recent entries in the discussion.

This guide includes reliable editions and key scholarship as well as useful databases, reference works, and research tools (Shakespeare studies is such a vast field that you need a research guide to the research guides). Most of the below items are specific to Shakespeare studies, but sometimes resources used for literary studies more generally are included if they frequently arise when researching Shakespeare. Efforts have been made to provide links, including links to full access for Harvard affiliates, whenever possible.

• Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (Eds.), The New Oxford Shakespeare (2016)
• Stephen Greenblatt, Walter Cohen, Jean E. Howard, and Katharine Eisaman Maus (Eds.), The Norton Shakespeare (3rd ed., 2015)
• The Arden Shakespeare Series
• The Pelican Shakespeare Series
• The Norton Shakespeare Series
• The Shakespeare in Performance Series
• World Shakespeare Bibliography   [ Harvard Access]
• The MLA International Bibliography   [ Harvard Access]

Dictionaries

• Oxford English Dictionary   [Harvard Access]
• Lexicons of Early Modern Englis h  [Harvard Access]
• Ben and David Crystal,  Shakespeare’s Words  (2002)
• Stanley Wells,  A Dictionary of Shakespeare  (2 nd  ed., 2005)
• Gordon Williams,  A Glossary of Shakespeare’s Sexual Language  (1997)

Concordances

• Marvin Spevack, The Harvard Concordance to Shakespeare (1973)
• Open Source Shakespeare
• Michael Dobson and Stanley Wells, The Oxford Companion to Shakespeare (2001) [  Harvard Access   ]
• David Scott Kastan, A Companion to Shakespeare (1999)
• Andrew Dickson, The Rough Guide to Shakespeare (2005; revised 2009)
• Richard Dutton and Jean E. Howard, A Companion to Shakespeare’s Works (2003)
• Samuel Crowl, Shakespeare and Film: A Brief Norton Guide (2008)
• Arthur F. Kinney (ed.), The Oxford Handbook of Shakespeare (2012)
• The Cambridge Companions
• Margreta De Grazia and Stanley Wells (Eds.), The New Cambridge Companion to Shakespeare (2nd ed., 2011) [  Harvard Access ]
• Claire McEachern (Ed.), The Cambridge Companion to Shakespearean Tragedy (2nd Ed., 2013) [  Harvard Access ]
• Alexander Leggatt (Ed.), The Cambridge Companion to Shakespearean Comedy (2001) [  Harvard Access ]
• Michael Hattaway (Ed.), The Cambridge Companion to Shakespeare's History Plays (2002) [  Harvard Access ]
• Catherine M. S. Alexander (Ed.), The Cambridge Companion to Shakespeare's Last Plays (2009) [  Harvard Access ]
• Patrick Cheney (Ed.), The Cambridge Companion to Shakespeare's Poetry (2007) [  Harvard Access ]
• Ton Hoenselaars (Ed.), The Cambridge Companion to Shakespeare and Contemporary Dramatists (2012) [  Harvard Access ]
• Stanley Wells and Sarah Stanton (Eds.), The Cambridge Companion to Shakespeare on Stage (2002) [ Harvard Access ]
• Russell Jackson (Ed.), The Cambridge Companion to Shakespeare on Film (2nd ed., 2007) [  Harvard Access ]
• Robert Shaughnessy (Ed.), The Cambridge Companion to Shakespeare and Popular Culture (2007) [  Harvard Access ]

Annotated Bibliographies

• David Bevington, "William Shakespeare," in  Oxford Bibliographies: Renaissance and Reformation   [ Harvard Access ]
• Andrew Hadfield and Amy Kenny, "William Shakespeare," in  Oxford Bibliographies: British and Irish Literature   [ Harvard Access ]
• Larry S. Champion, The Essential Shakespeare: An Annotated Bibliography of Major Modern Studies (1986; 2nd ed., 1993)
• The Garland Shakespeare Bibliographies
• David Bevington, "English Renaissance Drama," in  Oxford Bibliographies: Renaissance and Reformation   [ Harvard Access ]
• Shakespeare Quarterly  [ Harvard Access  ]
• Shakespeare: Journal of the British Shakespeare Association   [ Harvard Access ]
• Shakespeare Studies  [  Harvard Access ]
• Shakespeare Jahrbuch  [  Harvard Access ]
• Borrowers and Lenders: The Journal of Shakespeare and Appropriation  [  Harvard Access ]
• Shakespeare Bulletin  [  Harvard Access ]
• Shakespeare Survey
• Shakespeare International Yearbook  
• Multicultural Shakespeare

Associations

• Shakespeare Association of America
• British Shakespeare Association
• Folger Shakespeare Library
• Shakespeare's Globe

Life and Times

• S. Schoenbaum, William Shakespeare: A Compact Documentary Life (1977; revised 1987)
• Katherine Duncan-Jones, Ungentle Shakespeare: Scenes from his Life (2001)
• Stephen Greenblatt, Will in the World: How Shakespeare Became Shakespeare (2004)
• James Shapiro, 1599:A Year in the Life of William Shakespeare (2005)
• David Bevington, Shakespeare and Biography (2010)
• E.M.W. Tillyard, The Elizabethan World-Picture (1943)
• J. D. Cox and D. S. Kastan, A New History of Early English Drama (1997)
• John Morrill (Ed.), The Oxford Illustrated History of Tudor & Stuart Britain (1996)
• John Cannon (Ed.),  The Oxford Companion to British History (2009)
• Geoffrey Bullough, Narrative and Dramatic Sources of Shakespeare (1957–73)
• Kenneth Muir, The Sources of Shakespeare’s Plays (1977)
• Stuart Gillespie (Ed.), Shakespeare’s Books: A Dictionary of Shakespeare's Sources (2001)

Language and Style

• Sister Miriam Joseph, Shakespeare’s Use of the Arts of Language (1947)
• M. M. Mahood, Shakespeare’s Wordplay (1957)
• Richard A. Lanham, The Motives of Eloquence: Literary Rhetoric in the Renaissance (1976)
• Russ McDonald,  Shakespeare and the Arts of Language  (2001)
• David Crystal,  Think on my Words: Exploring Shakespeare's Language (2008)
• Peter Mack, Reading and Rhetoric in Montaigne and Shakespeare (2010)
• Lawrence Danson, Shakespeare’s Dramatic Genres (2000)
• Anthony R. Guneratne (Ed.),  Shakespeare and Genre: From Early Modern Inheritances to Postmodern Legacies (2011)
• C. L. Barber, Shakespeare’s Festive Comedy (1959, revised 1972)
• Northrop Frye, A Natural Perspective: The Development of Shakespearean Comedy and Romance (1965)
• Franquois Laroque, Shakespeare’s Festive World: Elizabethan Seasonal Entertainment and the Professional Stage (1993)
• A. C. Bradley, Shakespearian Tragedy (1904)
• Stanley Cavell, Disowning Knowledge in Seven Plays of Shakespeare (1987)
• Paul Kottman, Disinheriting the Globe: Tragic Conditions in Shakespeare (2009)
• E. M. W. Tillyard, Shakespeare’s History Plays (1944)
• Lily B. Campbell, Shakespeare’s Histories (1947)
• Peter Saccio, Shakespeare’s English Kings (1977, revised 2000)
• Phyllis Rackin, Stages of History: Shakespeare’s English Chronicles (1990)
• Romances/Tragicomedies
• F.S. Boas, “The Problem Plays,” in Shakespeare and His Predecessors (1896)
• Russ McDonald, Shakespeare’s Late Style (2006)
• Joel Fineman, Shakespeare’s Perjured Eye: The Invention of Poetic Subjectivity in the Sonnets (1986)
• Helen Vendler, The Art of Shakespeare’s Sonnets (1997)

Stephen  Orgel and Sean Keilen (Eds.),  Shakespeare’s Poems (1999)

Textual Issues

• Textual Editing
• Margreta de Grazia,  Shakespeare Verbatim: The Reproduction of Authenticity and the 1790 Apparatus  (1991)
• Leah Marcus, Unediting the Renaissance (1996)

Sonia  Massai,  Shakespeare and the Rise of the Editor (2007)

• David Scott Kastan, Shakespeare and the Book (2001)
• Lucas Erne,  Shakespeare and the Book Trade (2013)
• Ron Rosenbaum, The Shakespeare Wars: Clashing Scholars, Public Fiascoes, Palace Coups (2006)
•  Hugh Craig and Arthur F. Kinney (Eds.),  Shakespeare, Computers, and the Mystery of Authorship (2012)
• The Authorship Question
• Jonathan Hope, The Authorship of Shakespeare’s Plays (1994)
• Brian Vickers, Shakespeare, Co-Author (2002)
• James Shapiro,  Contested Will: Who Wrote Shakespeare?  (2011)
• The Shakespeare Authorship Page

The Critical Tradition

• Brian Vickers, Shakespeare: The Critical Heritage (1974–81)
• Jonathan Bate, The Romantics on Shakespeare (1992)
• Ann Thompson and Sasha Roberts, Women Reading Shakespeare, 1660-1900 (1997)
• Michael Dobson, The Making of the National Poet (1992)
• Michael Taylor (Ed.), Shakespeare Criticism in the Twentieth Century (2001)
• John Gross, After Shakespeare (2003)

Shakespeare and ...

• Shakespeare and English Literature
• Lukas Erne, Shakespeare as Literary Dramatist (2003)
• Shakespeare and Drama
• Anne Righter, Shakespeare and the Idea of the Play (1962)
• Shakespeare and Literary Theory
• Patricia Parker and Geoffrey Hartman (eds.), Shakespeare and the Question of Theory (1985)
• Alternative Shakespeares (3 vols.: 1985, 1996, and 2007)
• Jonathan Gil Harris, Shakespeare and Literary Theory (2010)
• Shakespeare and the Classics
• Jonathan Bate, Shakespeare and Ovid (1994)
• Heather James, Shakespeare’s Troy: Drama, Politics, and the Translation of Empire (1997)
• Charles Martindale and A. B. Taylor (Eds.),  Shakespeare and the Classics (2004)
• Shakespeare and Philosophy
• Arthur F. Kinney, Shakespeare and Cognition: Aristotle’s Legacy and Shakespearean Drama (2006)
• A. D. Nuttall, Shakespeare the Thinker (2007)
• Jennifer Bates and Richard Wilson (Eds), Shakespeare and Continental Philosophy (2014)
• Shakespeare and Politics
• Jonathan Dollimore and Alan Sinfield (Eds.), Political Shakespeare: Essays in Cultural Materialism (1994)
• Louis Montrose, The Purpose of Playing: Shakespeare and the Cultural Politics of the Elizabethan Theatre (1996)
• Andrew Hadfield, Shakespeare and Republicanism (2005)
• Shakespeare and Law
• Bradin Cormack, Martha C. Nussbaum, Richard Strier (Eds.),  Shakespeare and the Law: A Conversation among Disciplines and Professions (2013)
• Andrew Zurcher,  Shakespeare and Law (2014)
• Shakespeare and Religion
• Jonathan Dollimore, Radical Tragedy: Religion, Ideology, and Power in the Drama of Shakespeare and His Contemporaries (1984)
• Allison Shell, Shakespeare and Religion (2010)
• Shakespeare and Psychology
• Ernest Jones, Hamlet and Oedipus (1949)
• Norman Holland, Psychoanalysis in Shakespeare (1966)
• Julia Reinhard Lupton and Kenneth Reinhard, After Oedipus: Shakespeare in Psychoanalysis (1992)
• Harold Bloom, Shakespeare: The Invention of the Human (1998)
• Shakespeare and Race
• James Shapiro, Shakespeare and the Jews (1996)
• Peter Hulme and William H. Sherman,  ‘The Tempest’ and its Travels (2000)
• Ania Loomba, Shakespeare, Race and Colonialism (2002)
• Shakespeare and Gender
• Juliet Dusinberre, Shakespeare and the Nature of Women (1975)
• Patricia Parker, Literary Fat Ladies: Rhetoric, Gender, Property (1987)
• Janet Adelman, Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare’s Plays, Hamlet to the Tempest (1992)
• Stephen Orgel, Impersonations: The Performance of Gender in Shakespeare’s England (1996)
• Bruce Smith, Shakespeare and Masculinity (2000)
• Shakespeare and Sexuality
• Jonathan Goldberg, Queering the Renaissance (1994)
• Bruce R. Smith, Homosexual Desire in Shakespeare’s England: A Cultural Poetics (1994)
• Madhavi Menon (Ed.),  Shakesqueer:  A Queer Companion to the Complete Works of Shakespeare (2001)
• Shakespeare and the Arts
• W. Moelwyn Merchant, Shakespeare and the Artist (1959)
• Jane Martineau (Ed.), Shakespeare in Art (2003)
• Tarnya Cooper, Searching for Shakespeare (2006)
• Shakespeare and Music
• David Lindley, Shakespeare and Music (2006)
• Julie Sanders, Shakespeare and Music: Afterlives and Borrowings (2007)
• Shakespeare and Dance
• Alan Brissenden,  Shakespeare and the Dance  (1981)
• Shakespeare and Modernity
• Jan Kott, Shakespeare Our Contemporary (1964)
• Richard Halpern, Shakespeare Among the Moderns (1997)
• Marjorie Garber,  Shakespeare and Modern Culture (2008)

Performance

• Early Modern Performance
• E. K. Chambers, The Elizabethan Stage (1923)
• Andrew Gurr, The Shakespearean Stage, 1574–1642 (Fourth Edition, 2009)
• Andrew Gurr, Playgoing in Shakespeare’s London (Third Edition, 2004)
• Modern Performance
• J. R. Mulryne , ‎ Margaret Shewring , ‎and  Andrew Gurr (Eds.),  Shakespeare's Globe Rebuilt  (1997)
• Jonathan Bate and Russell Jackson (eds.), The Oxford Illustrated History of Shakespeare on Stage (revised 2001)
• The Actors on Shakespeare Series
• Film and Television Performance
• Lynda E. Boose and Richard Burt, Shakespeare, The Movie: Popularizing the Plays on Film, TV and Video (1997)
• Kenneth S. Rothwell, A History of Shakespeare on Screen (1999, revised 2004)
• Mark Thornton Burnett and Ramona Wray, Screening Shakespeare in the Twenty-First Century (2006)
• Barbara Hodgdon, The Shakespeare Trade: Performances and Appropriations (1998)
• Ton Hoenselaars (Ed.), Shakespeare and the Language of Translation (2004)

Internet Resources

• Shakespeare Magazine
• The Shakespeare Standard
• Shakespeare Post
• Folger Online Resources
• Mr William Shakespeare and the Internet
• Internet Shakespeare Editions
• Royal Shakespeare Company’s Online Resources
• Shake Sphere
• Play Shakespeare
• Encyclopedia Britannica’s Guide to Shakespeare
• The British Library, Shakespeare in Quarto
• The Furness Collection
• JSTOR, Understanding Shakespeare
• Hamlet Works
• Shakespeare’s Globe, The Globe Player
• The English Short-Title Catalogue
• Early English Books Online
• Records of Early English Drama
• The British Universities Film and Video Council, The International Database of Shakespeare on Film, Television and Radio
• Shakespeare Documented
• Shakespeare Unlimited
• LUNA: Folger Digital Image Collection
• Furness Theatrical Image Collection
• Victorian Illustrated Shakespeare Archive
• Royal Shakespeare Company YouTube Channel
• Globe Theatre YouTube Channel
• Shakespeare in Performance
• Kanopy Shakespeare Series
• MIT Global Shakespeares
• Theatre in Video
• Shakespeare Across the Disciplines
• Shakespeareana
• Public Shakespeare

• How It Works
• Prices & Discounts

How to Write a Shakespeare Essay

Table of contents

“Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him.”   – Julius Caesar

It has been four centuries since William Shakespeare wrote his last play, but even today, his work continues to be read by high school and college students. From relatable characters to universal themes – his poems and plays still manage to resonate with us and offer incredible value.

Be it Othello’s Iago or Macbeth’s Lady Macbeth, this literary genius has given us some of the most complex characters while using interesting literary techniques.

How to Start a Shakespeare Essay

Shakespeare’s plays are divided into four categories: tragedies, romance, history, and comedies. Knowing these will help your work of composing the essay easier.

Here’s how you can start your Shakespeare essay on a solid note.

Choose your topic

The best way to compose a Shakespeare essay well is to choose a topic that you are well acquainted with, one that is interesting to you or the reader, assuming that your professor hasn’t assigned you any topic. Your topic should either revolve around his plays or sonnets.

You can develop topic ideas from The Merchant of Venice, Romeo and Juliet, Othello, Macbeth, King John, Julius Caesar, or A Midsummer Night’s Dream. For example, if you use the poem Sonnet 29, your topic/title may read like this: “Sonnet 29 and Depression.”

Note that if you have chosen a topic on your own, find out from your professor if it is allowed the format requirements, word count, deadline, and style of your essay (debate, review, or investigative).

Gather sources

To make any essay believable and reliable, you need to back it with facts, and Shakespeare’s essays are no different.

For Shakespeare’s essays, it is Shakespeare’s opinion that will act as proof. You can collect these from Shakespeare’s biographies or his actual work, which he wrote himself. These will be your primary source.

Note important points

The reason for taking notes is to easily remember something when the time comes to create the draft. A few things to note down are quotes, important points, or comments you got from your primary and secondary sources.

Remember to include other expert opinions as well. Finally, have an outline to make writing the draft easier. In your outline, understand what goes in the introduction, body, and what background information you need to include in your essay.

How to Write a Thesis Statement for a Shakespeare Essay

The thesis statement forms the core of your Shakespeare essay. Here are three steps to get it right.

Develop a thesis statement

We have mentioned in the previous text the plays by Shakespeare and even a few topics you can use. Now you need to develop a thesis statement for your essay.

Some things to consider when coming up with your thesis statement are to make it as specific as possible while avoiding broad views or personal opinions. Here is an example of a thesis statement you can make using the poem Sonnet 29.

“Sonnet 29 asserts that love can help you overcome even the worst depression.”

You can use online thesis generator tools to develop a thesis statement. Other ways to develop a thesis statement include reading Shakespeare's plays or watching movies. Besides, have the thesis statement in the first paragraph of the essay.

State the main idea

The next step is to share your ideas about the topic. Here, ask yourself what you are trying to prove or make the reader believe, either by asserting something specific about the topic, taking a stand on an issue, or expressing a real-life opinion.

Provide reasons to support your main idea

An essential factor to consider when writing Shakespeare’s essays is you cannot just summarize your points. You must give an explicit statement. This is because Shakespeare’s essays are more of a report, so ensure that you have logical facts and evidence you can use to support the thesis statement.

As a result, go back to the notes you took, or you can reread the play, looking for parenthetical citations or quote snippets of texts you can use to support your thesis statement.

How to End a Shakespeare Essay

Your conclusion summarizes what you have written in the paper. To write a good conclusion , let your introductory paragraph guide you.

Besides, find what each paragraph is about. This will help you write your paragraph in a way that leaves readers with something to think about. This is not the time to start a new argument or speculate.

Reinstate the thesis statement

If you are writing about the benefits of love, as per the poem Sonnet 29, return to the theme in the introduction and recap the central points showing why the only way we can overcome depression and sadness is by thinking about someone we love. Repeat to the reader the thesis statement and the evidence to support it.

Find a quote to sum up your perspective.

Your readers must have something to think about or go home with, and the best way to do so is, to sum everything up with an interesting quote. Continuing with our example of Sonnet 29, you can quote these last lines:

“For thy sweet love remembered such wealth brings

That then I scorn to change my state with kings.”

This will sum up your perspective of how true love inspires positive attributes.

Write the concluding sentence

Your concluding paragraphs or sentences need to be more like a transition connecting two paragraphs to ensure that your idea is solid and easy to follow.

As a result, tie it to the next paragraph to create a flow for your readers. If you were working on two subjects, try to blend the two and quickly move to the next subject. Finally, summarize the subject you talked about in that paragraph.

6 Tips on Writing the Perfect Shakespeare Essay

Being a Literature student, chances are you have been asked to compose a Shakespeare essay at least once during the program. Here are six tips to help you write an impressive analysis essay on a Shakespeare play.

Give Multiple Readings

You are mistaken if you think you can read a William Shakespeare play once and wholly understand it. Shakespeare’s plays are complex and layered, coupled with historical and poetic language. You will need to read it multiple times and make notes on the side to get the hang of it.

The first reading should be about knowing the story, followed by understanding his use of words and metaphors and digging further into the characters. Highlight paragraphs that interest your topic so you don’t waste time looking for them later.

It is also a good idea to read a plot synopsis of the play for better understanding.

Understand the Historical Context

Whether you are analyzing what led Brutus to murder Caesar or the role destiny plays in Macbeth – it is imperative to understand the context.

Analyzing the background information and historical context will give you a holistic understanding of the turn of events and the motivations behind the characters, helping you interpret the play better.

Without considering the historical context, you won’t be doing full justice to your analysis. Hence, remember not to view the characters and their actions in silos but consider the events that were prevalent during that period.

Explore Themes and Imagery

One of the most significant defining factors of Shakespeare’s writing was how he used imagery to reinforce underlying themes in his plays. For example, in Macbeth, the imagery of ‘darkness’ was used to depict the evil side of humans.

Hence, while working on your literary analysis, it is essential to pay close attention to the themes and imagery Shakespeare utilizes in the play, which will give you a deep insight into the characters and help you collect evidence and strengthen your argument.

Form the Thesis Statement

After gathering enough evidence, you must start drafting and wondering how to craft the perfect introduction for your Shakespeare essay.

The first step is to work on the thesis statement. A crucial statement, it features in the introductory paragraph and puts forth the essay's main argument. It needs to be arguable and specific, which can be proved with the help of evidence from the play.

Think about the issues the play talks about and enlist your personal opinions – this is an effective way to start forming the thesis statement.

Present Well-Supported Arguments

While the thesis statement is a subject of your opinion, you need to present logical evidence from the play to support your argument, too.

Start with organizing your arguments first and devote one paragraph to each argument and its corresponding evidence. The evidence presented can be in the form of excerpts and quotations from the play which support the stand you are taking.

However, refrain from quoting lengthy paragraphs or paraphrasing them as it takes up space and is unnecessary, considering your professor is bound to be well-versed with the play.

Use Proper Citations

As you are writing a Shakespeare essay, you are likely quoting or citing multiple references from the play.

Shakespearean citations are slightly different from the usual in-text citations. Considering the number of acts, scenes, and lines involved, it is essential to refer to the correct source accurately.

Be it MLA or APA format, you can follow these guidelines to provide proper citations.

While these six valuable tips will help you write better Shakespeare essays, there are also instances when your overwhelming workload or, worse still, lack of interest in Shakespeare might come in the way.

We agree reading Shakespeare’s works and writing a literary analysis of them can be intimidating. So, if you ask, “who can write my Shakespeare essay for me?” you have come to the right place.

We at Writers Per Hour can help you with your essay writing requirements. Our essay writing service  has experience in literary analysis and delivering high-quality essays. So, buy a custom-written Shakespeare essay from us today and get the grades you always wanted.

Share this article

Achieve Academic Success with Expert Assistance!

Crafted from Scratch for You.

Ensuring Your Work’s Originality.

Transform Your Draft into Excellence.

Perfecting Your Paper’s Grammar, Style, and Format (APA, MLA, etc.).

Calculate the cost of your paper

Get ideas for your essay

Literary Theory and Criticism

Home › Drama Criticism › Analysis of William Shakespeare’s Hamlet

Analysis of William Shakespeare’s Hamlet

By NASRULLAH MAMBROL on July 25, 2020 • ( 2 )

With Shakespeare the dramatic resolution conveys us, beyond the man-made sphere of poetic justice, toward the ever-receding horizons of cosmic irony. This is peculiarly the case with Hamlet , for the same reasons that it excites such intensive empathy from actors and readers, critics and writers alike. There may be other Shakespearean characters who are just as memorable, and other plots which are no less impressive; but nowhere else has the outlook of the individual in a dilemma been so profoundly realized; and a dilemma, by definition, is an all but unresolvable choice between evils. Rather than with calculation or casuistry, it should be met with virtue or readiness; sooner or later it will have to be grasped by one or the other of its horns. These, in their broadest terms, have been—for Hamlet, as we interpret him—the problem of what to believe and the problem of how to act.

—Harry Levin, The Question of Hamlet

Hamlet is almost certainly the world’s most famous play, featuring drama’s and literature’s most fascinating and complex character. The many-sided Hamlet—son, lover, intellectual, prince, warrior, and avenger—is the consummate test for each generation’s leading actors, and to be an era’s defining Hamlet is perhaps the greatest accolade one can earn in the theater. The play is no less a proving ground for the critic and scholar, as successive generations have refashioned Hamlet in their own image, while finding in it new resonances and entry points to plumb its depths, perplexities, and possibilities. No other play has been analyzed so extensively, nor has any play had a comparable impact on our culture. The brooding young man in black, skull in hand, has moved out of the theater and into our collective consciousness and cultural myths, joining only a handful of comparable literary archetypes—Oedipus, Faust, and Don Quixote—who embody core aspects of human nature and experience. “It is we ,” the romantic critic William Hazlitt observed, “who are Hamlet.”

Hamlet also commands a crucial, central place in William Shakespeare’s dramatic career. First performed around 1600, the play stands near the midpoint of the playwright’s two-decade career as a culmination and new departure. As the first of his great tragedies, Hamlet signals a decisive shift from the comedies and history plays that launched Shakespeare’s career to the tragedies of his maturity. Although unquestionably linked both to the plays that came before and followed, Hamlet is also markedly exceptional. At nearly 4,000 lines, almost twice the length of Macbeth , Hamlet is Shakespeare’s longest and, arguably, his most ambitious play with an enormous range of characters—from royals to gravediggers—and incidents, including court, bedroom, and graveyard scenes and a play within a play. Hamlet also bristles with a seemingly inexhaustible array of ideas and themes, as well as a radically new strategy for presenting them, most notably, in transforming soliloquies from expositional and motivational asides to the audience into the verbalization of consciousness itself. As Shakespearean scholar Stephen Greenblatt has asserted, “In its moral complexity, psychological depth, and philosophical power, Hamlet seems to mark an epochal shift not only in Shakespeare’s own career but in Western drama; it is as if the play were giving birth to a whole new kind of literary subjectivity.” Hamlet, more than any other play that preceded it, turns its action inward to dramatize an isolated, conflicted psyche struggling to cope with a world that has lost all certainty and consolation. Struggling to reconcile two contradictory identities—the heroic man of action and duty and the Christian man of conscience—Prince Hamlet becomes the modern archetype of the self-divided, alienated individual, desperately searching for self-understanding and meaning. Hamlet must contend with crushing doubt without the support of traditional beliefs that dictate and justify his actions. In describing the arrival of the fragmentation and chaos of the modern world, Victorian poet and critic Matthew Arnold declared that “the calm, cheerfulness, the disinterested objectivity have disappeared, the dialogue of the mind with itself has commenced.” Hamlet anticipates that dialogue by more than two centuries.

Like all of Shakespeare’s plays, Hamlet makes strikingly original uses of borrowed material. The Scandinavian folk tale of Amleth, a prince called upon to avenge his father’s murder by his uncle, was first given literary form by the Danish writer Saxo the Grammarian in his late 12th century Danish History and later adapted in French in François de Belleforest’s Histoires tragiques (1570). This early version of the Hamlet story provided Shakespeare with the basic characters and relationships but without the ghost or the revenger’s uncertainty. In the story of Amleth there is neither doubt about the usurper’s guilt nor any moral qualms in the fulfillment of the avenger’s mission. In preChristian Denmark blood vengeance was a sanctioned filial obligation, not a potentially damnable moral or religious violation, and Amleth successfully accomplishes his duty by setting fire to the royal hall, killing his uncle, and proclaiming himself king of Denmark. Shakespeare’s more immediate source may have been a nowlost English play (c. 1589) that scholars call the Ur – Hamlet. All that has survived concerning this play are a printed reference to a ghost who cried “Hamlet, revenge!” and criticism of the play’s stale bombast. Scholars have attributed the Ur-Hamle t to playwright Thomas Kyd, whose greatest success was The Spanish Tragedy (1592), one of the earliest extant English tragedies. The Spanish Tragedy popularized the genre of the revenge tragedy, derived from Aeschylus’s Oresteia and the Latin plays of Seneca, to which Hamlet belongs. Kyd’s play also features elements that Shakespeare echoes in Hamlet, including a secret crime, an impatient ghost demanding revenge, a protagonist tormented by uncertainty who feigns madness, a woman who actually goes mad, a play within a play, and a final bloodbath that includes the death of the avenger himself. An even more immediate possible source for Hamlet is John Marston’s Antonio’s Revenge (1599), another story of vengeance on a usurper by a sensitive protagonist.

Whether comparing Hamlet to its earliest source or the handling of the revenge plot by Kyd, Marston, or other Elizabethan or Jacobean playwrights, what stands out is the originality and complexity of Shakespeare’s treatment, in his making radically new and profound uses of established stage conventions. Hamlet converts its sensational material—a vengeful ghost, a murder mystery, madness, a heartbroken maiden, a fistfight at her burial, and a climactic duel that results in four deaths—into a daring exploration of mortality, morality, perception, and core existential truths. Shakespeare put mystery, intrigue, and sensation to the service of a complex, profound epistemological drama. The critic Maynard Mack in an influential essay, “The World of Hamlet ,” has usefully identified the play’s “interrogative mode.” From the play’s opening words—“Who’s there?”—to “What is this quintessence of dust?” through drama’s most famous soliloquy—“To be, or not to be, that is the question.”— Hamlet “reverberates with questions, anguished, meditative, alarmed.” The problematic nature of reality and the gap between truth and appearance stand behind the play’s conflicts, complicating Hamlet’s search for answers and his fulfillment of his role as avenger.

Hamlet opens with startling evidence that “something is rotten in the state of Denmark.” The ghost of Hamlet’s father, King Hamlet, has been seen in Elsinore, now ruled by his brother, Claudius, who has quickly married his widowed queen, Gertrude. When first seen, Hamlet is aloof and skeptical of Claudius’s justifications for his actions on behalf of restoring order in the state. Hamlet is morbidly and suicidally disillusioned by the realization of mortality and the baseness of human nature prompted by the sudden death of his father and his mother’s hasty, and in Hamlet’s view, incestuous remarriage to her brother-in-law:

O that this too too solid flesh would melt, Thaw, and resolve itself into a dew! Or that the Everlasting had not fix’d His canon ’gainst self-slaughter! O God! God! How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on’t! ah, fie! ’Tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely. That it should come to this!

A recent student at the University of Wittenberg, whose alumni included Martin Luther and the fictional Doctor Faustus, Hamlet is an intellectual of the Protestant Reformation, who, like Luther and Faustus, tests orthodoxy while struggling to formulate a core philosophy. Brought to encounter the apparent ghost of his father, Hamlet alone hears the ghost’s words that he was murdered by Claudius and is compelled out of his suicidal despair by his pledge of revenge. However, despite the riveting presence of the ghost, Hamlet is tormented by doubts. Is the ghost truly his father’s spirit or a devilish apparition tempting Hamlet to his damnation? Is Claudius truly his father’s murderer? By taking revenge does Hamlet do right or wrong? Despite swearing vengeance, Hamlet delays for two months before taking any action, feigning madness better to learn for himself the truth about Claudius’s guilt. Hamlet’s strange behavior causes Claudius’s counter-investigation to assess Hamlet’s mental state. School friends—Rosencrantz and Guildenstern—are summoned to learn what they can; Polonius, convinced that Hamlet’s is a madness of love for his daughter Ophelia, stages an encounter between the lovers that can be observed by Claudius. The court world at Elsinore, is, therefore, ruled by trickery, deception, role playing, and disguise, and the so-called problem of Hamlet, of his delay in acting, is directly related to his uncertainty in knowing the truth. Moreover, the suspicion of his father’s murder and his mother’s sexual betrayal shatter Hamlet’s conception of the world and his responsibility in it. Pushed back to the suicidal despair of the play’s opening, Hamlet is paralyzed by indecision and ambiguity in which even death is problematic, as he explains in the famous “To be or not to be” soliloquy in the third act:

For who would bear the whips and scorns of time, Th’ oppressor’s wrong, the proud man’s contumely, The pangs of despis’d love, the law’s delay, The insolence of office, and the spurns That patient merit of th’ unworthy takes, When he himself might his quietus make With a bare bodkin? Who would these fardels bear, To grunt and sweat under a weary life, But that the dread of something after death— The undiscover’d country, from whose bourn No traveller returns—puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o’er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry And lose the name of action.

The arrival of a traveling theatrical group provides Hamlet with the empirical means to resolve his doubts about the authenticity of the ghost and Claudius’s guilt. By having the troupe perform the Mousetrap play that duplicates Claudius’s crime, Hamlet hopes “to catch the conscience of the King” by observing Claudius’s reaction. The king’s breakdown during the performance seems to confirm the ghost’s accusation, but again Hamlet delays taking action when he accidentally comes upon the guilt-ridden Claudius alone at his prayers. Rationalizing that killing the apparently penitent Claudius will send him to heaven and not to hell, Hamlet decides to await an opportunity “That has no relish of salvation in’t.” He goes instead to his mother’s room where Polonius is hidden in another attempt to learn Hamlet’s mind and intentions. This scene between mother and son, one of the most powerful and intense in all of Shakespeare, has supported the Freudian interpretation of Hamlet’s dilemma in which he is stricken not by moral qualms but by Oedipal guilt. Gertrude’s cries of protest over her son’s accusations cause Polonius to stir, and Hamlet finally, instinctively strikes the figure he assumes is Claudius. In killing the wrong man Hamlet sets in motion the play’s catastrophes, including the madness and suicide of Ophelia, overwhelmed by the realization that her lover has killed her father, and the fatal encounter with Laertes who is now similarly driven to avenge a murdered father. Convinced of her son’s madness, Gertrude informs Claudius of Polonius’s murder, prompting Claudius to alter his order for Hamlet’s exile to England to his execution there.

Hamlet’s mental shift from reluctant to willing avenger takes place offstage during his voyage to England in which he accidentally discovers the execution order and then after a pirate attack on his ship makes his way back to Denmark. He returns to confront the inescapable human condition of mortality in the graveyard scene of act 5 in which he realizes that even Alexander the Great must return to earth that might be used to “stop a beer-barrel” and Julius Caesar’s clay to “stop a hole to keep the wind away.” This sobering realization that levels all earthly distinctions of nobility and acclaim is compounded by the shock of Ophelia’s funeral procession. Hamlet sustains his balance and purpose by confessing to Horatio his acceptance of a providential will revealed to him in the series of accidents on his voyage to England: “There’s a divinity that shapes our ends, / Roughhew them how we will.” Finally accepting his inability to control his life, Hamlet resigns himself to accept whatever comes. Agreeing to a duel with Laertes that Claudius has devised to eliminate his nephew, Hamlet asserts that “There’s a special providence in the fall of a sparrow. If it be now, ’tis not to come. If it be not to come, it will be now. If it be not now, yet it will come. The readiness is all.”

In the carnage of the play’s final scene, Hamlet ironically manages to achieve his revenge while still preserving his nobility and moral stature. It is the murderer Claudius who is directly or indirectly responsible for all the deaths. Armed with a poisonedtip sword, Laertes strikes Hamlet who in turn manages to slay Laertes with the lethal weapon. Meanwhile, Gertrude drinks from the poisoned cup Claudius intended to insure Hamlet’s death, and, after the remorseful Laertes blames Claudius for the plot, Hamlet, hesitating no longer, fatally stabs the king. Dying in the arms of Horatio, Hamlet orders his friend to “report me and my cause aright / To the unsatisfied” and transfers the reign of Denmark to the last royal left standing, the Norwegian prince Fortinbras. King Hamlet’s death has been avenged but at a cost of eight lives: Polonius, Ophelia, Rosencranz, Guildenstern, Laertes, Gertrude, Claudius, and Prince Hamlet. Order is reestablished but only by Denmark’s sworn enemy. Shakespeare’s point seems unmistakable: Honor and duty that command revenge consume the guilty and the innocent alike. Heroism must face the reality of the graveyard.

Fortinbras closes the play by ordering that Hamlet be carried off “like a soldier” to be given a military funeral underscoring the point that Hamlet has fallen as a warrior on a battlefield of both the duplicitous court at Elsinore and his own mind. The greatness of Hamlet rests in the extraordinary perplexities Shakespeare has discovered both in his title character and in the events of the play. Few other dramas have posed so many or such knotty problems of human existence. Is there a special providence in the fall of a sparrow? What is this quintessence of dust? To be or not to be?

Hamlet Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

Share this:

Categories: Drama Criticism , Literature

Tags: Analysis Of William Shakespeare’s Hamlet , Bibliography Of William Shakespeare’s Hamlet , Character Study Of William Shakespeare’s Hamlet , Criticism Of William Shakespeare’s Hamlet , ELIZABEHAN POETRY AND PROSE , Essays Of William Shakespeare’s Hamlet , Hamlet , Hamlet Analysis , Hamlet Criticism , Hamlet Guide , Hamlet Notes , Hamlet Summary , Literary Criticism , Notes Of William Shakespeare’s Hamlet , Plot Of William Shakespeare’s Hamlet , Shakespeare's Hamlet , Shakespeare's Hamlet Guide , Shakespeare's Hamlet Lecture , Simple Analysis Of William Shakespeare’s Hamlet , Study Guides Of William Shakespeare’s Hamlet , Summary Of William Shakespeare’s Hamlet , Synopsis Of William Shakespeare’s Hamlet , Themes Of William Shakespeare’s Hamlet , William Shakespeare

Related Articles

• Analysis of William Shakespeare's The Tempest | Literary Theory and Criticism
• Analysis of William Shakespeare's Antony and Cleopatra | Literary Theory and Criticism

Leave a Reply Cancel reply

You must be logged in to post a comment.

Sonnet 130 Summary & Analysis by William Shakespeare

• Line-by-Line Explanation & Analysis
• Poetic Devices
• Vocabulary & References
• Form, Meter, & Rhyme Scheme
• Line-by-Line Explanations

"Sonnet 130" was written by the English poet and playwright William Shakespeare. Though most likely written in the 1590s, the poem wasn't published until 1609. Like many other sonnets from the same period, Shakespeare's poem wrestles with beauty, love, and desire. He tries to find a more authentic, realistic way to talk about these things in the sonnet, and gleefully dismisses the highly artificial poems of praise his peers were writing. Shakespeare's poem also departs from his contemporaries in terms of formal structure — it is a new kind of sonnet—the "Shakespearean" sonnet.

• Read the full text of “Sonnet 130: My mistress' eyes are nothing like the sun”

The Full Text of “Sonnet 130: My mistress' eyes are nothing like the sun”

1 My mistress' eyes are nothing like the sun; 

2 Coral is far more red than her lips' red; 

3 If snow be white, why then her breasts are dun; 

4 If hairs be wires, black wires grow on her head. 

5 I have seen roses damasked, red and white, 

6 But no such roses see I in her cheeks; 

7 And in some perfumes is there more delight 

8 Than in the breath that from my mistress reeks. 

9 I love to hear her speak, yet well I know 

10 That music hath a far more pleasing sound; 

11 I grant I never saw a goddess go; 

12 My mistress, when she walks, treads on the ground. 

13    And yet, by heaven, I think my love as rare 

14    As any she belied with false compare.

“Sonnet 130: My mistress' eyes are nothing like the sun” Summary

“sonnet 130: my mistress' eyes are nothing like the sun” themes.

Beauty and Love

• See where this theme is active in the poem.

Love, Personality, and the Superficial

Line-by-line explanation & analysis of “sonnet 130: my mistress' eyes are nothing like the sun”.

My mistress' eyes are nothing like the sun; 

Coral is far more red than her lips' red;  If snow be white, why then her breasts are dun;  If hairs be wires, black wires grow on her head. 

I have seen roses damasked, red and white,  But no such roses see I in her cheeks;  And in some perfumes is there more delight  Than in the breath that from my mistress reeks. 

I love to hear her speak, yet well I know  That music hath a far more pleasing sound;  I grant I never saw a goddess go;  My mistress, when she walks, treads on the ground. 

Lines 13-14

   And yet, by heaven, I think my love as rare     As any she belied with false compare.

“Sonnet 130: My mistress' eyes are nothing like the sun” Symbols

• See where this symbol appears in the poem.

“Sonnet 130: My mistress' eyes are nothing like the sun” Poetic Devices & Figurative Language

• See where this poetic device appears in the poem.

Parallelism

End-stopped line, “sonnet 130: my mistress' eyes are nothing like the sun” vocabulary.

Select any word below to get its definition in the context of the poem. The words are listed in the order in which they appear in the poem.

• See where this vocabulary word appears in the poem.

Form, Meter, & Rhyme Scheme of “Sonnet 130: My mistress' eyes are nothing like the sun”

Rhyme scheme, “sonnet 130: my mistress' eyes are nothing like the sun” speaker, “sonnet 130: my mistress' eyes are nothing like the sun” setting, literary and historical context of “sonnet 130: my mistress' eyes are nothing like the sun”, more “sonnet 130: my mistress' eyes are nothing like the sun” resources, external resources.

Harryette Mullen's "Dim Lady" — Read the full text of Harryette Mullen's "Dim Lady," a rewriting of Shakespeare's Sonnet 130.

"Sonnet 130" Glossary — A glossary and commentary on Sonnet 130 from Buckingham University.

1609 Quarto Printing of Shakespeare's Sonnet 130 — An image of Shakespeare's Sonnet 130 as it appeared in its first printing, in 1609.

Reading of "Sonnet 130" — Ian Midlane reads "Sonnet 130" for the BBC, introduced by some smooth jazz.

Blazon Lady — See an image of Charles Berger's blazon lady and read Thomas Campion's contemporaneous blazon. 

Sidney's Astrophil and Stella #9 — Read the full text of Sidney's earlier blazon, Astrophil and Stella #9.  

LitCharts on Other Poems by William Shakespeare

Sonnet 116: Let me not to the marriage of true minds

Sonnet 129: Th' expense of spirit in a waste of shame

Sonnet 12: When I do count the clock that tells the time

Sonnet 138: When my love swears that she is made of truth

Sonnet 141: In faith, I do not love thee with mine eyes

Sonnet 147: My love is as a fever, longing still

Sonnet 18: Shall I compare thee to a summer’s day?

Sonnet 19: Devouring Time, blunt thou the lion's paws

Sonnet 20: A woman’s face with nature’s own hand painted

Sonnet 27: "Weary with toil, I haste me to my bed"

Sonnet 29: When, in disgrace with fortune and men’s eyes

Sonnet 30: When to the sessions of sweet silent thought

Sonnet 33: Full many a glorious morning have I seen

Sonnet 45: The other two, slight air and purging fire

Sonnet 55: Not marble nor the gilded monuments

Sonnet 60: Like as the waves make towards the pebbl'd shore

Sonnet 65 ("Since brass, nor stone, nor earth, nor boundless sea")

Sonnet 71: No longer mourn for me when I am dead

Sonnet 73: That time of year thou mayst in me behold

Sonnet 94: "They that have power to hurt"

Ask LitCharts AI: The answer to your questions

We use cookies to enhance our website for you. Proceed if you agree to this policy or learn more about it.

• Essay Database >
• Essays Samples >
• Essay Types >
• Thesis Example

Shakespeare Theses Samples For Students

6 samples of this type

Do you feel the need to examine some previously written Theses on Shakespeare before you get down to writing an own piece? In this free database of Shakespeare Thesis examples, you are granted a fascinating opportunity to discover meaningful topics, content structuring techniques, text flow, formatting styles, and other academically acclaimed writing practices. Implementing them while composing your own Shakespeare Thesis will definitely allow you to complete the piece faster.

Presenting the finest samples isn't the only way our free essays service can help students in their writing efforts – our authors can also compose from point zero a fully customized Thesis on Shakespeare that would make a strong basis for your own academic work.

Shakespeare Essay Outline Thesis Sample

Introduction.

- The desires and ambition of Macbeth and Lady Macbeth drove them to commit the most hideous act. - Innocent thoughts and ambition become corrupt when you cast aside your moral judgment. - Loyalty and kingship replaced by the sweet taste of success. - Thesis statement: Lady Macbeth, unlike her husband, is unscrupulous. Her strong nature overpowers her husband’s forgiving nature and causes him to think evil. She becomes the most ruthless female, committing one act after another leaves her satiated with blood.

Reason: The Next Quote Is Chosen Because It Provides Reason Witches Should Never Theses Example

Interpretive analysis for macbeth by william shakespeare, free thesis on othello - the moor of venice, introduction:.

Don't waste your time searching for a sample.

Get your thesis done by professional writers!

Just from $10/page

Free Thesis On The Power Of Love In Shakespeare's Play Twelfth Night

Macbeth – a study in the psychology of evil thesis, primary source analysis guide - a man of unlimited ambition: julius caesar thesis sample.

Password recovery email has been sent to [email protected]

Use your new password to log in

You are not register!

By clicking Register, you agree to our Terms of Service and that you have read our Privacy Policy .

Now you can download documents directly to your device!

Check your email! An email with your password has already been sent to you! Now you can download documents directly to your device.

or Use the QR code to Save this Paper to Your Phone

The sample is NOT original!

Short on a deadline?

Don't waste time. Get help with 11% off using code - GETWOWED

No, thanks! I'm fine with missing my deadline

William Shakespeare’s Sonnet 18 Analysis: Tone, Imagery, Symbolism, and More

Sonnet 18: introduction, sonnet 18 analysis: literary devices, sonnet 18: tone and themes, symbolism and imagery in the sonnet 18, literary analysis of sonnet 18: conclusion, works cited.

Shall I compare thee to a summer’s day? The Sonnet 18 by William Shakespeare is one of the most known Shakespeare’s sonnets. Want to learn more about the themes, tone, and imagery in Sonnet 18 ? Read the literary analysis below!

This essay analyzes Shakespeare’s Sonnet 18 . The sonnet is a captivating love story of a young man fascinated by the beauty of his mistress and affectionately comparing her to nature. The first stanza, ‘Shall I compare thee to a summer’s day?’ opens the poem with an indication of a young man deeply in love (Shakespeare 1). He envisions her as a beautiful creature and even wonders whether one can compare her beauty to any summer season.

This love sonnet falls under the lyric genre, with the author expressing deep emotional feelings for his mistress throughout the poem. The first stanza gives an assumption to the reader that the poet is not sure of what is more beautiful, a beautiful summer day or his mistress.

However, the air is cleared in the preceding stanzas that see the poet overcome by flamboyant feelings and admits that his lover is even lovelier than the summer itself (Shakespeare 2). The poem embeds an image of an undying and eternal kind of beauty as visualized by the poet.

The poet adopts a thematic structure technique to express his lover’s beauty. A line-by-line analysis of Sonnet 18 shows that the first stanza acts as an eye-opener of the poet’s attempt to compare his lover with summer. He goes on to state why his lover is better. Stanzas 1-6 give a solid reason as to why one cannot compare his lover to summer. Though summer appears to be beautiful, it is not constant and can be very disappointing if solely relied upon. It also does not last as long as his lover’s beauty would.

The stanzas give detailed answers to his rhetorical question posed at the beginning of the poem. The poet’s praises and awe are well expressed in these stanzas by revealing all the beautiful qualities seized by his mistress. Her beauty is constant and can neither be shaken by strong winds nor can it become unpredictable like the hot sun. It doesn’t waiver in the eyes of the beholder like the clouds swallow the summer hence losing its beauty.

Stanzas 7-14 indicates everlasting beauty, which he says cannot be claimed by anything, not even a natural calamity such as death. In the conclusion of the Sonnet 18 , W. Shakespeare admits that ‘Every fair from fair sometime decline,’ he makes his mistress’s beauty an exception by claiming that her youthful nature will never fade (Shakespeare 7). Interestingly, the author takes a different twist in the ending when he no longer compares the beauty to the summer but rather to the immortality of his poems (Shakespeare 14).

The poem features an affectionate mood portrayed by the poet throughout the poem. The tone of the Sonnet 18 is that of the romantic intimacy of a young man intrigued by a woman’s beauty. The mood and the tone, therefore, play a significant role in describing the setting of the poem.

The poet is sitting in a field on a warm summer day (Shakespeare 1). Though the weather seems ideal, it is breezy, with rough winds’ shaking the buds of May’ (Shakespeare 3). That is an indication that the poet is sitting under a tree enjoying the scenery on a hot afternoon. The poet enjoys the unpredictable weather till the clouds swallow the sun, and as he states, ‘By chance or nature’s changing course untrimm’ d,’ nature always seems to take its course during sunset and sunrise (Shakespeare 8).

The poet uses metaphor and personification to bring life to the Sonnet 18 . For example, he uses figurative speech to presume change, fate, and immortality. He speaks of how he will internally save his lover’s beauty from fading from the face of the earth (Shakespeare 12). ‘Summer’ as a literary device is used to mean the life of the mistress that should be safe from fate. Fate, in this case, is portrayed by the use of scorching sun and rough winds.

The imagery of the Sonnet 18 includes personified death and rough winds. The poet has even gone further to label the buds as ‘darling’ (Shakespeare 3). Death serves as a supervisor of ‘its shade,’ which is a metaphor for ‘after life’ (Shakespeare 11). All these actions are related to human beings. ‘Eternal lines to lines though growest’ (Shakespeare 12) is a praise of the poet’s poems which he says will last forever so long as ‘men can breathe or eyes can see,’ a metaphor symbolizing ‘poet lovers’ will be there to read them (Shakespeare 13).

He views beauty as an art that cannot diminish despite all the hurdles in life. However, beauty does not apply to everything but only to images that appeal more to the eyes of the beholder than nature itself. That kind of beauty is immortal and surpasses all tribulations caused by nature itself.

This essay on the Sonnet 18 by Shakespeare analyzed the poem’s tone, imagery, meaning, and main themes. In summary, the poet is fascinated by his mistress’s beauty, such that he cannot imagine that very beauty fading from his eyes. He argues that beauty is constant and, unlike a ‘summer day,’ is not affected by any changes or fate at all. He, however, seems to be praising his poem as characterized at the end of the poem, where he only compares the everlasting beauty to his text. The Sonnet eighteen’s conclusion indicates that beauty can only end only when the poem ceases to exist.

Shakespeare, William. “ Shakespeare Sonnet 18. ” Shakespeare Sonnets . 1564. Web.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2023, October 28). William Shakespeare's Sonnet 18 Analysis: Tone, Imagery, Symbolism, and More. https://ivypanda.com/essays/shakespeares-sonnet-18/

"William Shakespeare's Sonnet 18 Analysis: Tone, Imagery, Symbolism, and More." IvyPanda , 28 Oct. 2023, ivypanda.com/essays/shakespeares-sonnet-18/.

IvyPanda . (2023) 'William Shakespeare's Sonnet 18 Analysis: Tone, Imagery, Symbolism, and More'. 28 October.

IvyPanda . 2023. "William Shakespeare's Sonnet 18 Analysis: Tone, Imagery, Symbolism, and More." October 28, 2023. https://ivypanda.com/essays/shakespeares-sonnet-18/.

1. IvyPanda . "William Shakespeare's Sonnet 18 Analysis: Tone, Imagery, Symbolism, and More." October 28, 2023. https://ivypanda.com/essays/shakespeares-sonnet-18/.

Bibliography

IvyPanda . "William Shakespeare's Sonnet 18 Analysis: Tone, Imagery, Symbolism, and More." October 28, 2023. https://ivypanda.com/essays/shakespeares-sonnet-18/.

• Shakespeare’s Sonnet “Shall I Compare Thee to a Summer’s Day”
• Triangle of Time: Sonnet 18 by William Shakespeare
• The Sonnet: My Mistress' Eyes Are Nothing Like the Sun
• Shakespearean Sonnets from Critical Perspectives
• Sonnet 18 by William Shakespeare
• "My Mistress' Eyes Are Nothing Like the Sun (Sonnet 130)" the Poem by William Shakespeare
• Different Portrayal of Love in Shakespearean Sonnets
• Sonnet 71: Shakespeare’s Work
• Renaissance Poetry: Sonnets of William Shakespeare
• My Mistress’ Eyes are Nothing Like the Sun by Shakespeare
• Titus Andronicus as a Classic Tragedy
• Gods and Humans in "The Odyssey" by Homer
• Pelasgus’ Conflict in The Suppliants by Aeschylus
• A Midsummer’s Night Dream
• The Story "Two Kinds" by Amy Tan

Home — Essay Samples — Social Issues — Misogyny — Misogyny in Othello by William Shakespeare

Misogyny in Othello by William Shakespeare

• Categories: Misogyny Othello William Shakespeare

About this sample

Words: 917 |

Published: Jan 15, 2019

Words: 917 | Pages: 2 | 5 min read

Cite this Essay

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Prof. Kifaru

Verified writer

• Expert in: Social Issues Literature

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

3 pages / 1314 words

4 pages / 1977 words

3 pages / 1257 words

6 pages / 2663 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Misogyny is the hatred towards women. The findings were about the role that misogyny plays in our society. What we expected to find is how society forces individuals to maintain various gender roles, which supports the [...]

In Misogyny in Of mice and Men the author Emery talks about how women are portrayed in the book. The roles she talks about are “that of homogeneous male fraternity not just to repress, but to eliminate women and femininity” as [...]

Cinematic gazes on screen plays a crucial role in the act of adopting power and superiority, not only between the fictitious characters, but also by the viewers. There is a constant hierarchical dynamic in the film watching [...]

In Black No More, by George Schuyler, the main character, Max Disher, experiences a scientific procedure that changes his skin from black to white. Originally very proud of his African-American descent, he finds himself [...]

Many people who commit acts of terror fundamentally consider themselves to be altruists, believing that the acts of violence they carry out are truly for the greater good. This distorted view of blind ‘selfless devotion’ stems [...]

In “The Woman Question,” Stephen Leacock uses empty stereotypes that he cannot support with evidence to argue why women are unable to progress in society. He does not have any evidence because women have never been given the [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

A Remarkable Discovery of a Document Shatters One of Shakespeare's Biggest Mysteries

A secret parchment has resurfaced, rewriting the Bard’s sketchy family history.

In the annals of William Shakespeare ’s legacy, a twist has emerged that’s practically as dramatic as any of the Bard’s plays: the real “Shakespeare” behind a centuries-old family document has been revealed ... and it’s not the man we expected.

In 1757, a bricklayer found a religious document hidden in the rafters of the Shakespeare House in Stratford-upon-Avon, England. Historians have long attributed the document, which was signed, “ J. Shakespeare ,” to William’s father, John.

But a new study in Shakespeare Quarterly, from scholars at the University of Bristol, claims John wasn’t actually the writer of the scrutinized document. Instead, the researchers say it was William’s relatively unknown younger sister, Joan Shakespeare Hart, who is mentioned by name in only seven surviving documents from her lifetime, study author Matthew Steggle said in a statement :

“Virginia Woolf wrote a famous essay, Shakespeare’s sister , about how a figure like her could never hope to be a writer or have her writing preserved, so she has become something of a symbol for all the lost voices of early modern women. There are hundreds of thousands of works surviving from her brother, and until now, none at all, of any description, from her.”

In the tucked-away document, which heavily cites an obscure 17 th century Italian religious tract called The Last Will and Testament of the Soul, the writer pledges to die a good Catholic death. If the writer was indeed John Shakespeare, who remained a devout Protestant until his death in 1601, it would have indicated a major shift in his beliefs and suggested a clandestine life during an era when secret allegiance to the Catholic Church in Elizabethan England could have been dangerous. For this reason, many experts have suspected the document to be forged.

But in the new study, Steggle used internet archives to track down early editions of The Last Will and Testament of the Soul in Italian and six other languages and concluded the document could have only been written after John Shakespeare’s death. That left Steggle with just one other “J. Shakespeare”: Joan.

Joan, who was five years younger than William, survived for 30 years after her brother’s death, and long resided in the family home where the document was found.

“Even 30 years ago, a researcher approaching a problem like this would have been based in a single big research library, using printed catalogues and even card catalogues to try to find copies of this text,” Steggle said in the statement. “But research libraries have now made many of their resources available digitally, so that it is possible to look across many different libraries in different countries at once, and what’s more, you can look through the whole text, not just at the title and other details.”

Steggle emphasized the importance of this approach in aligning the document’s quotes with the original timing of the composition of The Last Will and Testament of the Soul. Joan, then, who outlived her tradesman husband and had four children in the old Shakespeare family house, had to have been the secret Catholic supporter.

The mystery flourished for centuries, in part, because William Shakespeare himself was a secretive figure, Biography writes .

Shakespeare, who lived from 1564 to 1616, left behind no letters, no handwritten manuscripts, few contemporary accounts, and only six signatures, all spelled differently. It seems almost unbelievable to scholars and critics that the country boy from Stratford-upon-Avon who never attended university wrote 37,000 words for his plays and added roughly 300 words to the English vocabulary.

Yet, the scarcity of Shakespeare’s personal artifacts does little to dim the luster of his legacy, which stands in stark contrast to his modest, mysterious origins.

The early years of Shakespeare’s life are murky. According to Biography , he was born to a father, John, who managed a portfolio as a landowner, moneylender, local official, and glover and leather craftsman. Instead of pursuing higher education, Shakespeare’s knowledge was gleaned from life experiences, absorbing wisdom from his dad’s civic engagements and perhaps gaining insights from his son-in-law, who was a doctor.

The idea that Shakespeare kept his London-based professional life separate from his personal life in Stratford-upon-Avon plays into the recent findings regarding his sister, Joan. “This secretive attitude,” Biography writes, “may have been because much of his family were known Catholic sympathizers and chose to live quietly in Protestant Elizabethan England. In fact, some believe Shakespeare himself received Catholic communion on his death bed.”

Shakespeare wasn’t known to be loud and boisterous; instead, he carried an air of mystery, relishing the relative anonymity provided by Stratford life. Following his marriage to Anne Hathaway and the birth of their children, there’s a seven-year gap in his historical record. These are known as the “lost years.”

Speculation about William Shakespeare’s “lost years” varies widely; some suggest he may have been in hiding due to accusations of poaching, while more substantiated theories propose he was making a living as an actor and playwright in London. But despite this period of obscurity, Shakespeare’s reputation flourished through his poetry, sonnets, and plays.

As a prominent member of the Lord Chamberlain’s Men, a renowned London acting company, Shakespeare invested in his craft, and his financial success allowed him to buy New Place, one of the largest houses in Stratford-upon-Avon. Shakespeare’s theatrical endeavors didn’t stop there; in collaboration with fellow actors, he started the iconic Globe Theater, which became synonymous with his celebrated playwriting and solidified his legacy.

As Shakespeare grew his name in London’s theaters, he simultaneously established himself as a prominent figure in his hometown of Stratford. Acquiring the family estate in 1601 and subsequently purchasing 107 acres the following year, he strategically invested in additional properties. Experts suggest that the income from leasing these lands gave him the financial stability to pursue his writing.

Meanwhile, Joan resided in the Shakespeare family home amidst speculation and secrets. And its rafters served as a vault for her Italian-inspired religious writings—a hidden gem that’s still sparking scholarly intrigue, and revealing new layers to the Shakespeare legacy today.

Tim Newcomb is a journalist based in the Pacific Northwest. He covers stadiums, sneakers, gear, infrastructure, and more for a variety of publications, including Popular Mechanics. His favorite interviews have included sit-downs with Roger Federer in Switzerland, Kobe Bryant in Los Angeles, and Tinker Hatfield in Portland. 

.css-cuqpxl:before{padding-right:0.3125rem;content:'//';display:inline;} Pop Mech Pro .css-xtujxj:before{padding-left:0.3125rem;content:'//';display:inline;}

The Pentagon Created a New Underwater Predator

The U.S. Has Built an Unstoppable Microwave Weapon

China Could Rule the Seas With This New Tech

The Truth About Walt Disney’s Frozen Head

Smart Home Tech To Automate Your Morning Routine

Repair Stripped Threads with Professional Results

Our Tried-and-True Drywall Repair Hacks

Immortality Is Possible if We Beat One Physics Law

The F-22 Raptor Has Clawed Back From the Brink

Watch a Master Craftsman Create a Ship in a Bottle

The Army Has a Plan to Kill Drones