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Antony and Cleopatra is a tragedy by William Shakespeare, believed to have been written sometime between 1603 and 1607. It was first printed in the First Folio of 1623. The plot is based on Thomas North's translation of Plutarch's Life of Marcus Antonius and follows the relationship between Cleopatra and Mark Antony from the time of the Parthian War to Cleopatra's suicide. The major antagonist is Octavius Caesar, one of Antony's fellow triumviri and the future first emperor of Rome. The trag ...
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Despite its optimistic title, Shakespeare's All's Well That Ends Well has often been considered a "problem play." Ostensibly a comedy, the play also has fairy tale elements, as it focuses on Helena, a virtuous orphan, who loves Bertram, the haughty son of her protectress, the Countess of Rousillon. When Bertram, desperate for adventure, leaves Rousillon to serve in the King's army, Helena pursues him.
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The Tempest by William Shakespeare

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Banished from his own lands by a usurping brother, Prospero and his daughter Miranda have been living on a deserted island for years, until fate brings the brother within the range of Prospero's powers. Will he seek revenge, or reconcilement?
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Henry VI by William Shakespeare

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Henry VI, Part 1 is a history play by William Shakespeare, believed to have been written in 1591, and set during the lifetime of King Henry VI of England. Whereas 2 Henry VI deals with the King's inability to quell the bickering of his nobles, and the inevitability of armed conflict, and 3 Henry VI deals with the horrors of that conflict, 1 Henry VI deals with the loss of England's French territories and the political machinations leading up to the Wars of the Roses, as the English political ...
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The Tragedy of King Richard II, by William Shakespeare, is the first of the history series that continues with Parts 1 and 2 of King Henry IV and with The Life of King Henry V. At the beginning of the play, Richard II banishes his cousin Henry Bolingbroke from England. Bolingbroke later returns with an army and the support of some of the nobility, and he deposes Richard. Richard is separated from his beloved Queen, imprisoned, and later murdered. By the end of the play, Bolingbroke has been ...
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Othello by William Shakespeare

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In seventeenth century Venice, a wealthy and debauched man discovers that the woman he is infatuated with is secretly married to a Moorish general in the Venetian army. He shares his grief and rage with a lowly ensign in the army who also has reason to hate the general for promoting a younger man above him. The villainous ensign now plots to destroy the noble general in a diabolical scheme of jealousy, paranoia and murder, set against the backdrop of the bloody Turkish-Venetian wars. This ti ...
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Summer nights, romance, music, comedy, pairs of lovers who have yet to confess their feelings to each other, comedy and more than a touch of magic are all woven into one of Shakespeare's most delightful and ethereal creations – A Midsummer Night's Dream. The plot is as light and enchanting as the settings themselves. The Duke of Athens is busy with preparations for his forthcoming wedding to Hippolyta the Amazonian Queen. In the midst of this, Egeus, an Athenian aristocrat marches in, flanke ...
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In a tiny French dukedom, a younger brother usurps his elder brother's throne. Duke Senior is banished to the Forest of Arden along with his faithful retainers, leaving his lovely daughter Rosalind behind to serve as a companion for the usurper's daughter, Celia. However, the outspoken Rosalind soon earns her uncle's wrath and is also condemned to exile. The two cousins decide to flee together and join Duke Senior in the forest. Meanwhile, a young nobleman, Orlando is thrown out of his home ...
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Sebastian Michael, author of The Sonneteer and several other plays and books, looks at each of William Shakespeare's 154 Sonnets in the originally published sequence, giving detailed explanations and looking out for what the words themselves tell us about the great poet and playwright, about the Fair Youth and the Dark Lady, and about their complex and fascinating relationships. Podcast transcripts, the sonnets, contact details and full info at https://www.sonnetcast.com
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Having denied time the power to make his love change in the previous poem, William Shakespeare now with Sonnet 124 turns his attention to politics, statehood, and the fashions of a notoriously fickle society, and further delineates his love for his young man against such other, more trivial, more volatile, much more feeble affections as it may be s…
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Sonnet 123 is the first in a final group of three sonnets that speak the penultimate words on William Shakespeare's relationship with his young man. The last word isn't truly spoken at all, it sits silent in a pair of empty brackets where normally the closing couplet of Sonnet 126 would be, but before he addresses his lover there directly, as 'my l…
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With his curiously themed Sonnet 122, William Shakespeare tells his younger lover that although he has parted with a notebook he had received as a gift from him, its contents are in fact kept entirely in his memory, where they will remain safely stored and complete until the day he dies. This, he assures him, is a better way of holding on to them t…
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With Sonnet 121, William Shakespeare claims his right to be who he is and negates the authority of others to pass judgement on him and his actions, specifically those who themselves are not morally or ethically superior to him but who would appear to project their own corrupted values and jaded view of the human being onto those around them. In doi…
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With Sonnet 120 William Shakespeare draws a line under the explanations and excuses offered throughout the previous three sonnets for his own infidelities in relation to his young man, and simply reminds himself now of how awful he felt when his lover treated him in a similar way on those occasions when it was him who was sleeping around with other…
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With Sonnet 119, William Shakespeare further elaborates on his metaphor, introduced in Sonnet 118, of having taken bitter medicines to prevent himself from ever getting sick of his younger lover, these potions having been affairs, encounters, or even relationships of sorts with other people. Who these other people were he still doesn't tell us, but…
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Sonnet 118 continues William Shakespeare's defence or explanation of his infidelities towards his younger lover with an argument that may well strike us as similarly spurious as the one deployed in Sonnet 117, even though unlike the previous poem, this one possesses an internal logic that allows him to come to a conclusion which does make some sens…
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Sonnet 117 is the first of three distinct but related sonnets that all seek to excuse, or at the very least explain, Shakespeare's own infidelities and inconstancies, first confessed to his lover in Sonnet 109 and, most directly, in Sonnet 110. Here, our poet lists a whole raft of failings on his part in his conduct towards his young man, and posit…
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With his celebrated and oft-recited Sonnet 116, William Shakespeare offers not so much a definition as a characterisation of what true love is: unshakeable and unaffected by external changes or temptations, steady and dependable as a lodestar in the darkest, stormiest hour, and everlasting "even to the edge of doom." With its religious overtones th…
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With Sonnet 115 William Shakespeare turns his attention to the perplexing paradox that a love that is experienced as complete and absolute and therefore perfect, such as his love for his young man, may turn out, over time, to have been but a fledgling infant compared to the even fuller, more profound, more mature love that it has the potential to g…
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With his curiously cryptic Sonnet 114, William Shakespeare poses a rhetorical question to his younger lover, asking whether his experience of seeing him in everything he looks at is down simply to his eye flattering him, or to his eye having acquired the ancient mystical art of alchemy and actually turning even ugly creatures into beautiful angelic…
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With Sonnet 113, William Shakespeare returns once more to the theme of separation, reflecting on how, when he is away from his younger lover, everything he sees takes on his lover's shape and thus reminds him of him. Although we don't know when exactly the sonnet was written and therefore where precisely in the collection it belongs, it would appea…
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With Sonnet 112, William Shakespeare picks up directly from Sonnet 111 in which he asked his younger lover to pity him, and he now goes one step further by telling him that it is his, the young man's, opinion – and his opinion only – that should ever matter to Shakespeare, because not only is the young man, as Sonnets 109 and 110 expressed, his "ho…
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With Sonnet 111, William Shakespeare shifts focus from his infidelities in relation to his younger lover, addressed in the previous two sonnets, to a general deficiency in his reputation, which he blames squarely on the fact that his circumstances require him to earn a living in the public sphere. This, he claims, has led him to acquire the conduct…
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With his exceptionally candid and forthright Sonnet 110, William Shakespeare at once completes his apotheosis of his young lover, while at the same time confessing to him that yes, he too has had affairs with other people, but also reassuring him that these other lovers were no match for him and that they pale, compared to him, into insignificance,…
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Sonnet 109 is the first of two truly remarkable sonnets that speak of William Shakespeare's own infidelities towards his young lover during a period of prolonged absence. Although they do not form a strictly tied pair, together these two poems position our poet and his relationship in an entirely new light, because they for the first time genuinely…
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With Sonnet 108, William Shakespeare loops back into sentiments expressed intermittently since Sonnet 76, but particularly again recently in Sonnet 105: I have essentially said it all, there is nothing I can do other than repeat and reiterate and rephrase the praises I have sung and continue to sing for you. What it also picks up from Sonnet 105 is…
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Of all the poems in the collection first published in 1609, Sonnet 107 most clearly and most compellingly seems to refer to external events that shape Shakespeare's world. Because of this, it takes up a pivotal position in the canon, since it may therein hold clues to both its date of composition and to the person it is addressed to. And while ther…
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Sonnet 106 sees Shakespeare return to eulogising his young lover in outwardly straightforward terms. And rather than looking ahead to times to come when his poetry will continue to pay tribute to his love long after both he and his lover have gone, as several of the other sonnets have done, he here casts his eye back to the past through the lens of…
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Sonnet 105 presents a playful paradox that is no doubt fully intended on William Shakespeare's part. Addressing, for a change, not his young lover directly, but speaking to the world in general about him and about his love for him, he tells us that we should not see, and in seeing so by implication judge, this love as the worship of a human and the…
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With his celebrated and much-debated Sonnet 104, William Shakespeare appears to set out to do primarily three things: first and foremost, to reassure his young lover that even now, after some appreciable time has passed since they first met, he, the young lover, is still as beautiful to him, our poet, as he was on the very first day; in other words…
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Sonnet 103 is the fourth and last in this group of four sonnets with which William Shakespeare seeks to excuse himself for not writing more poetry to, for, or about his young lover lately. Like the first two in the group, Sonnets 100 & 101 – which are so closely linked that we may treat them as a pair – this sonnet also references the poet's Muse, …
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