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William Shakespeare

1564–1616

Shakespeare's plays put pressure on a few people in a closed space — a court, a wood, an island — and let the language do the damage. Try «Macbeth» to watch a soldier talk himself toward murder, or «Twelfth Night» for a comedy where everyone loves the wrong person and the fool speaks plainest.

Feels like power, dread and love.

Start with Hamlet.

Shakespeare acted in his own plays; a 1610 document lists him among the King’s Men as both principal actor and playwright.

The mind can make a prison out of the one door it cannot see through.

To be, or not to be: that is the question:Whether ’tis nobler in the mind to sufferThe slings and arrows of outrageous fortune,Or to take arms against a sea of troubles,And by opposing end them? To die: to sleep;No more; and by a sleep to say we endThe heart-ache and the thousand natural shocksThat flesh is heir to, ’tis a consummationDevoutly to be wish’d. To die, to sleep;To sleep: perchance to dream: ay, there’s the rub;For in that sleep of death what dreams may comeWhen we have shuffled off this mortal coil,Must give us pause: there’s the respectThat makes calamity of so long life;
— Hamlet, William Shakespeare (1603)

Books by William Shakespeare

Hamlet

William Shakespeare, 1603

A prince in mourning delays, dissembles, and thinks too much, while a court watches every move. Read for the language, stay for the recognitions.

Macbeth

William Shakespeare, 1606

A soldier is greeted by three strangers who promise him a crown, and we watch, line by line, how quickly a decent man can argue himself into murder.

Othello

William Shakespeare, 1604

A general, a senator's daughter, and an ensign who knows exactly which words will undo them: Shakespeare's tightest study of how love is talked out of existence.

The Tempest

William Shakespeare, 1611

An exiled duke with a library of magic, a daughter who has met almost no one, and an island's furious native wait for a shipwreck to bring his enemies ashore.

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