Influence of William Shakespeare: Difference between revisions - Wikipedia

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{{Infobox Writer

~~'''''I WANT TO RIDE MY BICYCLE~~

| name = William Shakespeare

~~I WANT TO RIDE MY BIKE~~

| image = Shakespeare.jpg

~~BICYCLE~~

| caption = The [[Chandos portrait]], artist and authenticity unconfirmed ([[National Portrait Gallery, London]], currently on display at the National Portrait Gallery, Washington, D.C.).

~~BICYCLE~~

| birth_date = [[April]] [[1564]] (exact date unknown)

| birth_place = [[Stratford-upon-Avon]], [[Warwickshire]], [[England]]

| death_date = [[23 April]] [[1616]]

| death_place = [[Stratford-upon-Avon]], [[Warwickshire]], [[England]]

| occupation = [[Playwright]], [[poet]], [[actor]]

| movement =

| signature = Shakespeare-WillSignature3.png

}}

'''[[William Shakespeare]]'s influence''' extends from theatre to literature to the [[English language]] itself. Widely regarded as the greatest [[writer]] of the English language<ref>{{cite book |last=Reich |first=John J. |authorlink= |coauthors=Cunningham, Lawrence S. |title=Culture And Values: A Survey of the Humanities |year=2005 |publisher=Thomson Wadsworth |location= |pages=102 |isbn= }}</ref> and the world's pre-eminent dramatist,<ref>{{cite web

~~WE ARE THE CHAMPIONS MY FRIEND~~

|url=http://www.britannica.com/eb/article-9109536 |title=William Shakespeare |accessdate=2007-06-14 |work=Encyclopedia Britannica Online |publisher=Encyclopedia Britannica}}</ref><ref>{{cite web |url=http://encarta.msn.com/encyclopedia_761562101/Shakespeare_William.html |title=William Shakespeare |accessdate=2007-06-14 |format= |work=MSN Encarta Online Encyclopedia }}</ref><ref>{{cite web |url=http://columbia.thefreedictionary.com/Shakespeare,+William |title=William Shakespeare |accessdate=2007-06-14 |format= |work=Columbia Electronic Encyclopedia }}</ref> Shakespeare transformed English theatre by expanding expectations about what could be accomplished through [[characterisation]], [[plot (narrative)|plot]], [[language]], and [[genre]].<ref name = miola>{{cite book |last=Miola |first=Robert S. |authorlink= |coauthors= |title=Shakespeare's Reading |year=2000 |publisher=Oxford University Press |location= |isbn= }}</ref><ref>{{cite book |last=Chambers |first=Edmund Kerchever |authorlink= |coauthors= |title=Shakespearean Gleanings |year=1944 |publisher=Oxford University Press |location= |pages=35 |isbn= }}</ref><ref>{{cite book |last=Mazzeno |first=Laurence W. |authorlink= |coauthors=Frank Northen Magills and Dayton Kohler |title=Masterplots: 1,801 Plot Stories and Critical Evaluations of the World's Finest Literature |year=1996 |origyear=1949 |publisher=Salen Press |location= |pages=2837 |isbn= }}</ref> Shakespeare's writings have also influenced a large number of notable novelists and poets over the years, including [[Herman Melville]]<ref name="Hovde">Hovde, Carl F. "Introduction" ''Moby-Dick'' by Herman Melville, Spark Publishing, 2003, page xxvi.</ref> and [[Charles Dickens]].<ref>{{cite book |last=Gager |first=Valerie L. |authorlink= |coauthors= |title=Shakespeare and Dickens: The Dynamics of Influence |year=1996 |publisher=Cambridge University Press |location= |pages=163 |isbn= }}</ref> Finally, Shakespeare is the most quoted writer in the history of the [[English-speaking world]]<ref> [http://www.litencyc.com/php/speople.php?rec=true&UID=5160 The Literary Encyclopedia entry on William Shakespeare] by Lois Potter, University of Delaware, accessed June 22, 2006</ref><ref>[http://www.columbia.edu/cu/cup/catalog/data/023110/0231104340.HTM The Columbia Dictionary of Shakespeare Quotations], edited by Mary Foakes and [[Reginald Foakes]], June 1998.</ref> and many of his quotations and [[neologism]]s have passed into [[List of English words invented by Shakespeare|everyday usage]] in English and other languages.

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~~AND WEEL KEEP ON FIGHTING TIL TEH END~~

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==Influence on theatre==

Shakespeare's works have been a major influence on subsequent theatre. Not only did Shakespeare create some of the most admired plays in [[Western literature]]<ref name = Gaskell>{{cite book |last=Gaskell |first=Philip |authorlink= |coauthors= |title=Landmarks in English Literature |year=1998 |publisher=Edinburgh University Press |location= |pages=13-14 |isbn= }}</ref> (with ''[[Macbeth]], [[Hamlet]]''

and ''[[King Lear]]'' being ranked among the world's greatest plays),<ref>Brown, Calvin Smith; Harrison, Robert L. ''Masterworks of World Literature'' Holt, Rinehart and Winston, 1970, page 4.</ref> he also transformed English theatre by expanding expectations about what could be accomplished through [[characterisation]], [[plot (narrative)|plot]], [[language]], and [[genre]].<ref name = miola>{{cite book |last=Miola |first=Robert S. |authorlink= |coauthors= |title=Shakespeare's Reading |year=2000 |publisher=Oxford University Press |location= |isbn= }}</ref><ref>{{cite book |last=Chambers |first=Edmund Kerchever |authorlink= |coauthors= |title=Shakespearean Gleanings |year=1944 |publisher=Oxford University Press |location= |pages=35 |isbn= }}</ref><ref>{{cite book |last=Mazzeno |first=Laurence W. |authorlink= |coauthors=Frank Northen Magills and Dayton Kohler |title=Masterplots: 1,801 Plot Stories and Critical Evaluations of the World's Finest Literature |year=1996 |origyear=1949 |publisher=Salen Press |location= |pages=2837 |isbn= }}</ref> Specifically, in plays like ''Hamlet'', Shakespeare "integrated characterisation with plot," such that if the main character was different in any way, the plot would be totally changed.<ref>Frye, Roland Mushat ''Shakespeare'' Routledge, 2005, page 118.</ref> In ''[[Romeo and Juliet]]'', Shakespeare mixed tragedy and comedy together to create a new romantic tragedy genre (previous to Shakespeare, romance had not been considered a worthy topic for tragedy).<ref>Levenson, Jill L. "Introduction" to ''Romeo and Juliet'' by William Shakespeare, Oxford University Press, 2000, pages 49-50. In her discussion about the play's genre, Levenson quotes scholar H.B. Charlton ''Romeo and Juliet'' creating a new genre of "romantic tragedy."</ref> Through his [[soliloquies]], Shakespeare showed how plays could explore a character's inner motivations and conflict (up until Shakespeare, soliloquies were often used by playwrights to "introduce (characters), convey information, provide an [[Expository writing|exposition]] or reveal plans").<ref>Clemen, Wolfgang H., ''Shakespeare's Soliloquies'' Routledge, 1987, page 179.</ref>

===Characters===

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Shakespeare's plays portrayed a wide variety of emotions. His plays exhibited "spectacular violence, with loose and episodic plotting, and with mingling of comedy with tragedy".<ref name=Ford /> In ''[[King Lear]]'', Shakespeare had deliberately brought together two plots of different origins. His closeness to human nature made him greater than any of his contemporaries. Humanism and contact with popular thinking gave vitality to his language. Shakespeare's plays borrowed ideas from popular sources, [[folk tradition]]s, street pamphlets, and [[sermon]]s etc. Shakespeare used [http://en.wiktionary.org/wiki/groundling groundling]s widely in his plays. The use of groundlings "saved the drama from academic stiffness and preserved its essential bias towards entertainment".<ref name=Ford /> ''[[Hamlet]]'' is an outstanding example of "groundlings" quickness and response.<ref name=Ford /> Use of groundlings' enhanced Shakespeare's work practically and artistically. He represented English people more concretely and not as puppets. His skills have found expression in chronicles, or history plays, and tragedies.

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Shakespeare's earliest years were dominated by [[history]] plays and a few [[comedy|comedies]] that formed a link to the later written [[tragedy|tragedies]]. Nine out of eighteen plays he produced in the first decade of his career were chronicles or histories. His histories were based on the prevailing Tudor political thought. They portrayed the follies and achievements of kings, their misgovernment, church and problems arising out of these. "In shaping, compressing, and altering chronicles, Shakespeare gained the art of dramatic design; and in the same way he developed his remarkable insight into character, its continuity and its variation".<ref name=Ford /> His characters were very near to reality.

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"Shakespeare's characters are more sharply individualized after Love's Labour's Lost". His [[Richard II (play)|Richard II]] and [[Bolingbroke]] are complex and solid figures whereas [[Richard III (play)|Richard III]] has more "humanity and comic gusto".<ref name=Ford /> The [[Falstaff]] trilogy is in this respect very important. Falstaff, although a minor character, has a powerful reality of its own. "Shakespeare uses him as a commentator who passes judgments on events represented in the play, in the light of his own super abundant comic vitality".<ref name=Ford /> Falstaff, although outside "the prevailing political spirit of the play", he throws insight into the different situations arising in the play. This shows that Shakespeare had developed a capacity to see the plays as whole, something more than characters and expressions added together. In Falstaff trilogy, through the character of Falstaff, he wants to show that in society "where touchstone of conduct is success, and in which humanity has to accommodate itself to the claims of expediency, there is no place for Falstaff", a loyal human-being. This sentiment is so true even after centuries.

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Shakespeare united the three main steams of literature: [[Verse (poetry)|verse]], [[poetry]], and [[drama]]. To the versification of the language, he imparted his eloquence and variety giving highest expressions with elasticity of language. The second, the sonnets and poetry, was bound in structure. He imparted economy and intensity to the language. In the third and the most important area, the drama, he saved the language from vagueness and vastness and infused actuality and vividness. Shakespeare's work in prose, poetry, and drama marked the beginning of modernization of English language by introduction of words and expressions, style and form to the language.

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== Influence on literature ==

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Shakespeare is cited as an influence on a large number of writers in the following centuries, including major novelists such as [[Herman Melville]],<ref name="Hovde">Hovde, Carl F. "Introduction" ''Moby-Dick'' by Herman Melville, Spark Publishing, 2003, page xxvi.</ref> [[Charles Dickens]],<ref>{{cite book |last=Gager |first=Valerie L. |authorlink= |coauthors= |title=Shakespeare and Dickens: The Dynamics of Influence |year=1996 |publisher=Cambridge University Press |location= |pages=163 |isbn= }}</ref> [[Thomas Hardy]],<ref>Millgate, Michael, and Wilson, Keith, ''Thomas Hardy Reappraised: Essays in Honour of Michael Millgate'' University of Toronto Press, 2006, 38.</ref> and [[William Faulkner]].<ref>{{cite book |last=Kolin |first=Philip C. |authorlink= |coauthors= |title=Shakespeare and Southern Writers: A Study in Influence |year= |publisher=University Press of Mississippi |location= |pages=124 |isbn= }}</ref> Examples of this influence include the large number of Shakespearean quotations throughout Dickens' writings<ref>{{cite book |last=Gager |first=Valerie L. |authorlink= |coauthors= |title=Shakespeare and Dickens: The Dynamics of Influence |year=1996 |publisher=Cambridge University Press |location= |pages=251 |isbn= }}</ref> and the fact that at least 25 of Dickens' titles are drawn from Shakespeare,<ref>{{cite book |last=Gager |first=Valerie L. |authorlink= |coauthors= |title=Shakespeare and Dickens: The Dynamics of Influence |year=1996 |publisher=Cambridge University Press |location= |pages=186 |isbn= }}</ref> while Melville frequently used Shakespearean devices, including formal stage directions and extended [[soliloquies]], in ''[[Moby-Dick]]''.<ref>Bryant, John. "Moby Dick as Revolution" ''The Cambridge Companion to Herman Melville'' Robert Steven Levine (editor). Cambridge University Press, 1998, page 82.</ref> In fact, Shakespeare so influenced Melville that the novel's main [[antagonist]], Captain Ahab, is a classic Shakespearean tragic figure, "a great man brought down by his faults."<ref name="Hovde">Hovde, Carl F. "Introduction" ''Moby-Dick'' by Herman Melville, Spark Publishing, 2003, page xxvi.</ref> Shakespeare has also influenced a number of English [[poets]], especially [[Romanticism|Romantic poets]] such as [[Samuel Taylor Coleridge]] who were obsessed with [[self-consciousness]], a modern theme Shakespeare anticipated in plays such as ''[[Hamlet]]''.<ref>{{cite book |last=Dotterer |first=Ronald L. |authorlink= |coauthors= |title=Shakespeare: Text, Subtext, and Context |year=1989 |publisher=Susquehanna University Press |location= |pages=108 |isbn= }}</ref> Shakespeare's writings were so influential to English poetry of the 1800s that critic [[George Steiner]] has called all English poetic dramas from Coleridge to [[Alfred Tennyson, 1st Baron Tennyson|Tennyson]] "feeble variations on Shakespearean themes."<ref>{{cite book |last=Dotterer |first=Ronald L. |authorlink= |coauthors= |title=Shakespeare: Text, Subtext, and Context |year=1989 |publisher=Susquehanna University Press |location= |pages=108 |isbn= }}</ref>

==Influence on the English language==

Shakespeare's writings greatly influenced the entire English language. Prior to and during Shakespeare's time, the grammar and rules of English were not fixed.<ref name="Barron'sHamlet2">Introduction to ''Hamlet'' by William Shakespeare, Barron's Educational Series, 2002, page 12.</ref> But once Shakespeare's plays became popular in the late seventeenth and eighteenth century, they helped contribute to the standardization of the English language, with many Shakespearean words and phrases becoming embedded in the English language, particularly through projects such as [[Samuel Johnson]]'s ''Dictionary'' which quoted Shakespeare more than any other writer.<ref>Lynch, Jack. ''Samuel Johnson's Dictionary: Selections from the 1755 Work that Defined the English Language''. Delray Beach, FL: Levenger Press (2002), page 12.</ref> He expanded the scope of English literature by introducing new words and phrases, experimenting with [[blank verse]], and also introducing new poetic and grammatical structures.

===Pre-Shakespearian English===

The literature of Shakespeare was based on the works of poets such as [[Chaucer]], [[Spenser]], and [[Sir Philip Sidney|Sidney]]. It is also important to note the setting of Shakespeare's language. In 449 A.D., the tribes-the [[Angles]], [[Saxons]], and [[Jutes]]- had moved to Britain to side with the [[Celts]] in order to help them defeat their northern neighbors. After their victory, however, the Germanic tribes gradually pushed the Celts into what became Wales and Cornwall. The tribes introduced the Anglo-Saxon, or the [[Old English language]] (Mario Pei). Anglo-Saxon survived, despite the Roman and the French invasions of 579 A.D. and 1066 A.D. The invasions introduced Latin and French to England. These events marked the beginning of the Middle English period. Around 1204 A.D., bilingualism developed amongst "Norman officials, supervisors, [and] bilingual children [resulting from] French and English marriages".<ref name=FFA>{{cite web|title=Middle English|publisher=[[Creighton University]] Department of English|url=http://mockingbird.creighton.edu/english/worldlit/teaching/upperdiv/mideng.htm|date=[[1997-10-29]]|author=Fidel Fajardo-Acosta}}</ref> English was, however, still not in common use. King [[John Lackland]]'s death indicated the end of Norman rule. The decision of the Norman proprietors and [[Edward I of England|Edward I]]'s ([[Henry III of England|Henry III]]'s son) conquest of Wales all contributed to increased usage of the English language. French cultural supremacy in England waned. The increase in the use of English resulted in the "smoothing out of dialectal differences [and] beginning of standard English based on London dialect".<ref name=FFA /> Nevertheless, French remained the official language until around the 14th century. It was not until 1509 A.D., however, that English was recognized as the official language of England.<ref name=FFA /> Until 1583 A.D., the English language was dependent on Chaucer and "the innovation of the language was uncertain".<ref name=Ford /> It was the end of the [[Middle English]] phase and the beginning of the [[Renaissance]]. "Before the arrival of Shakespeare to London, there was little hope for the future of English but by 1613, when Shakespeare's last work was written, the literature of modern English was already rich in varied achievements, self confident and mature".<ref name=Ford>{{cite book|title=The Age of Shakespeare|editor=Borris Ford|location=Great Britain|publisher=Penguin Books|date=1955|pages=16,51,54,55,64,71,87,179,184,187,188,197}}</ref><ref name=Ford />

===Vocabulary===

One of Shakespeare's biggest contributions to the English language is the introduction of vocabulary and phrases which enriched the language making it more colorful and expressive. Shakespeare used around 20,138 [[neologism|new word]]s<ref name=Aden>{{cite web|author=Aden, Jayne|title=William Shakespeare's Influence on the Development of the English Language|url=http://www.bhsu.edu/artssciences/asfaculty/rochse/eng426/Papers1-2002/Shakespeare.doc|format=Microsoft Word|date=[[2002-01-02]]|pages=1–6}}</ref> in his work, sometimes [[loanword|borrowing]] from the classical literature and foreign languages.<ref name=Ford /> His exceptional experimentation with words "also resulted in formation of expressions and phrases".<ref name=Aden /> Many of his phrases like "All's well that ends well", "To be or not to be", etc. have become an integral part of the English language and have been used as quotes. The addition of these words gave his style distinctness.

Shakespeare introduced style and structure to an otherwise loose, spontaneous language. The [[Elizabethan era]] language was written as it was spoken. The naturalness gave force and freedom since there was no [[grammar]] binding the expression. Lack of grammar introduced vagueness in literature, but expressed feelings with vividness and emotion. It had "freedom of expression" and "vividness of presentment".<ref>{{cite book|title=The Cambridge history of English and American literature: An encyclopedia in eighteen volumes|editor=A.W. Ward, A.R. Waller, W.P. Trent, J. Erskine, S.P. Sherman, and C. Van Doren|location=Cambridge, England|publisher=University Press|date=1907–21/2000|id=ISBN 1-58734-073-9|volume=III. Renascence and Reformation|chapter=XX. The Language from Chaucer to Shakespeare - 11. Elizabethan English as a literary medium|chapterurl=http://www.bartleby.com/213/2011.html}}</ref> It was a language which expressed feelings explicitly. Shakespeare used the exuberance of the language and [[decasyllable|decasyllabic]] structure in prose and poetry of his plays to reach the masses and the result was "a constant two way exchange between learned and the popular, together producing the unique combination of racy tang and the majestic stateliness that informs the language of Shakespeare".<ref name=Ford /> It was a two way process in which literary language gained force and freedom of popular speech whereas eloquence of the language reached the general masses. His contribution in making the language popular with the masses was immense. His plays played an important role here.

Is Shakespeare's language conservative or innovative for his times? It is true that in Shakespeare's works generally occur all the English words and grammatical structures of his era. A prominent example is the usage of the personal pronouns ''thee, thy, thou'' etc. Nevertheless, it is obvious that his language is very innovative for his times, as he introduced new words, phrases and grammatical structures and also picked up words that were new and fashionable at the time. The ''Oxford English Dictionary'' records over 2000 entries that have a supporting quotation from Shakespeare's works and his quotation often is the earliest source available.<ref>Jucker, Andreas H. ''History of English and English Historical Linguistics''. Stuttgart: Ernst Klett Verlag (2000), page 51.</ref>

===Blank verse===

Shakespeare's first plays were experimental as he was still learning from his own mistakes. It was a long journey from ''[[Titus Andronicus]]'' and ''[[King Henry VI]]'' to ''[[The Tempest]]''. Gradually his language followed the "natural process of artistic growth, to find its adequate projection in dramatic form".<ref name=Ford /> As he continued experimenting, his style of writing found many manifestations in plays. The dialogues in his plays were written in verse form and followed a decasyllabic rule.<ref name=Aden /> In ''Titus Andronicus'', decasyllables have been used throughout. "There is considerable pause; and though the inflexibility of the line sound is little affected by it, there is a certain running over of sense".<ref name=Aden /> His work is still experimental in ''Titus Andronicus''. However, in ''[[Love's Labour's Lost]]'' and ''[[The Comedy of Errors]]'', there is "perfect metre-abundance of rime [rhyme], plenty of prose, arrangement in stanza".<ref name=Aden /> After these two comedies, he kept experimenting until he reached a maturity of style. "Shakespeare's experimental use of trend and style, as well as the achieved development of his blank verses, are all evidences of his creative invention and influences".<ref name=Aden /> Through experimentation of [[trisyllable|tri-syllabic]] substitution and decasyllabic rule he developed the blank verse to perfection and introduced a new style.

"Shakespeare's blank verse is one of the most important of all his influences on the way the English language was written".<ref name=Aden /> He used the blank verse throughout in his writing career experimenting and perfecting it. The free speech rhythm gave Shakespeare more freedom for experimentation. "Adaptation of free speech rhythm to the fixed blank-verse framework is an outstanding feature of Shakespeare's poetry".<ref name=Ford /> The striking choice of words in common place blank verse influenced "the run of the verse itself, expanding into images which eventually seem to bear significant repetition, and to form, with the presentation of character and action correspondingly developed, a more subtle and suggestive unity".<ref name=Ford /> Expressing emotions and situations in form of a verse gave a natural flow to language with an added sense of flexibility and spontaneity.

===Poetry===

He introduced in poetry two main factors - "verbal immediacy and the moulding of stress to the movement of living emotion".<ref name=Ford /> Shakespeare's words reflected passage of time with "fresh, concrete vividness" giving the reader an idea of the time frame.<ref name=Ford /> His remarkable capacity to analyze and express emotions in simple words was amazing:

{{PQuote|"When my love swears that she is made of truth,

I do believe her, though I know she lies-"|(Sonnet CXXXVIII)}}

In the sonnet above, he has expressed in very simple words "complex and even contradictory attitudes to a single emotion".<ref name=Ford />

The [[sonnet]] form was limited structurally, in theme and in expressions. Liveliness of Shakespeare's language and strict discipline of the sonnets imparted economy and intensity to his writing style. "It encouraged the association of compression with depth of content and variety of emotional response to a degree unparalleled in English".<ref name=Ford /> Complex human emotions found simple expressions in Shakespeare's language.

==References==

[[Category:William Shakespeare|Shakespeare's influence]]