Shakespeare's first period of creativity

Based on a study of the works of William Shakespeare, it can be argued that during his life in London, he worked hard on his education. He undoubtedly achieved a thorough knowledge of French and Italian, and in translations was well acquainted with the best works of classical and New European literature, the strong influence of which had already affected the youthful works of Shakespeare. The poem "Venus and Adonis" (1593), written on a plot borrowed from Ovid, and the poem "Lucrezia", which processed the famous story from the first book by Titus Livia, although they show the young poet's independence in terms of understanding and developing psychological types, but in style, painted with rhetoric, fully belong to the then fashionable Italian school. It also includes those "sweet sonnets" - as their contemporaries called them (published for the first time in 1609), which are so interesting and mysterious in the autobiographical relationship, and in which Shakespeare then glorifies some friend, then depicts his feelings for some beautiful coquette, then indulges in sad reflections on the frailty of everything earthly.



In the dramatic works of the early period of development of his talent (1587-1594) Shakespeare also has not yet come out of his modern literary flow. Such plays as "Pericles", "Henry VI" and especially "Titus Andronicus" (however, their belonging to Shakespeare is disputed), with all the striking strokes that give a sense of the great master, strongly sinned by the shortcomings of the pompous and bloody tragedies of Kid and Marlo. And the youth comedy of William Shakespeare ("Two Veronese", "Comedy of Mistakes", "The Taming of the Shrew") can, as well as fashionable then on the English stage Plavtovsky and Italian comedy, to deserve reproach for the complexity of intrigue, appearance of comedy, naivety of action, although there are abundantly scattered excellent scenes, positions and vividly outlined characters. In the comedy "Fruitless efforts of love," which you can look at as a transition to a more mature period of creativity, Shakespeare has already ridiculed the fashionable, colorful style, which previously himself paid tribute.


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Shakespeare's second period of creativity (briefly)
In the next comparatively brief period (1595-1601) the genius of William Shakespeare develops more and more freely. In the tragedy of Romeo and Juliet (see "Romeo and Juliet"), William Shakespeare's genius developed more and more freely. (see full text and summary), he combined a rapturous hymn of love with a funeral song of a young sentiment to portray love in all its depths and tragedy as a mighty and fatal force, and in the almost simultaneous comedy Midsummer Night's Dream, this very love, inserted into the frame of a fragrant night, in the darkness of which the naughty elves romp and wilfully connect human hearts, interpreted as a radiant dream and dressed in a graceful haze of fantastic colors, in "The Merchant of Venice" Shakespeare goes on to analyze the difficult moral problems and shows himself a deep connoisseur of the human soul in all the complexity of its intersecting motives, drawing in Shylock and a cruel usurer, and gently loving son, and inexorable avenger for the humiliated people. In the comedy "Twelfth Night", he speaks out against his unsympathetic puritanical intolerance, in the play "All is well that ends well" strikes a blow to genealogical prejudices, and then runs a carefree laugh in the comedy "A lot of noise from nothing.





Belonging to this transitional period for Shakespeare historical dramas or dramatic chronicles from English history ("King John", "Richard II", "Richard III", "Henry IV" in 2 parts, "Henry V") represent an important step in the development of creativity of William Shakespeare. From fantastic plots with universal types, he turned now and reality, immersed in history with its persistent struggle of various interests. But as if tired of long contemplation of the gloomy and often outrageous paintings of English history, in which he met with the demonic image of Richard III, this personified evil, as if wishing to have fun and a little refreshment, Shakespeare wrote a nice, elegant pastoral "How do you like it" and a household comedy "Windsor Mockers" with satirical arrows in the outmoded and decaying chivalry.