Instruct: Given a question, retrieve documents that can help answer the question.
Query: How many sonnets did Shakespeare write?
It was, however, Sir Philip Sidney's sequence "Astrophel and Stella" (1591) that started the English vogue for sonnet sequences. The next two decades saw sonnet sequences by William Shakespeare, Edmund Spenser, Michael Drayton, Samuel Daniel, Fulke Greville, William Drummond of Hawthornden, and many others. These sonnets were all essentially inspired by the Petrarchan tradition, and generally treat of the poet's love for some woman, with the exception of Shakespeare's sequence of 154 sonnets. The form is often named after Shakespeare, not because he was the first to write in this form but because he became its most famous practitioner. The form consists of fourteen lines structured as three quatrains and a couplet. The third quatrain generally introduces an unexpected sharp thematic or imagistic "turn", the volta. In Shakespeare's sonnets, however, the volta usually comes in the couplet, and usually summarizes the theme of the poem or introduces a fresh new look at the theme. With only a rare exception (for example, Shakespeare's Sonnet 145 in iambic tetrameter), the meter is iambic pentameter.
"Romeo and Juliet" had a profound influence on subsequent literature. Before then, romance had not even been viewed as a worthy topic for tragedy. In Harold Bloom's words, Shakespeare "invented the formula that the sexual becomes the erotic when crossed by the shadow of death". Of Shakespeare's works, "Romeo and Juliet" has generated the most—and the most varied—adaptations, including prose and verse narratives, drama, opera, orchestral and choral music, ballet, film, television, and painting. The word "Romeo" has even become synonymous with "male lover" in English.
Basse's most famous poem is his "enormously popular sixteen-line elegy on Shakespeare":
The middle grouping of Shakespeare's plays begins in 1599 with "Julius Caesar." For the next few years, Shakespeare would produce his most famous dramas, including "Macbeth," "Hamlet," and "King Lear." The plays during this period are in many ways the darkest of Shakespeare's career and address issues such as betrayal, murder, lust, power and egoism.
Most critics consider "Merry Wives" to be one of Shakespeare's weakest plays, and the Falstaff of "Merry Wives" to be much inferior to the Falstaff of the two "Henry IV" plays. That Shakespeare would so stumble with one of his greatest creations is puzzling and a satisfactory reason for this remains to be found. The most obvious explanation is that it was written very quickly. Leslie Hotson wrote that "it is certain that the play bears the earmarks of hasty writing."
The Cobhams appear to have intervened while Shakespeare was in the process of writing either "The Merry Wives of Windsor" or the second part of "Henry IV". The first part of "Henry IV" was probably written and performed in 1596, and the name Oldcastle had almost certainly been allowed by Master of the Revels Edmund Tilney. William Brooke, 10th Baron Cobham may have become aware of the offensive representation after a public performance; he may also have learned of it while it was being prepared for a court performance (Cobham was at that time Lord Chamberlain). As father-in-law to the newly widowed Robert Cecil, Cobham certainly possessed the influence at court to get his complaint heard quickly. Shakespeare may have included a sly retaliation against the complaint in his play "The Merry Wives of Windsor" (published after the Henry IV series). In the play, the paranoid, jealous Master Ford uses the alias "Brook" to fool Falstaff, perhaps in reference to William Brooke. At any rate, the name is Falstaff in the "Henry IV, Part 1" quarto, of 1598, and the epilogue to the second part, published in 1600, contains this clarification:
The tragedy of Romeo and Juliet ultimately sprang from Ovid's story. Here the star-crossed lovers cannot be together because Juliet has been engaged by her parents to another man and the two families hold an ancient grudge. As in Pyramus and Thisbe, the mistaken belief in one lover's death leads to consecutive suicides. The earliest version of Romeo and Juliet was published in 1476 by Masuccio Salernitano, while it mostly obtained its present form when written down in 1524 by Luigi da Porto. Salernitano and Da Porto both are thought to have been inspired by Ovid and Boccaccio's writing. Shakespeare's most famous 1590s adaptation is a dramatization of Arthur Brooke's 1562 poem "The Tragical History of Romeus and Juliet", itself a translation of a French translation of Da Porto's novella.
The Romantic poets valued his exploration of blank verse, but for the most part rejected his religiosity. William Wordsworth began his sonnet "London, 1802" with "Milton! thou should'st be living at this hour" and modelled "The Prelude", his own blank verse epic, on "Paradise Lost". John Keats found the yoke of Milton's style uncongenial; he exclaimed that "Miltonic verse cannot be written but in an artful or rather artist's humour." Keats felt that "Paradise Lost" was a "beautiful and grand curiosity", but his own unfinished attempt at epic poetry, "Hyperion", was unsatisfactory to the author because, amongst other things, it had too many "Miltonic inversions". In "The Madwoman in the Attic", Sandra Gilbert and Susan Gubar note that Mary Shelley's novel "Frankenstein" is, in the view of many critics, "one of the key 'Romantic' readings of "Paradise Lost"."
Besides the subplot involving the Earl of Gloucester and his sons, the principal innovation Shakespeare made to this story was the death of Cordelia and Lear at the end; in the account by Geoffrey of Monmouth, Cordelia restores Lear to the throne, and succeeds him as ruler after his death. During the 17th century, Shakespeare's tragic ending was much criticised and alternative versions were written by Nahum Tate, in which the leading characters survived and Edgar and Cordelia were married (despite the fact that Cordelia was previously betrothed to the King of France). As Harold Bloom states: "Tate's version held the stage for almost 150 years, until Edmund Kean reinstated the play's tragic ending in 1823."
Seven works of Sophocles have survived, the most acclaimed of which are the three Theban plays, which center around the story of Oedipus and his offspring. The Theban Trilogy consists of "Oedipus the King", "Oedipus at Colonus", and "Antigone". Although the plays are often called a "trilogy," they were actually written many years apart. "Antigone", the last of the three plays sequentially, was actually first to be written, having been composed in 441 BC, towards the beginning of Sophocles's career. "Oedipus the King", the most famous of the three, was written around 429 BC at the midpoint of Sophocles's career. "Oedipus at Colonus", the second of the three plays chronologically, was actually Sophocles's last play and was performed in 401 BC, after Sophocles's death.
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton (1608–1674). The first version, published in 1667, consisted of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's "Aeneid") with minor revisions throughout and a note on the versification. It is considered by critics to be Milton's major work, and it helped solidify his reputation as one of the greatest English poets of his time.
The Merry Wives of Windsor is a comedy by William Shakespeare first published in 1602, though believed to have been written in or before 1597. The Windsor of the play's title is a reference to the town of Windsor, also the location of Windsor Castle, in Berkshire, England. Though nominally set in the reign of Henry IV, the play makes no pretense to exist outside contemporary Elizabethan era English middle class life. It features the character Sir John Falstaff, the fat knight who had previously been featured in "Henry IV, Part 1" and "Part 2". It has been adapted for the opera on several occasions. The play is one of Shakespeare's lesser-regarded works among literary critics.
Ludwig van Beethoven wrote his 32 piano sonatas between 1795 and 1822. Although originally not intended to be a meaningful whole, as a set they compose one of the most important collections of works in the history of music. Hans von Bülow called them "The New Testament" of the piano literature (Johann Sebastian Bach's "The Well-Tempered Clavier" being "The Old Testament").
Old English was divided into four dialects: the Anglian dialects, Mercian and Northumbrian, and the Saxon dialects, Kentish and West Saxon. Through the educational reforms of King Alfred in the ninth century and the influence of the kingdom of Wessex, the West Saxon dialect became the standard written variety. The epic poem "Beowulf" is written in West Saxon, and the earliest English poem, "Cædmon's Hymn", is written in Northumbrian. Modern English developed mainly from Mercian, but the Scots language developed from Northumbrian. A few short inscriptions from the early period of Old English were written using a runic script. By the sixth century, a Latin alphabet was adopted, written with half-uncial letterforms. It included the runic letters "wynn" and "thorn" , and the modified Latin letters "eth" , and "ash" .
Sophocles (; "Sophoklēs", ; 497/6 – winter 406/5 BC) is one of three ancient Greek tragedians whose plays have survived. His first plays were written later than or contemporary with those of Aeschylus, and earlier than or contemporary with those of Euripides. Sophocles wrote over 120 plays during the course of his life, but only seven have survived in a complete form: "Ajax", "Antigone", "Women of Trachis", "Oedipus Rex", "Electra", "Philoctetes" and "Oedipus at Colonus". For almost 50 years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens that took place during the religious festivals of the Lenaea and the Dionysia. He competed in 30 competitions, won 24, and was never judged lower than second place. Aeschylus won 13 competitions, and was sometimes defeated by Sophocles, while Euripides won four competitions.
Old English literature or Anglo-Saxon literature, encompasses literature written in Old English, in Anglo-Saxon England from the 7th century to the decades after the Norman Conquest of 1066. "Cædmon's Hymn", composed in the 7th century, according to Bede, is often considered the oldest extant poem in English, whereas the later poem, The Grave is one of the final poems written in Old English, and presents a transitional text between Old and Middle English. The "Peterborough Chronicle" can also be considered a late-period text, continuing into the 12th century.
The Homeric epics are written in an artificial literary language or 'Kunstsprache' only used in epic hexameter poetry. Homeric Greek shows features of multiple regional Greek dialects and periods, but is fundamentally based on Ionic Greek, in keeping with the tradition that Homer was from Ionia. Linguistic analysis suggests that the "Iliad" was composed slightly before the "Odyssey", and that Homeric formulae preserve older features than other parts of the poems.
William Shakespeare's Romeo and Juliet (often shortened to Romeo + Juliet) is a 1996 American romantic crime film directed, co-produced, and co-written by Baz Luhrmann, co-produced by Gabriella Martinelli, and co-written by Craig Pearce. It is an adaptation and modernization of William Shakespeare's tragedy "Romeo and Juliet". The film stars Leonardo DiCaprio and Claire Danes in the leading roles of Romeo and Juliet, who instantly fall in love when Romeo crashes a party and meets her, despite being members of feuding families. Brian Dennehy, John Leguizamo, Pete Postlethwaite, Paul Sorvino, and Diane Venora star in supporting roles.
Malwa was the centre of Sanskrit literature during and after the Gupta period. The region's most famous playwright, Kalidasa, is considered to be the greatest Indian writer ever. His first surviving play is "Malavikagnimitra" (Malavika and Agnimitra). Kalidasa's second play, his masterpiece, is the Abhijñānaśākuntalam, which tells the story of king Dushyanta, who falls in love with a girl of lowly birth, the lovely Shakuntala. The last of Kalidasa's surviving plays is "Vikramuurvashiiya" ("Urvashi conquered by valour"). Kalidasa also wrote the epic poems "Raghuvamsha" ("Dynasty of Raghu"), "Ritusamhāra" and "Kumarasambhava" ("Birth of the war god"), as well as the lyric "Meghaduuta" ("The cloud messenger").
Its origin can be traced back to a tragic story centred on King Kumara Dharmasena or Kumaradhatusena son of King Kasyapa of Sigiriya (512-522 AD) and his closet friend, Kalidasa, a famous dramatist and poet. According to the tale the king whilst in the amorous company of a courtesan, spied a bee entangled in the petals of a lotus flower, inspired he wrote two poetic lines. He then offered a reward to anybody who could complete the other two stanzas to his poem. The cunning courtesan seized the opportunity took the verse to Kalidasa, who completed the poem. The courtesan then murdered Kalidasa in order to keep the reward for herself, concealing the body. The king however instantly recognised his friend's handwriting bringing the whole murderous ruse to light. When Kalidasa's dead body was taken to the funeral pyre for cremation, the grieving king unable to control his grief over the death of his beloved friend, threw himself into the burning flames and immolated himself. Upon witnessed this tragedy, five official queens also leapt into the flames to their deaths.
The Homeric Question – concerning by whom, when, where and under what circumstances the "Iliad" and "Odyssey" were composed – continues to be debated. Broadly speaking, modern scholarly opinion falls into two groups. One holds that most of the "Iliad" and (according to some) the "Odyssey" are the works of a single poet of genius. The other considers the Homeric poems to be the result of a process of working and reworking by many contributors, and that "Homer" is best seen as a label for an entire tradition. It is generally accepted that the poems were composed at some point around the late eighth or early seventh century BC.
Like most other Shakespearean Sonnets, 109 consists of three quatrains and a couplet at the end. The volta can be found at the first line of the couplet. Although Sonnet 109 does not make any specific mention of gender, Paul Edmondson, in his book "Shakespeare’s Sonnets", states that it may be safe to assume that Shakespeare is writing here to a young man. "The first 126 [sonnets] include none that are clearly addressed to, or concern, a woman, along with all the ones that are clearly addressed to, or primarily concern, a male". And so, if this poem is addressed to a male, who is he? According to Martin Green, the young man to whom Shakespeare dedicates many of his sonnets may be Henry Wriothesley, the third earl of Southampton. If that is the case, then Sonnet 109 does contain some imagery that might refer to Wriothesley.
Sonnet 128 is one of Shakespeare's most highly criticized sonnets, some even believing that because Sonnet 128 is so far from Shakespeare's usual sonnets that it may be unauthentic. According to Richard Purdum in his article, Shakespeare's Sonnet 128, Sonnet 128 is "Un-Shakespearean in sound and rhythm". Sonnet 128 strays from Shakespeare's usual diction, and thus creates its own category in Shakespearean sonnets. H. T. S. Frost said, "Six trifling pieces of little interest – literary or otherwise," referring to the other Dark Lady pieces and their often criticized language like Sonnet 128 and their ill placement with Shakespeare's other sonnets. J. M. Robertson also agrees with Frost's argument that Sonnet 128 and the other Dark Lady sonnets do not fit with Shakespeare's other sonnets. Purdum continues his argument stating that maybe because Shakespeare was writing about the Dark Lady, that his poor quality sonnet was caused by his growing infatuation with the Dark Lady. Purdum, and other critics such as, Barbara A. Mackenzie believe that Shakespeare's immense infatuation with the Dark Lady lead to Shakespeare failing to correct his mistakes within Sonnet 128.
Shakespeare's sonnet cycle has overarching themes of great love and the passage of time. In this sonnet, the speaker is now concentrating on his own death and how the youth is to mourn him after he is deceased. The speaker tells the youth not to mourn for him when he is dead, and that the youth should only think about him for as long as it takes to tell the world of his death. The speaker then tells his beloved youth that if even reading this sonnet will cause him to suffer, he should forget the hand that wrote the poem. Joseph Pequigney writes that the sonnet is a "persuasive appeal to be recalled, loved and lamented…a covert counterthesis". Stephen Booth calls this sonnet "a cosmic caricature of a revenging lover." While many critics agree with Peguiney and Booth, and have said that this sonnet is a veiled attempt on the part of the speaker to actually invoke the youth to mourn him, some critics believe differently. Helen Vendler writes that "There are also, I believe, sonnets of hapless love--intended as such by the author, expressed as such by the speaker."
The placement of the sonnet leads many to believe that Shakespeare had a direct relation with the "dark lady" (as referenced as the inspiration for sonnets 127-152). Many scholars believe that Shakespeare had an affair and that a mistress was his inspiration for writing as many poems as he did. Even though such a relation was frowned on at the time, it has not been ruled out as a possibility. However, because there are no historical records that such a woman existed, there is not a sufficient evidence to determine whether the woman spoken of in the sonnets was real or fictitious. The sexual pessimism depicted in the sonnets, although extreme, is not unusual to the Christian tradition, especially in ancient times. Beliefs and standards of virginity and sexual abstention can be dated back to Pythagoras, and the views continued to be a tradition through Plato and the Stoics. Sexual pessimism existed before Christianity became a widespread religion.