document_title: Popeye

question_text: what were the names of popeye's nephews

question_tokens: what were the names of popeye 's nephews

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text: Popeye

text: Fictional character and story[edit]

text: Differences in Popeye's story and characterization vary depending on the medium. Originally, Popeye got his strength from rubbing the head of the Whiffle Hen, changing to spinach by 1932.[11] Swee'Pea is definitively Popeye's ward in the comic strips, but he is often depicted as belonging to Olive Oyl in cartoons. The cartoons also occasionally feature members of Popeye's family who have never appeared in the strip, notably his lookalike nephews Peepeye, Pupeye, Pipeye, and Poopeye.

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text: There is no absolute sense of continuity in the stories, although certain plot and presentation elements remain mostly constant, including purposeful contradictions in Popeye's capabilities. Popeye seems bereft of manners and uneducated, yet he is often depicted as capable of coming up with solutions to problems that seem insurmountable to the police or, most importantly, the scientific community. Popeye has, alternatively, displayed Sherlock Holmes-like investigative prowess (determining, for instance, that his beloved Olive was abducted by estimating the depth of the villains' footprints in the sand), scientific ingenuity (as his construction, within a few hours, of a "spinach-drive" spacecraft), or oversimplified (yet successful) diplomatic arguments (by presenting his own existence—and superhuman strength—as the only true guarantee of world peace at diplomatic conferences). Popeye's pipe also proves to be highly versatile. Among other things, it has served as a cutting torch, jet engine, propeller, periscope, musical instrument, and, of course, a whistle with which he produces his trademark toot. Popeye also on occasion eats spinach through his pipe, sometimes sucking in the can itself along with the contents. Since the 1970s, Popeye is seldom depicted using his pipe to smoke tobacco.[4]

text: Popeye's exploits are also enhanced by a few recurring plot elements. One is the love triangle among Popeye, Olive, and Bluto, and the latter's endless machinations to claim Olive at Popeye's expense. Another is his near-saintly perseverance in overcoming any obstacle to please Olive, who often renounces Popeye for Bluto's dime-store advances. She is the only character that Popeye will permit to give him a thumping. Finally, Popeye usually uncovers villainous plots by accidentally sneaking up on the antagonists as they brag about or lay out their schemes.[citation needed]

text: Thimble Theatre and Popeye comic strips[edit]

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text: Thimble Theatre was cartoonist E. C. Segar's third published strip when it first appeared in the New York Journal on December 19, 1919. The paper's owner William Randolph Hearst also owned King Features Syndicate, which syndicated the strip. Thimble Theatre was intended as a replacement for Midget Movies by Ed Wheelan (Wheelan having recently resigned from King Features).[12] It did not attract a large audience at first, and at the end of its first decade appeared in only half a dozen newspapers.

text: In its early years, the strip featured characters acting out various stories and scenarios in theatrical style (hence the strip's name). It could be classified as a gag-a-day comic in those days.[12]

text: Thimble Theatre's first main characters were the thin Olive Oyl and her boyfriend Harold Hamgravy. After the strip moved away from its initial focus, it settled into a comedy-adventure style featuring Olive, Ham Gravy, and Olive's enterprising brother Castor Oyl. Olive's parents Cole and Nana Oyl also made frequent appearances.

text: Popeye first appeared in the strip on January 17, 1929 as a minor character. He was initially hired by Castor Oyl and Ham to crew a ship for a voyage to Dice Island, the location of a casino owned by the crooked gambler Fadewell. Castor intended to break the bank at the casino using the unbeatable good luck conferred by stroking the hairs on the head of Bernice the Whiffle Hen. Weeks later, on the trip back, Popeye was shot many times by Jack Snork, a stooge of Fadewell's, but survived by rubbing Bernice's head. After the adventure, Popeye left the strip but, due to reader reaction, he was quickly brought back.[4] [12]

text: The Popeye character became so popular that he was given a larger role, and the strip was expanded into many more newspapers as a result. Initial strips presented Olive as being less than impressed with Popeye, but she eventually left Ham Gravy to become Popeye's girlfriend and Ham Gravy left the strip as a regular. Over the years, however, she has often displayed a fickle attitude towards the sailor. Castor Oyl continued to come up with get-rich-quick schemes and enlisted Popeye in his misadventures. Eventually, he settled down as a detective and later on bought a ranch out West. Castor has seldom appeared in recent years.

text: In 1933, Popeye received a foundling baby in the mail, whom he adopted and named "Swee'Pea." Other regular characters in the strip were J. Wellington Wimpy, a hamburger-loving moocher who would "gladly pay you Tuesday for a hamburger today" (he was also soft-spoken and cowardly; Vickers Wellington bombers were nicknamed "Wimpys" after the character); George W. Geezil, a local cobbler who spoke in a heavily affected accent and habitually attempted to murder or wish death upon Wimpy; and Eugene the Jeep, a yellow, vaguely dog-like animal from Africa with magical powers. In addition, the strip featured the Sea Hag, a terrible pirate, as well as the last witch on earth (her even more terrible sister excepted); Alice the Goon, a monstrous creature who entered the strip as the Sea Hag's henchwoman and continued as Swee'Pea's babysitter; and Toar, a caveman.

text: Segar's strip was quite different from the cartoons that followed. The stories were more complex, with many characters that never appeared in the cartoons (King Blozo, for example). Spinach usage was rare and Bluto made only one appearance. Segar would sign some of his early Popeye comic strips with a cigar, due to his last name being a homophone of "cigar" (pronounced SEE-gar). The success of the strip meant Segar was earning $100,000 a year at the time of his death.[5]

text: Thimble Theatre became one of King Features' most popular strips during the 1930s. A poll of adult comic strip readers in the April 1937 issue of Fortune magazine voted Popeye their second favourite comic strip (after Little Orphan Annie).[5] By 1938, Thimble Theatre was running in 500 newspapers, and over 600 licensed "Popeye" products were on sale.[5] Following an eventual name change to Popeye in the 1970s, the comic remains one of the longest running strips in syndication today. After Mussolini came to power in Italy, he banned all American comic strips, but Popeye was so popular the Italians made him bring it back. The strip carried on after Segar's death in 1938, at which point he was replaced by a series of artists. In the 1950s, a spinoff strip was established, called Popeye the Sailorman.

text: Artists after Segar[edit]

text: After Segar's death in 1938, many different artists were hired to draw the strip. Tom Sims, the son of a Coosa River channel-boat captain, continued writing Thimble Theatre strips and established the Popeye the Sailorman spin-off. Doc Winner and Bela Zaboly,[13] successively, handled the artwork during Sims's run. Eventually, Ralph Stein stepped in to write the strip until the series was taken over by Bud Sagendorf in 1959.

text: Sagendorf wrote and drew the daily strip until 1986, and continued to write and draw the Sunday strip until his death in 1994. Sagendorf, who had been Segar's assistant, made a definite effort to retain much of Segar's classic style, although his art is instantly discernible. Sagendorf continued to use many obscure characters from the Segar years, especially O.G. Wotasnozzle and King Blozo. Sagendorf's new characters, such as the Thung, also had a very Segar-like quality. What set Sagendorf apart from Segar more than anything else was his sense of pacing. Where plotlines moved very quickly with Segar, it would sometimes take an entire week of Sagendorf's daily strips for the plot to be advanced even a small amount.

text: From 1986 to 1992, the daily strip was written and drawn by Bobby London, who, after some controversy, was fired from the strip for a story that could be taken to satirize abortion.[14] London's strips put Popeye and his friends in updated situations, but kept the spirit of Segar's original. One classic storyline, titled "The Return of Bluto", showed the sailor battling every version of the bearded bully from the comic strip, comic books, and animated films. The Sunday edition of the comic strip is currently drawn by Hy Eisman, who took over in 1994. The daily strip began featuring reruns of Sagendorf's strips after London was fired and continues to do so today.

text: On January 1, 2009, 70 years since the death of his creator, Segar's character of Popeye (though not the various films, TV shows, theme music and other media based on him) became public domain[15] in most countries, but remains under copyright in the United States. Because Segar was an employee of King Features Syndicate when he created the Popeye character for the company's Thimble Theatre strip, Popeye is treated as a work for hire under U.S. copyright law. Works for hire are protected for 95 years from publication or 120 years from creation, whichever is shorter. Since Popeye made his first appearance in January 1929, and all U.S. copyrights expire on December 31 of the year that the term ends, Popeye will enter the public domain in the U.S. on January 1, 2025, assuming no amendments to U.S. copyright law before that date.[16]

text: Reprints[edit]

text:
Popeye the Sailor, Nostalgia Press, 1971, reprints three daily stories from 1936.
Thimble Theatre, Hyperion Press, 1977, ISBN 0-88355-663-4, reprints daily from September 10, 1928 missing 11 dailies which are included in the Fantagraphics reprints.
Popeye, the First Fifty Years by Bud Sagendorf, Workman Publishing, 1979 ISBN 0-89480-066-3, the only Popeye reprint in full color.
The Complete E. C. Segar Popeye, Fantagraphics, 1980s, reprints all Segar Sundays featuring Popeye in 4 volumes, all Segar dailies featuring Popeye in 7 volumes, missing 4 dailies which are included in the Hyperion reprint, November 20–22, 1928, August 22, 1929.
Popeye. The 60th Anniversary Collection, Hawk Books Limited, 1989, ISBN 0-948248-86-6 featuring reprints a selection of strips and stories from the first newspaper strip in 1929 onwards, along with articles on Popeye in comics, books, collectables, etc.
E. C. Segar's Popeye, between 2006 and 2011, Fantagraphics Books published six oversized hardcover volumes, reprinting all dailies and Sundays (in color, along with Sappo) featuring Popeye, plus various extras.

Vol. 1: I Yam What I Yam – covers 1928–30 (November 22, 2006, ISBN 978-1-56097-779-7)
Vol. 2: Well Blow Me Down! – covers 1930–32 (December 19, 2007, ISBN 978-1-56097-874-9)
Vol. 3: Let's You and Him Fight! – covers 1932–33 (November 15, 2008, ISBN 978-1-56097-962-3)
Vol. 4: Plunder Island – covers 1933–35 (December 22, 2009, ISBN 978-1-60699-169-5)
Vol. 5: Wha's a Jeep – covers 1935–37 (March 21, 2011, ISBN 978-1-60699-404-7)
Vol. 6: Me Li'l Swee'Pea – covers 1937–38 (November 15, 2011, ISBN 978-1-60699-483-2)

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text: Comic books[edit]

text: There have been a number of Popeye comic books, from Dell, King Comics, Gold Key Comics, Charlton Comics and others, originally written and illustrated by Bud Sagendorf. In the Dell comics, Popeye became something of a crimefighter, thwarting evil organizations and Bluto's criminal activities. The new villains included the numerous Misermite dwarfs, who were all identical.

text: Popeye appeared in the British "TV Comic" series, a News of the World publication, becoming the cover story in 1960 with stories written and drawn by "Chick" Henderson. Bluto was referred to as Brutus and was Popeye's only nemesis throughout the entire run.

text: A variety of artists have created Popeye comic book stories since then; for example, George Wildman drew Popeye stories for Charlton Comics from 1969 until the late 1970s. The Gold Key series was illustrated by Wildman and scripted by Bill Pearson, with some issues written by Nick Cuti.

text: In 1988, Ocean Comics released the Popeye Special written by Ron Fortier with art by Ben Dunn. The story presented Popeye's origin story, including his given name of "Ugly Kidd"[17] and attempted to tell more of a lighthearted adventure story as opposed to using typical comic strip style humor. The story also featured a more realistic art style and was edited by Bill Pearson, who also lettered and inked the story as well as the front cover.[18] A second issue, by the same creative team, followed in 1988. The second issue introduced the idea that Bluto and Brutus were actually twin brothers and not the same person,[19] an idea also used in the comic strip on December 28, 2008 and April 5, 2009.[20][21] In 1999, to celebrate Popeye's 70th anniversary, Ocean Comics revisited the franchise with a one-shot comic book, entitled The Wedding of Popeye and Olive Oyl, written by Peter David. The comic book brought together a large portion of the casts of both the comic strip and the animated shorts, and Popeye and Olive Oyl were finally wed after decades of courtship. However, this marriage has not been reflected in all media since the comic was published.

text: In 1989, a special series of short Popeye comic books were included in specially marked boxes of Instant Quaker Oatmeal, and Popeye also appeared in three TV commercials for Quaker Oatmeal,[22] which featured a parrot delivering the tag line "Popeye wants a Quaker!" The plots were similar to those of the films: Popeye loses either Olive Oyl or Swee'Pea to a muscle-bound antagonist, eats something invigorating, and proceeds to save the day. In this case, however, the invigorating elixir was not his usual spinach, but rather one of four flavors of Quaker Oatmeal.[22] (A different flavor was showcased with each mini-comic.) The comics ended with the sailor saying, "I'm Popeye the Quaker Man!", which offended members of the Religious Society of Friends or Quakers.[23] Members of this religious group (which has no connection to the cereal company) are pacifists and do not believe in using violence to resolve conflicts. For Popeye to call himself a "Quaker man" after beating up someone was offensive to the Quakers and considered a misrepresentation of their faith and religious beliefs.[23] In addition, the submissiveness of Olive Oyl went against the Quakers' emphasis on women's rights. The Quaker Oatmeal company apologized and removed the "Popeye the Quaker man" reference from commercials and future comic book printings.[23]

text: In 2012, writer Roger Langridge teamed with cartoonists Bruce Ozella, Ken Wheaton, and Tom Neely (among others) to revive the spirit of Segar in IDW's 12-issue comic book miniseries, Popeye, Critic PS Hayes reviewed:

text: In late 2012, IDW began reprinting the original 1940s–1950s Sagendorf Popeye comic books under the title of Classic Popeye.

text: Theatrical animated cartoons[edit]

text: In November 1932, King Features signed an agreement with Fleischer Studios to have Popeye and the other Thimble Theatre characters begin appearing in a series of animated cartoons. The first cartoon in the series was released in 1933, and Popeye cartoons, released by Paramount Pictures, would remain a staple of Paramount's release schedule for nearly 25 years. William Costello was the original voice of Popeye, a voice that would be replicated by later performers, such as Jack Mercer and even Mae Questel. Many of the Thimble Theatre characters, including Wimpy, Poopdeck Pappy, and Eugene the Jeep, eventually made appearances in the Paramount cartoons, though appearances by Olive Oyl's extended family and Ham Gravy were notably absent. Thanks to the animated-short series, Popeye became even more of a sensation than he had been in comic strips, and by 1938, polls showed that the sailor was Hollywood's most popular cartoon character.[25][26]

text: In every Popeye cartoon, the sailor is invariably put into what seems like a hopeless situation, upon which (usually after a beating), a can of spinach which he apparently regularly carries with him falls out from inside his shirt. Popeye immediately pops the can open and gulps the entire contents of it into his mouth, or sometimes sucks in the spinach through his corncob pipe. Upon swallowing the spinach, Popeye's physical strength immediately becomes superhuman, and he is easily able to save the day (and very often rescue Olive Oyl from a dire situation). It did not stop there, as spinach could also give Popeye the skills and powers he needed, as in The Man on the Flying Trapeze, where it gave him acrobatic skills. (When the antagonist is the Sea Hag, it is Olive who eats the spinach; Popeye can't hit a lady.)

text: In May 1942, Paramount Pictures assumed ownership of Fleischer Studios, fired the Fleischers and began reorganizing the studio, which they renamed Famous Studios. The early Famous-era shorts were often World War II-themed, featuring Popeye fighting Nazis and Japanese soldiers, most notably the 1942 short You're a Sap, Mr. Jap. In late 1943, the Popeye series was moved to Technicolor production, beginning with Her Honor the Mare. Famous/Paramount continued producing the Popeye series until 1957, with Spooky Swabs being the last of the 125 Famous shorts in the series. Paramount then sold the Popeye film catalog to Associated Artists Productions, which was bought out by United Artists in 1958 and merged with Metro-Goldwyn-Mayer 23 years later, which was itself purchased by Turner Entertainment in 1986. Then Turner sold off the production end of MGM/UA shortly after, but retained the film catalog, giving it the rights to the theatrical Popeye library. The black-and-white Popeye shorts were shipped to South Korea in 1985, where artists retraced them into color. The retraced shorts were syndicated in 1987 on a barter basis, and remained available until the early 1990s. Turner merged with Time Warner in 1996, and Warner Bros. (through its Turner subsidiary) therefore currently controls the rights to the Popeye shorts.

text: In 2001, the Cartoon Network, under the supervision of animation historian Jerry Beck, created a new incarnation of The Popeye Show. The show aired the Fleischer and Famous Studios Popeye shorts in versions approximating their original theatrical releases by editing copies of the original opening and closing credits (taken or recreated from various sources) onto the beginnings and ends of each cartoon, or in some cases, in their complete, uncut original theatrical versions direct from such prints that originally contained the front-and-end Paramount credits. The series aired 135 Popeye shorts over forty-five episodes, until March 2004. The Popeye Show continued to air on Cartoon Network's spin-off network Boomerang.

text: While many of the Paramount Popeye cartoons remained unavailable on video, a handful of those cartoons had fallen into public domain and were found on numerous low budget VHS tapes and later DVDs. When Turner Entertainment acquired the cartoons in 1986, a long and laborious legal struggle with King Features kept the majority of the original Popeye shorts from official video releases for more than 20 years. King Features instead opted to release a DVD boxed set of the 1960s made-for-television Popeye the Sailor cartoons, to which it retained the rights, in 2004. In the meantime, home video rights to the Associated Artists Productions library were transferred from CBS/Fox Video to MGM/UA Home Video in 1986, and eventually to Warner Home Video in 1999. In 2006, Warner Home Video announced it would release all of the Popeye cartoons produced for theatrical release between 1933 and 1957 on DVD, restored and uncut. Three volumes were released between 2007 and 2008, covering all of the Fleischer era and the beginnings of the Famous era.

text: Original television cartoons[edit]

text: In 1960, King Features Syndicate commissioned a new series of cartoons entitled Popeye the Sailor, but this time for television syndication. Al Brodax served as executive producer of the cartoons for King Features. Jack Mercer, Mae Questel, and Jackson Beck returned for this series, which was produced by a number of companies, including Jack Kinney Productions, Rembrandt Films (William L. Snyder and Gene Deitch), Larry Harmon Productions, Halas and Batchelor, Paramount Cartoon Studios (formerly Famous Studios), and Southern Star Entertainment (formerly Southern Star Productions). The artwork was streamlined and simplified for the television budgets, and 220 cartoons were produced in only two years, with the first set of them premiering in the autumn of 1960, and the last of them debuting during the 1961–1962 television season. Since King Features had exclusive rights to these Popeye cartoons, 85 of them were released on DVD as a 75th anniversary Popeye boxed set in 2004.

text: For these cartoons, Bluto's name was changed to "Brutus", as King Features believed at the time that Paramount owned the rights to the name "Bluto". Many of the cartoons made by Paramount used plots and storylines taken directly from the comic strip sequences – as well as characters like King Blozo and the Sea Hag.[27] The 1960s cartoons have been issued on both VHS and DVD.

text: On September 9, 1978, The All New Popeye Hour debuted on the CBS Saturday morning lineup. It was an hour-long animated series produced by Hanna-Barbera Productions, which tried its best to retain the style of the original comic strip (Popeye returned to his original costume and Brutus to his original name of Bluto), while complying with the prevailing content restrictions on violence. In addition to providing many of the cartoon scripts, Mercer continued to voice Popeye, while Marilyn Schreffler and Allan Melvin became the new voices of Olive Oyl and Bluto, respectively. (Mae Questel actually auditioned for Hanna-Barbera to recreate Olive Oyl, but was rejected in favor of Schreffler.) The All New Popeye Hour ran on CBS until September 1981, when it was cut to a half-hour and retitled The Popeye and Olive Show. It was removed from the CBS lineup in September 1983, the year before Jack Mercer's death. These cartoons have also been released on VHS and DVD. During the time these cartoons were in production, CBS aired The Popeye Valentine's Day Special – Sweethearts at Sea on February 14, 1979. In the UK, the BBC aired a half-hour version of The All New Popeye Show, from the early-1980s to 2004.

text: Popeye briefly returned to CBS in 1987 for Popeye and Son, another Hanna-Barbera series, which featured Popeye and Olive as a married couple with a son named Popeye Jr., who hates the taste of spinach but eats it to boost his strength. Maurice LaMarche performed Popeye's voice; Mercer had died in 1984. The show lasted for one season.

text: In 2004, Lions Gate Entertainment produced a computer-animated television special, Popeye's Voyage: The Quest for Pappy, which was made to coincide with the 75th anniversary of Popeye. Billy West performed the voice of Popeye, describing the production as "the hardest job I ever did, ever" and the voice of Popeye as "like a buzzsaw on your throat".[28] The uncut version was released on DVD on November 9, 2004; and was aired in a re-edited version on Fox on December 17, 2004 and again on December 30, 2005. Its style was influenced by the 1930s Fleischer cartoons, and featured Swee'Pea, Wimpy, Bluto (who is Popeye's friend in this version), Olive Oyl, Poopdeck Pappy and the Sea Hag as its characters. On November 6, 2007, Lions Gate Entertainment re-released Popeye's Voyage on DVD with redesigned cover art.

text: Popeye has made brief parody appearances in modern animated productions, including:

text:
A typical Popeye style rescue was spoofed in The Simpsons episode "Jaws Wired Shut".
In The Critic, Jay Sherman's father Franklin flashes back to saving his wife Popeye style with alcohol instead of spinach.
Popeye appeared in the Drawn Together episode "The Lemon-AIDS Walk", voiced by Billy West.
In the Family Guy episode "You May Now Kiss the...Uh...Guy Who Receives", Popeye's unique behavior and speech patterns are explained as being the result of a stroke, and his massive forearm muscles are actually cancerous tumors.
Popeye co-stars in a short from Seth MacFarlane's Cavalcade of Cartoon Comedy giving Bob Dylan a hard time about him not singing his hit song, "Blowin' in the Wind".
Popeye appeared in the Robot Chicken episodes "The Sack", "Squaw Bury Shortcake" and "Yancy the Yo-Yo Boy", voiced by Dave Coulier (which he was known to perform often during his co-starring role on the ABC sitcom Full House).
Popeye appeared in the South Park "Imaginationland" three-parter as one of the members of the Council of Nine. Popeye's appearance in one scene evoked that of the character Karl in the movie Sling Blade, as Popeye sharpened a blade, much as Karl sharpened a lawnmower blade near the end of Sling Blade.

text: Theme song[edit]

text: Popeye’s theme song, titled "I'm Popeye The Sailor Man", composed by Sammy Lerner in 1933 for Fleischer’s first Popeye the Sailor cartoon,[29] has become forever associated with the sailor. "The Sailor's Hornpipe" has often been used as an introduction to Popeye's theme song.

text: A cover of the theme song, performed by Face to Face, is included on the 1995 tribute album Saturday Morning: Cartoons' Greatest Hits, produced by Ralph Sall for MCA Records. A jazz version, performed by Ted Kooshian's Standard Orbit Quartet, appears on their 2009 Summit Records release Underdog and Other Stories.

text: Playground song parodies of the theme have become part of children's street culture around the world,[30][31] usually interpolating "frying pan" or "garbage can" into the lyrics as Popeye's dwelling place[32][33] and ascribing to the character various unsavory actions or habits[34][35][36][37] that transform the character into an "Anti-Popeye", and changing his exemplary spinach-based diet into an inedible morass of worms, onions, flies, tortillas and snot.[38]

text: Other media[edit]

text: The success of Popeye as a comic-strip and animated character has led to appearances in many other forms. For more than 20 years, Stephen DeStefano has been the artist drawing Popeye for King Features licensing.[39]

text: Radio[edit]

text: Popeye was adapted to radio in several series broadcast over three different networks by two sponsors from 1935 to 1938. Popeye and most of the major supporting characters were first featured in a thrice-weekly 15-minute radio program, Popeye the Sailor, which starred Detmar Poppen as Popeye along with most of the major supporting characters—Olive Oyl (Olive Lamoy), Wimpy (Charles Lawrence), Bluto (Jackson Beck) and Swee'Pea (Mae Questel). In the first episode, Popeye adopted Sonny (Jimmy Donnelly), a character later known as Matey the Newsboy. This program was broadcast Tuesday, Thursday and Saturday nights at 7:15pm. September 10, 1935 through March 28, 1936 on the NBC Red Network (87 episodes), initially sponsored by Wheatena, a whole-wheat breakfast cereal, which would routinely replace the spinach references. Music was provided by Victor Irwin's Cartoonland Band. Announcer Kelvin Keech sang (to composer Lerner's "Popeye" theme) "Wheatena is his diet / He asks you to try it / With Popeye the sailor man." Wheatena paid King Features Syndicate $1,200 per week.

text: The show was next broadcast Mondays, Wednesdays and Fridays from 7:15 to 7:30pm on WABC and ran from August 31, 1936 to February 26, 1937 (78 episodes). Floyd Buckley played Popeye, and Miriam Wolfe portrayed both Olive Oyl and the Sea Hag. Once again, reference to spinach was conspicuously absent. Instead, Popeye sang, "Wheatena's me diet / I ax ya to try it / I'm Popeye the Sailor Man".[40]

text: The third series was sponsored by the maker of Popsicle three nights a week for 15 minutes at 6:15 pm on CBS from May 2, 1938 through July 29, 1938.

text: Of the three series, only 20 of the 204 episodes are known to be preserved.

text: Popeye was recently featured on the Brad and John: Mornings on KISM "When Animals Attack" segment.

text: Films[edit]

text: Popeye (1980)[edit]

text: Director Robert Altman used the character in Popeye, a 1980 live-action musical feature film, starring Robin Williams as Popeye (his first movie role), Shelley Duvall as Olive Oyl, and Paul L. Smith as Bluto, with songs by Harry Nilsson and Van Dyke Parks. The script was by Jules Feiffer, who adapted the 1971 Nostalgia Press book of 1936 strips for his screenplay, thus retaining many of the characters created by Segar. A co-production of Paramount Pictures and Walt Disney Productions, the movie was filmed almost entirely on Malta, in the village of Mellieħa on the northwest coast of the island. The set is now a tourist attraction called Popeye Village. The US box office earnings were double the film's budget, making it a success.

text: Upcoming film[edit]

text: In March 2010, it was reported that Sony Pictures Animation is developing a 3-D computer-animated Popeye film, with Avi Arad producing it.[41] In November 2011, Sony Pictures Animation announced that Jay Scherick and David Ronn, the writers of The Smurfs, are writing the screenplay for the film.[42] In June 2012, it was reported that Genndy Tartakovsky had been set to direct the feature,[43] which he planned to make "as artful and unrealistic as possible."[44] In November 2012, Sony Pictures Animation set the release date for September 26, 2014,[45] which was, in May 2013, pushed back to 2015.[46] In March 2014, Sony Pictures Animation updated its slate, scheduling the film for 2016, and announcing Tartakovsky as the director of Hotel Transylvania 2, which he was directing concurrently with Popeye.[47] On September 18, 2014, Tartakovsky revealed an "animation test" footage, about which he said, "It's just something that kind of represents what we want to do. I couldn't be more excited by how it turned out."[48] In March 2015, Tartakovsky announced that despite the well-received test footage, he was no longer working on the project, and would instead direct Can You Imagine?, which is based on his own original idea.[49] Nevertheless, Sony Pictures Animation stated the project still remains in active development.[50] In January 2016, it was announced that T.J. Fixman would write the film.[51]

text: Video and pinball games[edit]

text:
Nintendo created a widescreen Game & Watch called Popeye in 1981. The handheld game featured Popeye on a boat, and the aim was to catch bottles, pineapples, and spinach cans thrown by Olive Oyl while trying to avoid Bluto's boat. If Bluto hit Popeye on the head with his mallet or Popeye failed to catch an object three times, the game would end.
The Nintendo arcade game Donkey Kong was originally conceived as a Popeye video game by Shigeru Miyamoto. But due to licensing disagreements with King Features, this idea was scrapped.[52]
When Donkey Kong went on to enormous success, King Features agreed to license the characters to Nintendo to create a Popeye arcade game in 1982. It was later ported to the Commodore 64 home computer as well as various home game consoles: Intellivision, Atari 2600, ColecoVision, Famicom/NES, and Odyssey2. The goal was to avoid Bluto (referred to as "Brutus") and the Sea Hag while collecting items produced by Olive Oyl such as hearts, musical notes, or the letters in the word "help" (depending on the level). Hitting a can of spinach gave Popeye a brief chance to strike back at Brutus. Other characters such as Wimpy and Swee' Pea appeared in the game but did not greatly affect gameplay. A board game based on the video game was released by Parker Brothers.
A table top Game & Watch style game was also released by Nintendo in 1983, which featured Popeye trying to rescue Olive while engaging in fisticuffs with Bluto.
Nintendo created another Popeye game for the Famicom, Popeye no Eigo Asobi, in 1983. This was an educational game designed to teach Japanese children English words.
Two Popeye games published by Sigma Enterprises were spawned for the Game Boy. The first Game Boy Popeye game, which was released exclusively in Japan in 1990, and Popeye 2 in 1991. Popeye 2 was also released in North America (1993) and Europe (1994) by Activision.
In 1994, Technos Japan released Popeye: Beach Volleyball for the Game Gear, and Popeye: Volume of the Malicious Witch Seahag (Popeye: Ijiwaru Majo Shihaggu no Maki) for the Japanese Super Famicom. A side scrolling adventure game that was mixed with a board game, the game never saw US release, but a ROM of the game can be found at various emulation sites. It featured many characters from the Thimble Theatre series as well. In the game, Popeye had to recover magical hearts scattered across the level to restore his frozen friends as part of a spell cast upon them by the Sea Hag in order to get revenge on Popeye.
Midway (under the Bally label) released Popeye Saves the Earth, a SuperPin pinball game, in 1994.
In 2003, Nova Productions released a strength tester called Popeye Strength Tester.
In 2005, Namco released a Game Boy Advance video game called Popeye: Rush for Spinach.
Released June 2007, the video game The Darkness featured televisions that played full-length films and television shows that had expired copyrights. Most of the cartoons viewable on the "Toon TV" channel are Famous Studios Popeye shorts.
In fall 2007, Namco Networks released the original Nintendo Popeye arcade game for mobile phones with new features including enhanced graphics and new levels.

text: Marketing, tie-ins, and endorsements[edit]

text: From early on, Popeye was heavily merchandised. Everything from soap to razor blades to spinach was available with Popeye's likeness on it. Most of these items are rare and sought-after by collectors, but some merchandise is still being produced.

text:
Mezco Toyz makes classic-style Popeye figures in two sizes.
KellyToys produces plush stuffed Popeye characters.

text:
Popeyes Louisiana Kitchen (aka Popeyes Chicken & Biscuits), a fast food restaurant chain, is not named after Popeye the Sailor but after the character "Popeye" Doyle from the 1971 film The French Connection, who was in turn named after real police detective Eddie Egan, who was called "Pop Eye" because of his keen observational skills. The restaurant chain would later obtain a license for use of the cartoon character and advertise the name as Popeye's after Popeye the Sailor, causing some confusion as to the source of the name. Popeyes Louisiana Kitchen locations in Puerto Rico make extensive use of Popeye the Sailor and associated characters.[53]
Wimpy's name was borrowed for the Wimpy restaurant chain, one of the first international fast food restaurants featuring hamburgers, which they call "Wimpy Burgers".[54]

text:
Allen Canning Company produces its own line of spinach, called "Popeye Spinach", in various canned varieties. The cartoon Popeye serves as the mascot on the can.[55]
In 1961, Buitoni Pasta marketed Popeye-shaped spinach macaroni.
Popeye appeared in a 1979 Dr Pepper commercial during the "Be a Pepper" campaign (possibly as a tie-in for the movie, going so far as to modify his traditional catchphrase to "I'm Popeye the Pepper-man").
Since 1989, "Popeye's Supplements" has been a chain of Canadian Sports Nutrition Stores.[56]
In 1989, Popeye endorsed Instant Quaker Oatmeal, citing it as a better food than spinach to provide strength.[22] The commercials had the tagline "Can the spinach, I wants me Quaker Oatmeal!" The Religious Society of Friends (also known as the Quakers) was offended by the promotion given the physical aggression from "Popeye the Quaker man" and also the excessive submissiveness of Olive Oyl.[23]
In 2001, Popeye (along with Bluto, Olive, and twin Wimpys) appeared in a television commercial for Minute Maid Orange juice. The commercial, produced by Leo Burnett Co, showed Popeye and Bluto as friends (and neglecting Olive Oyl) due to their having had Minute Maid Orange Juice that morning. The ad agency's intention was to show that even the notable enemies would be in a good mood after their juice, but some, including Robert Knight of the Culture and Family Institute, felt the commercial's intent was to portray the pair in a homosexual romantic relationship—while there is nothing wrong with that, it is a suggestion that Minute Maid denies. Knight was interviewed by Stephen Colbert on Comedy Central's The Daily Show about this issue.
World Candies Inc. produced Popeye-branded "candy cigarettes", which were small sugar sticks with red dye at the end to simulate a flame. They were sold in a small box, similar to a cigarette pack. The company still produces the item, but has since changed the name to "Popeye Candy Sticks" and has ceased putting the red dye at the end.
In 2013, McLean Design produced a packaging design using licensed characters and artwork for a Popeye branded energy drink. The drink is launching in the US with two flavors.[57]

text: Starting in 1940, Popeye became the mascot of Flamengo (Rio de Janeiro – Brazil), the most popular soccer team with almost 50 million fans around the world. The mascot of the soccer club is currently a cartoon vulture.[58]

text:
In 1979, salsa singer Adalberto Santiago releases Adalberto Santiago Featuring Popeye El Marino. Fania Records JM 536.
During the 1960s, Popeye appeared in advertising for Crown gasoline.
In 1987, Stabur Graphics commissioned artist Will Elder to paint "Popeye's Wedding" as oil on masonite. Released was a stamped, numbered and signed Limited Edition lithograph, edition size of 395. The lithograph shows Popeye and Olive Oyl in front of the preacher (Popeye slipping a lifesaver-ring onto Olive's finger) along with Nana Oyl, Alice the Goon, Swee'Pea (cradled in Popeye's free arm), Wimpy, Granny, Eugene the Jeep and Brutus (holding a large cauldron of steaming, cooked rice). Twenty-one other characters watch from the pews. The litho is titled "Wit Dis Lifesaver, I Dee Wed!" and is pictured on page 83 of the book "Chicken Fat" by Will Elder (Fantagraphics, 2006).
In 1990, Popeye appeared in an advertisement warning of the harmful effects of coastal pollution. Bluto is laughing as he carelessly dumps garbage over the side of his boat, to which Olive reacts in horror as seagulls and other sea creatures are caught in six pack ring holders. Popeye punches out Bluto and cleans up his garbage; however, when some more plastic garbage sails by Popeye's boat, he says unsurprisingly, "I can't do it all meself, you know!"
In 1995, the Popeye comic strip was one of 20 included in the Comic Strip Classics series of commemorative U.S. postage stamps.
From 1996 to 1999, the Darien Lake theme park in Western New York operated a "Popeye's Seaport" in the park. It was rebranded as "Looney Tunes Seaport" after Darien Lake came under the Six Flags banner.
In the 1997 film Alien: Resurrection, John Vriess (Dominique Pinion) whistles the Popeye theme song.
In 2006, King Features Syndicate produced a radio spot and an industrial for the United States Power Squadrons featuring Robyn Gryphe as Olive and Allen Enlow as Popeye.
In October 2007, to coincide with the launch of the Popeye mobile game, Namco Networks and Sprint launched a Popeye the Sailorman sweepstakes offering the authorized edition four-disc Popeye the Sailor: 1933–1938 Vol. 1 DVD set as grand prize.[59]
In Islands of Adventure, there is a river rafting water ride, Popeye and Bluto's Bilge-Rat Barges, themed after Popeye the Sailor saving Olive Oyl from Bluto.

text: Cultural origins and impact[edit]

text: Local folklore in Chester, Illinois, Segar's hometown, claims that Popeye is based on Frank "Rocky" Fiegel, a man who was handy with his fists.[60] Fiegel was born on January 27, 1868. He lived as a bachelor his entire life. According to local Popeye historian Michael Brooks, Segar regularly sent money to Fiegel.[61]

text: Culturally,[62] many consider Popeye a precursor to the superheroes who would eventually come to dominate US comic books.[63]

text: Such has been Popeye's cultural impact that the medical profession sometimes refers to the biceps bulge symptomatic of a tendon rupture as the "Popeye muscle."[64][65] Note, however, that under normal (non-spinach-influenced) conditions, Popeye has pronounced muscles of the forearm, not of the biceps.

text: In 1973, Cary Bates created Captain Strong, a takeoff of Popeye, for DC Comics,[66] as a way of having two cultural icons – Superman and (a proxy of) Popeye – meet.[67]

text: The 1988 Disney/Touchstone film Who Framed Roger Rabbit featured many classic cartoon characters, and the absence of Popeye was noted by some critics. Popeye (along with Bluto and Olive Oyl) actually had a role planned for the film. However, since the Popeye cartoons were based on a comic strip, Disney found they had to pay licensing fees to both King Features Syndicate and MGM/UA. MGM/UA's pre-May 1986 library (which included Popeye) was being purchased by Turner Entertainment at the time, which created legal complications; thus, the rights could not be obtained and Popeye's cameo was dropped from the film.[68]

text: The Popeye Dance[edit]

text: The Popeye was a popular dance in the dance craze era of the late 1950s and early 1960s. Originating in New Orleans around 1962, the Popeye was performed by shuffling and moving one's arms, placing one arm behind and one arm in front and alternating them, going through the motion of raising a pipe up to the mouth, and alternate sliding or pushing one foot back in the manner of ice skating, similar to motions exhibited by the cartoon character. According to music historian Robert Pruter, the Popeye was even more popular than The Twist in New Orleans.[69] The dance was associated with and/or referenced to in several songs, including Eddie Bo's "Check Mr. Popeye," Chris Kenner's "Something You Got" and "Land of a Thousand Dances," Frankie Ford's "You Talk Too Much," Ernie K-Doe's "Popeye Joe," Huey "Piano" Smith's "Popeye," and Harvey Fuqua's "Any Way You Wanta." A compilation of 23 Popeye dance songs was released in 1996 under the title "New Orleans Popeye Party." [70]

text: Spinach[edit]

text: Initially Popeye's chief superhuman characteristic was his indestructibility, rather than super strength, which was attributed to his having rubbed the head of Bernice the Whiffle Hen numerous times after being shot. Popeye later attributed his strength to spinach.[71][72] The popularity of Popeye helped boost spinach sales. Using Popeye as a role model for healthier eating may work; a 2010 study revealed that children increased their vegetable consumption after watching Popeye cartoons.[73] The spinach-growing community of Crystal City, Texas, erected a statue of the character in recognition of Popeye's positive effects on the spinach industry. There is another Popeye statue in Segar's hometown, Chester, Illinois, and statues in Springdale and Alma, Arkansas (which claims to be "The Spinach Capital of the World"), at canning plants of Allen Canning, which markets Popeye-branded canned spinach. In addition to Allen Canning's Popeye spinach, Popeye Fresh Foods markets bagged, fresh spinach with Popeye characters on the package. In 2006, when spinach contaminated with E. coli was accidentally sold to the public, many editorial cartoonists lampooned the affair by featuring Popeye in their cartoons.[74]

text: A frequently circulated story claims that Fleischer's choice of spinach to give Popeye strength was based on faulty calculations of its iron content. In the story, a scientist misplaced a decimal point in an 1870 measurement of spinach's iron content, leading to an iron value ten times higher than it should have been. This faulty measurement was not noticed until the 1930s.[75][76][77] While this story has gone through longstanding circulation, recent study has shown that this is a myth,[78][79] and it was chosen for its vitamin A content alone;[80] see Spinach: Popeye and iron.

text: Word coinages[edit]

text: The strip is also responsible for popularizing, although not inventing, the word "goon" (meaning a thug or lackey); goons in Popeye's world were large humanoids with indistinctly drawn faces that were particularly known for being used as muscle and slave labor by Popeye's nemesis, the Sea Hag. One particular goon, the aforementioned female named Alice, was an occasional recurring character in the animated shorts, but she was usually a fairly nice character.

text: Eugene the Jeep was introduced in the comic strip on March 13, 1936. Two years later the term "jeep wagons" was in use, later shortened to simply "jeep" with widespread World War II usage and then trademarked by Willys-Overland as "Jeep".[81]

text: Events and honors[edit]

text: The Popeye Picnic is held every year in Chester, Illinois on the weekend after Labor Day. Popeye fans attend from across the globe, including a visit by a film crew from South Korea in 2004. The one-eyed sailor's hometown strives to entertain devotees of all ages.[82]

text: In honor of Popeye’s 75th anniversary, the Empire State Building illuminated its notable tower lights green the weekend of January 16–18, 2004 as a tribute to the icon’s love of spinach. This special lighting marked the only time the Empire State Building ever celebrated the anniversary/birthday of a comic strip character.[83]

text: Thimble Theatre/Popeye characters[edit]

text: Characters originating in the comic strips[edit]

text:
Popeye the Sailor Man
Olive Oyl
Ham Gravy (full name Harold Hamgravy, Olive Oyl's original boyfriend)
Castor Oyl (Olive Oyl's brother)
Cole Oyl (Olive Oyl's father)
Nana Oyl (Olive Oyl's mother)
Bernice (The "Whiffle Bird" in 1960s King Features TV shorts)
Sutra oyl (olive's cousin)
Motor oyl(sutra oyl's punk husband)
The Sea Hag
Salty the parott
Ghost island's ghost
the doomsday doll
The Sea Hag's vultures, specifically Bernard
J. Wellington Wimpy
George W. Geezil (the local cobbler who hates Wimpy)
Rough House (a cook who runs a local restaurant, The Rough House)
Swee'Pea (Popeye's adopted baby son in the comics, Olive's cousin in the cartoons)
King Blozo
Misermites (A race of thieving dwarves)
Toar (a 900-pound caveman living in the modern age)
Bluto/Brutus
Goons, specifically Alice the Goon
Poopdeck Pappy (Popeye's 99-year-old long-lost father; also a sailor)
Eugene the Jeep
Saddarn Shahame (dictator of Bananastan)
Barnacle (salty) Bill (a fellow sailor and old friend)
Oscar
Pooky Jones (dwarf and poopdeck pappy's best friend/partner in crime)
Horace (Native American guide and friend of popeye)
Bolo (Humanoid slave of the sea hag)
general Bunzo
Patcheye the pirate (Popeye's ancestor)
Oscar wimpy (A.K.A. the nicest man on earth)
sir Pomeroy (eplorator and later archeologist friend of Popeye)
Liverstone (Popeye's pet seagull)
Mary Ann (Popeye's adopted daughter for a few strips)
Jhonny Doodle (pilot friend of olive)
Bill Squid (rival of popeye)
Bullo Oxheart and his mother (boxer rival of popeye)
Davy Jones
Snagg and Baby Doll (spinachovian criminals)
Battling McGnat (popeye's boxing manager)
B. Loony Bullony (depressive cartoonist)
Georges the giant
Dufus (the son of a family friend)
Mars men (coming in various forms)
Mr. Sloppy (Co-owner of the rough house cafe)
SweetHaven short supremascist
Granny (Popeye's grandmother and Poopdeck's mother)
Professor O. G. Watasnozzle[84][85] (a character with a large nose, as his name indicates)
Otis O. Otis, "The world's smartest detective"[86] as well as Wimpy's cousin filmmaker Otis Von Lens Cover[87][88]

text: Characters originating in the cartoons[edit]

text:
Pipeye, Pupeye, Poopeye, Peepeye (Popeye's identical nephews)
Shorty (Popeye's shipmate in three World War II-era Famous Studios shorts)
Diesel Oyl (Olive's identical niece, a conceited brat who appears in three of the 1960s King Features shorts)
Popeye, Jr. (son of Popeye and Olive Oyl, exclusive of the series Popeye and Son)
Tank (son of Brutus, exclusive of the series Popeye and Son)

text: Filmography[edit]

text: Theatrical[edit]

text:
Popeye the Sailor (produced by Fleischer Studios) (1933–1942, 108 cartoons)
Popeye the Sailor (produced by Famous Studios) (1942–1957, 122 cartoons)

text: Television[edit]

text:
Popeye the Sailor (1960–1962; produced by Jack Kinney Productions, Rembrandt Films (animated by Gene Deitch), Halas and Batchelor, Larry Harmon Pictures, TV Spots, and Paramount Cartoon Studios for King Features Syndicate, 220 cartoons)
The All New Popeye Hour, later The Popeye and Olive Comedy Show (1978–1983, CBS; produced by Hanna-Barbera Productions, 159 cartoons)
Popeye and Son (1987–1988, CBS; produced by Hanna-Barbera Productions, 26 cartoons)
The Popeye Show (2001–2003, Cartoon Network, repeats)

text: Television specials[edit]

text:
Popeye Meets the Man Who Hated Laughter (1972)
The Popeye Valentine's Day Special: Sweethearts at Sea (1979, produced by Hanna-Barbera Productions)
Popeye's Voyage: The Quest for Pappy (2004 telefilm, produced by Mainframe Entertainment for Lions Gate Entertainment and King Features)

text: Live-action Feature Films[edit]

text: Popeye (1980 live-action film, produced by Paramount Pictures and Walt Disney Productions, directed by Robert Altman)

text: DVD collections[edit]

text:
Popeye the Sailor: 1933–1938, Volume 1 (released July 31, 2007) features Fleischer cartoons released from 1933 through early 1938 and contains the color Popeye specials Popeye the Sailor Meets Sindbad the Sailor and Popeye the Sailor Meets Ali Baba's Forty Thieves.
Popeye the Sailor: 1938–1940, Volume 2 (released June 17, 2008) features Fleischer cartoons released from mid-1938 through 1940 and includes the last color Popeye special Aladdin and His Wonderful Lamp.
Popeye the Sailor: 1941–1943, Volume 3 (released November 4, 2008) features the remaining black-and-white Popeye cartoons released from 1941 to 1943, including the final Fleischer-produced and earliest Famous-produced entries in the series.
Popeye – 75th Anniversary Collector's edition (released April 27, 2004) features 85 cartoons from the Popeye the Sailor 1960s series.
Popeye and Friends: Volume 1 (released June 17, 2008) features a collection of eight cartoons from The All New Popeye Hour. A second volume containing cartoons from Popeye and Son was scheduled, but it was cancelled before being released (it was subsequently released in the UK and Australia).


document_title: William Shakespeare

question_text: what was the first book william shakespeare wrote

text: William Shakespeare

text: Life

text: Early life

text: William Shakespeare was the son of John Shakespeare, an alderman and a successful glover (glove-maker) originally from Snitterfield, and Mary Arden, the daughter of an affluent landowning farmer.[14] He was born in Stratford-upon-Avon and baptised there on 26 April 1564. His actual date of birth remains unknown, but is traditionally observed on 23 April, Saint George's Day.[15] This date, which can be traced to a mistake made by an 18th-century scholar, has proved appealing to biographers because Shakespeare died on the same date in 1616.[16][17] He was the third of eight children, and the eldest surviving son.[18]

text: Although no attendance records for the period survive, most biographers agree that Shakespeare was probably educated at the King's New School in Stratford,[19][20][21] a free school chartered in 1553,[22] about a quarter-mile (400 m) from his home. Grammar schools varied in quality during the Elizabethan era, but grammar school curricula were largely similar: the basic Latin text was standardised by royal decree,[23][24] and the school would have provided an intensive education in grammar based upon Latin classical authors.[25]

text: At the age of 18, Shakespeare married 26-year-old Anne Hathaway. The consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. The next day, two of Hathaway's neighbours posted bonds guaranteeing that no lawful claims impeded the marriage.[26] The ceremony may have been arranged in some haste since the Worcester chancellor allowed the marriage banns to be read once instead of the usual three times,[27][28] and six months after the marriage Anne gave birth to a daughter, Susanna, baptised 26 May 1583.[29] Twins, son Hamnet and daughter Judith, followed almost two years later and were baptised 2 February 1585.[30] Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596.[31]

text: After the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592. The exception is the appearance of his name in the "complaints bill" of a law case before the Queen's Bench court at Westminster dated Michaelmas Term 1588 and 9 October 1589.[32] Scholars refer to the years between 1585 and 1592 as Shakespeare's "lost years".[33] Biographers attempting to account for this period have reported many apocryphal stories. Nicholas Rowe, Shakespeare's first biographer, recounted a Stratford legend that Shakespeare fled the town for London to escape prosecution for deer poaching in the estate of local squire Thomas Lucy. Shakespeare is also supposed to have taken his revenge on Lucy by writing a scurrilous ballad about him.[34][35] Another 18th-century story has Shakespeare starting his theatrical career minding the horses of theatre patrons in London.[36] John Aubrey reported that Shakespeare had been a country schoolmaster.[37] Some 20th-century scholars have suggested that Shakespeare may have been employed as a schoolmaster by Alexander Hoghton of Lancashire, a Catholic landowner who named a certain "William Shakeshafte" in his will.[38][39] Little evidence substantiates such stories other than hearsay collected after his death, and Shakeshafte was a common name in the Lancashire area.[40][41]

text: London and theatrical career

text: It is not known definitively when Shakespeare began writing, but contemporary allusions and records of performances show that several of his plays were on the London stage by 1592.[42] By then, he was sufficiently known in London to be attacked in print by the playwright Robert Greene in his Groats-Worth of Wit:

text: ... there is an upstart Crow, beautified with our feathers, that with his Tiger's heart wrapped in a Player's hide, supposes he is as well able to bombast out a blank verse as the best of you: and being an absolute Johannes factotum, is in his own conceit the only Shake-scene in a country.[43]

text: Scholars differ on the exact meaning of Greene's words,[43][44] but most agree that Greene was accusing Shakespeare of reaching above his rank in trying to match such university-educated writers as Christopher Marlowe, Thomas Nashe, and Greene himself (the so-called "university wits").[45] The italicised phrase parodying the line "Oh, tiger's heart wrapped in a woman's hide" from Shakespeare's Henry VI, Part 3, along with the pun "Shake-scene", clearly identify Shakespeare as Greene's target. As used here, Johannes Factotum ("Jack of all trades") refers to a second-rate tinkerer with the work of others, rather than the more common "universal genius".[43][46]

text: Greene's attack is the earliest surviving mention of Shakespeare's work in the theatre. Biographers suggest that his career may have begun any time from the mid-1580s to just before Greene's remarks.[47][48][49] After 1594, Shakespeare's plays were performed only by the Lord Chamberlain's Men, a company owned by a group of players, including Shakespeare, that soon became the leading playing company in London.[50] After the death of Queen Elizabeth in 1603, the company was awarded a royal patent by the new King James I, and changed its name to the King's Men.[51]

text:
"All the world's a stage,
and all the men and women merely players:
they have their exits and their entrances;
and one man in his time plays many parts ..."

—As You Like It, Act II, Scene 7, 139–142[52]

tag: div

text: In 1599, a partnership of members of the company built their own theatre on the south bank of the River Thames, which they named the Globe. In 1608, the partnership also took over the Blackfriars indoor theatre. Extant records of Shakespeare's property purchases and investments indicate that his association with the company made him a wealthy man,[53] and in 1597, he bought the second-largest house in Stratford, New Place, and in 1605, invested in a share of the parish tithes in Stratford.[54]

text: Some of Shakespeare's plays were published in quarto editions, beginning in 1594, and by 1598, his name had become a selling point and began to appear on the title pages.[55][56][57] Shakespeare continued to act in his own and other plays after his success as a playwright. The 1616 edition of Ben Jonson's Works names him on the cast lists for Every Man in His Humour (1598) and Sejanus His Fall (1603).[58] The absence of his name from the 1605 cast list for Jonson's Volpone is taken by some scholars as a sign that his acting career was nearing its end.[47] The First Folio of 1623, however, lists Shakespeare as one of "the Principal Actors in all these Plays", some of which were first staged after Volpone, although we cannot know for certain which roles he played.[59] In 1610, John Davies of Hereford wrote that "good Will" played "kingly" roles.[60] In 1709, Rowe passed down a tradition that Shakespeare played the ghost of Hamlet's father.[35] Later traditions maintain that he also played Adam in As You Like It, and the Chorus in Henry V,[61][62] though scholars doubt the sources of that information.[63]

text: Throughout his career, Shakespeare divided his time between London and Stratford. In 1596, the year before he bought New Place as his family home in Stratford, Shakespeare was living in the parish of St. Helen's, Bishopsgate, north of the River Thames.[64][65] He moved across the river to Southwark by 1599, the same year his company constructed the Globe Theatre there.[64][66] By 1604, he had moved north of the river again, to an area north of St Paul's Cathedral with many fine houses. There, he rented rooms from a French Huguenot named Christopher Mountjoy, a maker of ladies' wigs and other headgear.[67][68]

text: Later years and death

text: Rowe was the first biographer to record the tradition, repeated by Johnson, that Shakespeare retired to Stratford "some years before his death".[69][70] He was still working as an actor in London in 1608; in an answer to the sharers' petition in 1635, Cuthbert Burbage stated that after purchasing the lease of the Blackfriars Theatre in 1608 from Henry Evans, the King's Men "placed men players" there, "which were Heminges, Condell, Shakespeare, etc.".[71] However, it is perhaps relevant that the bubonic plague raged in London throughout 1609.[72][73] The London public playhouses were repeatedly closed during extended outbreaks of the plague (a total of over 60 months closure between May 1603 and February 1610),[74] which meant there was often no acting work. Retirement from all work was uncommon at that time.[75] Shakespeare continued to visit London during the years 1611–1614.[69] In 1612, he was called as a witness in Bellott v. Mountjoy, a court case concerning the marriage settlement of Mountjoy's daughter, Mary.[76][77] In March 1613, he bought a gatehouse in the former Blackfriars priory;[78] and from November 1614, he was in London for several weeks with his son-in-law, John Hall.[79] After 1610, Shakespeare wrote fewer plays, and none are attributed to him after 1613.[80] His last three plays were collaborations, probably with John Fletcher,[81] who succeeded him as the house playwright of the King's Men.[82]

text: Shakespeare died on 23 April 1616, at the age of 52.[f] He died within a month of signing his will, a document which he begins by describing himself as being in "perfect health". No extant contemporary source explains how or why he died. Half a century later, John Ward, the vicar of Stratford, wrote in his notebook: "Shakespeare, Drayton, and Ben Jonson had a merry meeting and, it seems, drank too hard, for Shakespeare died of a fever there contracted",[83][84] not an impossible scenario since Shakespeare knew Jonson and Drayton. Of the tributes from fellow authors, one refers to his relatively sudden death: "We wondered, Shakespeare, that thou went'st so soon / From the world's stage to the grave's tiring room."[85][g]

text: He was survived by his wife and two daughters. Susanna had married a physician, John Hall, in 1607,[86] and Judith had married Thomas Quiney, a vintner, two months before Shakespeare's death.[87] Shakespeare signed his last will and testament on 25 March 1616; the following day, his new son-in-law, Thomas Quiney was found guilty of fathering an illegitimate son by Margaret Wheeler, who had died during childbirth. Thomas was ordered by the church court to do public penance, which would have caused much shame and embarrassment for the Shakespeare family.[87]

text: Shakespeare bequeathed the bulk of his large estate to his elder daughter Susanna[88] under stipulations that she pass it down intact to "the first son of her body".[89] The Quineys had three children, all of whom died without marrying.[90][91] The Halls had one child, Elizabeth, who married twice but died without children in 1670, ending Shakespeare's direct line.[92][93] Shakespeare's will scarcely mentions his wife, Anne, who was probably entitled to one-third of his estate automatically.[h] He did make a point, however, of leaving her "my second best bed", a bequest that has led to much speculation.[95][96][97] Some scholars see the bequest as an insult to Anne, whereas others believe that the second-best bed would have been the matrimonial bed and therefore rich in significance.[98]

text: Shakespeare was buried in the chancel of the Holy Trinity Church two days after his death.[99][100] The epitaph carved into the stone slab covering his grave includes a curse against moving his bones, which was carefully avoided during restoration of the church in 2008:[101]

text:
Good frend for Iesvs sake forbeare,
To digg the dvst encloased heare.
Bleste be  man  spares thes stones,
And cvrst be he  moves my bones.[102][i]

text: (Modern spelling: Good friend, for Jesus' sake forbear, / To dig the dust enclosed here. / Blessed be the man that spares these stones, / And cursed be he that moves my bones.)

text: Some time before 1623, a funerary monument was erected in his memory on the north wall, with a half-effigy of him in the act of writing. Its plaque compares him to Nestor, Socrates, and Virgil.[103] In 1623, in conjunction with the publication of the First Folio, the Droeshout engraving was published.[104]

text: Shakespeare has been commemorated in many statues and memorials around the world, including funeral monuments in Southwark Cathedral and Poets' Corner in Westminster Abbey.[105][106]

text: Plays

text: Most playwrights of the period typically collaborated with others at some point, and critics agree that Shakespeare did the same, mostly early and late in his career.[107] Some attributions, such as Titus Andronicus and the early history plays, remain controversial while The Two Noble Kinsmen and the lost Cardenio have well-attested contemporary documentation. Textual evidence also supports the view that several of the plays were revised by other writers after their original composition.

text: The first recorded works of Shakespeare are Richard III and the three parts of Henry VI, written in the early 1590s during a vogue for historical drama. Shakespeare's plays are difficult to date precisely, however,[108][109] and studies of the texts suggest that Titus Andronicus, The Comedy of Errors, The Taming of the Shrew, and The Two Gentlemen of Verona may also belong to Shakespeare's earliest period.[110][108] His first histories, which draw heavily on the 1587 edition of Raphael Holinshed's Chronicles of England, Scotland, and Ireland,[111] dramatise the destructive results of weak or corrupt rule and have been interpreted as a justification for the origins of the Tudor dynasty.[112] The early plays were influenced by the works of other Elizabethan dramatists, especially Thomas Kyd and Christopher Marlowe, by the traditions of medieval drama, and by the plays of Seneca.[113][114][115] The Comedy of Errors was also based on classical models, but no source for The Taming of the Shrew has been found, though it is related to a separate play of the same name and may have derived from a folk story.[116][117] Like The Two Gentlemen of Verona, in which two friends appear to approve of rape,[118][119][120] the Shrew's story of the taming of a woman's independent spirit by a man sometimes troubles modern critics, directors, and audiences.[121]

text: Shakespeare's early classical and Italianate comedies, containing tight double plots and precise comic sequences, give way in the mid-1590s to the romantic atmosphere of his most acclaimed comedies.[122] A Midsummer Night's Dream is a witty mixture of romance, fairy magic, and comic lowlife scenes.[123] Shakespeare's next comedy, the equally romantic Merchant of Venice, contains a portrayal of the vengeful Jewish moneylender Shylock, which reflects Elizabethan views but may appear derogatory to modern audiences.[124][125] The wit and wordplay of Much Ado About Nothing,[126] the charming rural setting of As You Like It, and the lively merrymaking of Twelfth Night complete Shakespeare's sequence of great comedies.[127] After the lyrical Richard II, written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the late 1590s, Henry IV, parts 1 and 2, and Henry V. His characters become more complex and tender as he switches deftly between comic and serious scenes, prose and poetry, and achieves the narrative variety of his mature work.[128][129][130] This period begins and ends with two tragedies: Romeo and Juliet, the famous romantic tragedy of sexually charged adolescence, love, and death;[131][132] and Julius Caesar—based on Sir Thomas North's 1579 translation of Plutarch's Parallel Lives—which introduced a new kind of drama.[133][134] According to Shakespearean scholar James Shapiro, in Julius Caesar, "the various strands of politics, character, inwardness, contemporary events, even Shakespeare's own reflections on the act of writing, began to infuse each other".[135]

text: In the early 17th century, Shakespeare wrote the so-called "problem plays" Measure for Measure, Troilus and Cressida, and All's Well That Ends Well and a number of his best known tragedies.[136][137] Many critics believe that Shakespeare's greatest tragedies represent the peak of his art. The titular hero of one of Shakespeare's greatest tragedies, Hamlet, has probably been discussed more than any other Shakespearean character, especially for his famous soliloquy which begins "To be or not to be; that is the question".[138] Unlike the introverted Hamlet, whose fatal flaw is hesitation, the heroes of the tragedies that followed, Othello and King Lear, are undone by hasty errors of judgement.[139] The plots of Shakespeare's tragedies often hinge on such fatal errors or flaws, which overturn order and destroy the hero and those he loves.[140] In Othello, the villain Iago stokes Othello's sexual jealousy to the point where he murders the innocent wife who loves him.[141][142] In King Lear, the old king commits the tragic error of giving up his powers, initiating the events which lead to the torture and blinding of the Earl of Gloucester and the murder of Lear's youngest daughter Cordelia. According to the critic Frank Kermode, "the play offers neither its good characters nor its audience any relief from its cruelty".[143][144][145] In Macbeth, the shortest and most compressed of Shakespeare's tragedies,[146] uncontrollable ambition incites Macbeth and his wife, Lady Macbeth, to murder the rightful king and usurp the throne until their own guilt destroys them in turn.[147] In this play, Shakespeare adds a supernatural element to the tragic structure. His last major tragedies, Antony and Cleopatra and Coriolanus, contain some of Shakespeare's finest poetry and were considered his most successful tragedies by the poet and critic T. S. Eliot.[148][149][150]

text: In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: Cymbeline, The Winter's Tale, and The Tempest, as well as the collaboration, Pericles, Prince of Tyre. Less bleak than the tragedies, these four plays are graver in tone than the comedies of the 1590s, but they end with reconciliation and the forgiveness of potentially tragic errors.[151] Some commentators have seen this change in mood as evidence of a more serene view of life on Shakespeare's part, but it may merely reflect the theatrical fashion of the day.[152][153][154] Shakespeare collaborated on two further surviving plays, Henry VIII and The Two Noble Kinsmen, probably with John Fletcher.[155]

text: Performances

text: It is not clear for which companies Shakespeare wrote his early plays. The title page of the 1594 edition of Titus Andronicus reveals that the play had been acted by three different troupes.[156] After the plagues of 1592–3, Shakespeare's plays were performed by his own company at The Theatre and the Curtain in Shoreditch, north of the Thames.[157] Londoners flocked there to see the first part of Henry IV, Leonard Digges recording, "Let but Falstaff come, Hal, Poins, the rest ... and you scarce shall have a room".[158] When the company found themselves in dispute with their landlord, they pulled The Theatre down and used the timbers to construct the Globe Theatre, the first playhouse built by actors for actors, on the south bank of the Thames at Southwark.[159][160] The Globe opened in autumn 1599, with Julius Caesar one of the first plays staged. Most of Shakespeare's greatest post-1599 plays were written for the Globe, including Hamlet, Othello, and King Lear.[159][161][162]

text: After the Lord Chamberlain's Men were renamed the King's Men in 1603, they entered a special relationship with the new King James. Although the performance records are patchy, the King's Men performed seven of Shakespeare's plays at court between 1 November 1604, and 31 October 1605, including two performances of The Merchant of Venice.[62] After 1608, they performed at the indoor Blackfriars Theatre during the winter and the Globe during the summer.[163] The indoor setting, combined with the Jacobean fashion for lavishly staged masques, allowed Shakespeare to introduce more elaborate stage devices. In Cymbeline, for example, Jupiter descends "in thunder and lightning, sitting upon an eagle: he throws a thunderbolt. The ghosts fall on their knees."[164][165]

text: The actors in Shakespeare's company included the famous Richard Burbage, William Kempe, Henry Condell and John Heminges. Burbage played the leading role in the first performances of many of Shakespeare's plays, including Richard III, Hamlet, Othello, and King Lear.[166] The popular comic actor Will Kempe played the servant Peter in Romeo and Juliet and Dogberry in Much Ado About Nothing, among other characters.[167][168] He was replaced around 1600 by Robert Armin, who played roles such as Touchstone in As You Like It and the fool in King Lear.[169] In 1613, Sir Henry Wotton recorded that Henry VIII "was set forth with many extraordinary circumstances of pomp and ceremony".[170] On 29 June, however, a cannon set fire to the thatch of the Globe and burned the theatre to the ground, an event which pinpoints the date of a Shakespeare play with rare precision.[170]

text: Textual sources

text: In 1623, John Heminges and Henry Condell, two of Shakespeare's friends from the King's Men, published the First Folio, a collected edition of Shakespeare's plays. It contained 36 texts, including 18 printed for the first time.[171] Many of the plays had already appeared in quarto versions—flimsy books made from sheets of paper folded twice to make four leaves.[172] No evidence suggests that Shakespeare approved these editions, which the First Folio describes as "stol'n and surreptitious copies".[173] Nor did Shakespeare plan or expect his works to survive in any form at all; those works likely would have faded into oblivion but for his friends' spontaneous idea, after his death, to create and publish the First Folio.[174]

text: Alfred Pollard termed some of the pre-1623 versions as "bad quartos" because of their adapted, paraphrased or garbled texts, which may in places have been reconstructed from memory.[172][173][175] Where several versions of a play survive, each differs from the other. The differences may stem from copying or printing errors, from notes by actors or audience members, or from Shakespeare's own papers.[176][177] In some cases, for example, Hamlet, Troilus and Cressida, and Othello, Shakespeare could have revised the texts between the quarto and folio editions. In the case of King Lear, however, while most modern editions do conflate them, the 1623 folio version is so different from the 1608 quarto that the Oxford Shakespeare prints them both, arguing that they cannot be conflated without confusion.[178]

text: Poems

text: In 1593 and 1594, when the theatres were closed because of plague, Shakespeare published two narrative poems on sexual themes, Venus and Adonis and The Rape of Lucrece. He dedicated them to Henry Wriothesley, Earl of Southampton. In Venus and Adonis, an innocent Adonis rejects the sexual advances of Venus; while in The Rape of Lucrece, the virtuous wife Lucrece is raped by the lustful Tarquin.[179] Influenced by Ovid's Metamorphoses,[180] the poems show the guilt and moral confusion that result from uncontrolled lust.[181] Both proved popular and were often reprinted during Shakespeare's lifetime. A third narrative poem, A Lover's Complaint, in which a young woman laments her seduction by a persuasive suitor, was printed in the first edition of the Sonnets in 1609. Most scholars now accept that Shakespeare wrote A Lover's Complaint. Critics consider that its fine qualities are marred by leaden effects.[182][183][184] The Phoenix and the Turtle, printed in Robert Chester's 1601 Love's Martyr, mourns the deaths of the legendary phoenix and his lover, the faithful turtle dove. In 1599, two early drafts of sonnets 138 and 144 appeared in The Passionate Pilgrim, published under Shakespeare's name but without his permission.[182][184][185]

text: Sonnets

text: Published in 1609, the Sonnets were the last of Shakespeare's non-dramatic works to be printed. Scholars are not certain when each of the 154 sonnets was composed, but evidence suggests that Shakespeare wrote sonnets throughout his career for a private readership.[186][187] Even before the two unauthorised sonnets appeared in The Passionate Pilgrim in 1599, Francis Meres had referred in 1598 to Shakespeare's "sugred Sonnets among his private friends".[188] Few analysts believe that the published collection follows Shakespeare's intended sequence.[189] He seems to have planned two contrasting series: one about uncontrollable lust for a married woman of dark complexion (the "dark lady"), and one about conflicted love for a fair young man (the "fair youth"). It remains unclear if these figures represent real individuals, or if the authorial "I" who addresses them represents Shakespeare himself, though Wordsworth believed that with the sonnets "Shakespeare unlocked his heart".[188][187]

text:
"Shall I compare thee to a summer's day?
Thou art more lovely and more temperate ..."

—Lines from Shakespeare's Sonnet 18.[190]

text: The 1609 edition was dedicated to a "Mr. W.H.", credited as "the only begetter" of the poems. It is not known whether this was written by Shakespeare himself or by the publisher, Thomas Thorpe, whose initials appear at the foot of the dedication page; nor is it known who Mr. W.H. was, despite numerous theories, or whether Shakespeare even authorised the publication.[191] Critics praise the Sonnets as a profound meditation on the nature of love, sexual passion, procreation, death, and time.[192]

text: Style

text: Shakespeare's first plays were written in the conventional style of the day. He wrote them in a stylised language that does not always spring naturally from the needs of the characters or the drama.[193] The poetry depends on extended, sometimes elaborate metaphors and conceits, and the language is often rhetorical—written for actors to declaim rather than speak. The grand speeches in Titus Andronicus, in the view of some critics, often hold up the action, for example; and the verse in The Two Gentlemen of Verona has been described as stilted.[194][195]

text:
"And pity, like a naked new-born babe,
Striding the blast, or heaven's cherubim, hors'd
Upon the sightless couriers of the air."[196]

text: However, Shakespeare soon began to adapt the traditional styles to his own purposes. The opening soliloquy of Richard III has its roots in the self-declaration of Vice in medieval drama. At the same time, Richard's vivid self-awareness looks forward to the soliloquies of Shakespeare's mature plays.[197][198] No single play marks a change from the traditional to the freer style. Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles.[199] By the time of Romeo and Juliet, Richard II, and A Midsummer Night's Dream in the mid-1590s, Shakespeare had begun to write a more natural poetry. He increasingly tuned his metaphors and images to the needs of the drama itself.

text: Shakespeare's standard poetic form was blank verse, composed in iambic pentameter. In practice, this meant that his verse was usually unrhymed and consisted of ten syllables to a line, spoken with a stress on every second syllable. The blank verse of his early plays is quite different from that of his later ones. It is often beautiful, but its sentences tend to start, pause, and finish at the end of lines, with the risk of monotony.[200] Once Shakespeare mastered traditional blank verse, he began to interrupt and vary its flow. This technique releases the new power and flexibility of the poetry in plays such as Julius Caesar and Hamlet. Shakespeare uses it, for example, to convey the turmoil in Hamlet's mind:[201]

text:
Sir, in my heart there was a kind of fighting
That would not let me sleep. Methought I lay
Worse than the mutines in the bilboes. Rashly—
And prais'd be rashness for it—let us know
Our indiscretion sometimes serves us well ...

text: After Hamlet, Shakespeare varied his poetic style further, particularly in the more emotional passages of the late tragedies. The literary critic A. C. Bradley described this style as "more concentrated, rapid, varied, and, in construction, less regular, not seldom twisted or elliptical".[202] In the last phase of his career, Shakespeare adopted many techniques to achieve these effects. These included run-on lines, irregular pauses and stops, and extreme variations in sentence structure and length.[203] In Macbeth, for example, the language darts from one unrelated metaphor or simile to another: "was the hope drunk/ Wherein you dressed yourself?" (1.7.35–38); "... pity, like a naked new-born babe/ Striding the blast, or heaven's cherubim, hors'd/ Upon the sightless couriers of the air ..." (1.7.21–25). The listener is challenged to complete the sense.[203] The late romances, with their shifts in time and surprising turns of plot, inspired a last poetic style in which long and short sentences are set against one another, clauses are piled up, subject and object are reversed, and words are omitted, creating an effect of spontaneity.[204]

text: Shakespeare combined poetic genius with a practical sense of the theatre.[205] Like all playwrights of the time, he dramatised stories from sources such as Plutarch and Holinshed.[206] He reshaped each plot to create several centres of interest and to show as many sides of a narrative to the audience as possible. This strength of design ensures that a Shakespeare play can survive translation, cutting and wide interpretation without loss to its core drama.[207] As Shakespeare's mastery grew, he gave his characters clearer and more varied motivations and distinctive patterns of speech. He preserved aspects of his earlier style in the later plays, however. In Shakespeare's late romances, he deliberately returned to a more artificial style, which emphasised the illusion of theatre.[208][209]

text: Influence

text: Shakespeare's work has made a lasting impression on later theatre and literature. In particular, he expanded the dramatic potential of characterisation, plot, language, and genre.[210] Until Romeo and Juliet, for example, romance had not been viewed as a worthy topic for tragedy.[211] Soliloquies had been used mainly to convey information about characters or events, but Shakespeare used them to explore characters' minds.[212] His work heavily influenced later poetry. The Romantic poets attempted to revive Shakespearean verse drama, though with little success. Critic George Steiner described all English verse dramas from Coleridge to Tennyson as "feeble variations on Shakespearean themes."[213]

text: Shakespeare influenced novelists such as Thomas Hardy, William Faulkner, and Charles Dickens. The American novelist Herman Melville's soliloquies owe much to Shakespeare; his Captain Ahab in Moby-Dick is a classic tragic hero, inspired by King Lear.[214] Scholars have identified 20,000 pieces of music linked to Shakespeare's works. These include two operas by Giuseppe Verdi, Otello and Falstaff, whose critical standing compares with that of the source plays.[215] Shakespeare has also inspired many painters, including the Romantics and the Pre-Raphaelites. The Swiss Romantic artist Henry Fuseli, a friend of William Blake, even translated Macbeth into German.[216] The psychoanalyst Sigmund Freud drew on Shakespearean psychology, in particular, that of Hamlet, for his theories of human nature.[217]

text: In Shakespeare's day, English grammar, spelling, and pronunciation were less standardised than they are now,[218] and his use of language helped shape modern English.[219] Samuel Johnson quoted him more often than any other author in his A Dictionary of the English Language, the first serious work of its type.[220] Expressions such as "with bated breath" (Merchant of Venice) and "a foregone conclusion" (Othello) have found their way into everyday English speech.[221][222]

text: Critical reputation

text:
"He was not of an age, but for all time."

—Ben Jonson[223]

text: Shakespeare was not revered in his lifetime, but he received a large amount of praise.[224][225] In 1598, the cleric and author Francis Meres singled him out from a group of English writers as "the most excellent" in both comedy and tragedy.[226][227] The authors of the Parnassus plays at St John's College, Cambridge numbered him with Chaucer, Gower, and Spenser.[228] In the First Folio, Ben Jonson called Shakespeare the "Soul of the age, the applause, delight, the wonder of our stage", though he had remarked elsewhere that "Shakespeare wanted art".[223]

text: Between the Restoration of the monarchy in 1660 and the end of the 17th century, classical ideas were in vogue. As a result, critics of the time mostly rated Shakespeare below John Fletcher and Ben Jonson.[229] Thomas Rymer, for example, condemned Shakespeare for mixing the comic with the tragic. Nevertheless, poet and critic John Dryden rated Shakespeare highly, saying of Jonson, "I admire him, but I love Shakespeare".[230] For several decades, Rymer's view held sway; but during the 18th century, critics began to respond to Shakespeare on his own terms and acclaim what they termed his natural genius. A series of scholarly editions of his work, notably those of Samuel Johnson in 1765 and Edmond Malone in 1790, added to his growing reputation.[231][232] By 1800, he was firmly enshrined as the national poet.[233] In the 18th and 19th centuries, his reputation also spread abroad. Among those who championed him were the writers Voltaire, Goethe, Stendhal, and Victor Hugo.[234][j]

text: During the Romantic era, Shakespeare was praised by the poet and literary philosopher Samuel Taylor Coleridge; and the critic August Wilhelm Schlegel translated his plays in the spirit of German Romanticism.[236] In the 19th century, critical admiration for Shakespeare's genius often bordered on adulation.[237] "That King Shakespeare," the essayist Thomas Carlyle wrote in 1840, "does not he shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying signs; indestructible".[238] The Victorians produced his plays as lavish spectacles on a grand scale.[239] The playwright and critic George Bernard Shaw mocked the cult of Shakespeare worship as "bardolatry", claiming that the new naturalism of Ibsen's plays had made Shakespeare obsolete.[240]

text: The modernist revolution in the arts during the early 20th century, far from discarding Shakespeare, eagerly enlisted his work in the service of the avant-garde. The Expressionists in Germany and the Futurists in Moscow mounted productions of his plays. Marxist playwright and director Bertolt Brecht devised an epic theatre under the influence of Shakespeare. The poet and critic T.S. Eliot argued against Shaw that Shakespeare's "primitiveness" in fact made him truly modern.[241] Eliot, along with G. Wilson Knight and the school of New Criticism, led a movement towards a closer reading of Shakespeare's imagery. In the 1950s, a wave of new critical approaches replaced modernism and paved the way for "post-modern" studies of Shakespeare.[242] By the 1980s, Shakespeare studies were open to movements such as structuralism, feminism, New Historicism, African-American studies, and queer studies.[243][244] In a comprehensive reading of Shakespeare's works and comparing Shakespeare literary accomplishments to accomplishments among leading figures in philosophy and theology as well, Harold Bloom has commented that "Shakespeare was larger than Plato and than St. Augustine. He encloses us because we see with his fundamental perceptions."[245]

text: Works

text: Classification of the plays

text: Shakespeare's works include the 36 plays printed in the First Folio of 1623, listed according to their folio classification as comedies, histories, and tragedies.[246] Two plays not included in the First Folio, The Two Noble Kinsmen and Pericles, Prince of Tyre, are now accepted as part of the canon, with today's scholars agreeing that Shakespeare made major contributions to the writing of both.[247][248] No Shakespearean poems were included in the First Folio.

text: In the late 19th century, Edward Dowden classified four of the late comedies as romances, and though many scholars prefer to call them tragicomedies, Dowden's term is often used.[249][250] In 1896, Frederick S. Boas coined the term "problem plays" to describe four plays: All's Well That Ends Well, Measure for Measure, Troilus and Cressida, and Hamlet.[251] "Dramas as singular in theme and temper cannot be strictly called comedies or tragedies", he wrote. "We may, therefore, borrow a convenient phrase from the theatre of today and class them together as Shakespeare's problem plays."[252] The term, much debated and sometimes applied to other plays, remains in use, though Hamlet is definitively classed as a tragedy.[253][254][255]

text: Speculation about Shakespeare

text: Authorship

text: Around 230 years after Shakespeare's death, doubts began to be expressed about the authorship of the works attributed to him.[256] Proposed alternative candidates include Francis Bacon, Christopher Marlowe, and Edward de Vere, 17th Earl of Oxford.[257] Several "group theories" have also been proposed.[258] Only a small minority of academics believe there is reason to question the traditional attribution,[259] but interest in the subject, particularly the Oxfordian theory of Shakespeare authorship, continues into the 21st century.[260][261][262]

text: Religion

text: Some scholars claim that members of Shakespeare's family were Catholics, at a time when practicing Catholicism in England was against the law.[263] Shakespeare's mother, Mary Arden, certainly came from a pious Catholic family. The strongest evidence might be a Catholic statement of faith signed by his father, John Shakespeare, found in 1757 in the rafters of his former house in Henley Street. However, the document is now lost and scholars differ as to its authenticity.[264][265] In 1591, the authorities reported that John Shakespeare had missed church "for fear of process for debt", a common Catholic excuse.[266][267][268] In 1606, the name of William's daughter Susanna appears on a list of those who failed to attend Easter communion in Stratford.[266][267][268] As several scholars have noted, whatever his private views, Shakespeare conformed to the official state religion.[k] Also, Shakespeare's will uses a Protestant formula, and he was a confirmed member of the Church of England, where he was married, his children were baptised, and where he is buried. Other authors argue that there is a lack of evidence about Shakespeare's religious beliefs. Scholars find evidence both for and against Shakespeare's Catholicism, Protestantism, or lack of belief in his plays, but the truth may be impossible to prove.[270][271]

text: Sexuality

text: Few details of Shakespeare's sexuality are known. At 18, he married 26-year-old Anne Hathaway, who was pregnant. Susanna, the first of their three children, was born six months later on 26 May 1583. Over the centuries, some readers have posited that Shakespeare's sonnets are autobiographical,[272] and point to them as evidence of his love for a young man. Others read the same passages as the expression of intense friendship rather than romantic love.[273][274][275] The 26 so-called "Dark Lady" sonnets, addressed to a married woman, are taken as evidence of heterosexual liaisons.[276]

text: Portraiture

text: No written contemporary description of Shakespeare's physical appearance survives, and no evidence suggests that he ever commissioned a portrait, so the Droeshout engraving, which Ben Jonson approved of as a good likeness,[277] and his Stratford monument provide perhaps the best evidence of his appearance. From the 18th century, the desire for authentic Shakespeare portraits fuelled claims that various surviving pictures depicted Shakespeare. That demand also led to the production of several fake portraits, as well as misattributions, repaintings, and relabelling of portraits of other people.[278]