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▪	William Shakespeare


	William Shakespeare

	Since his death Shakespeare's plays have been almost continually performed, in non-English-speaking nations as well as those where English is the native tongue; they are quoted more than the works of any other single author. The plays have been subject to ongoing examination and evaluation by critics attempting to explain their perennial appeal, which does not appear to derive from any set of profound or explicitly formulated ideas. Indeed, Shakespeare has sometimes been criticized for not consistently holding to any particular philosophy, religion, or ideology; for example, the subplot of A Midsummer Night's Dream includes a burlesque of the kind of tragic love that he idealizes in Romeo and Juliet. The strength of Shakespeare's plays lies in the absorbing stories they tell, in their wealth of complex characters, and in the eloquent speech - vivid, forceful, and at the same time lyric - that the playwright puts on his characters' lips. It has often been noted that Shakespeare's characters are neither wholly good nor wholly evil, and that it is their flawed, inconsistent nature that makes them memorable. Hamlet fascinates audiences with his ambivalence about revenge and the uncertainty over how much of his madness is feigned and how much genuine. Falstaff would not be beloved if, in addition to being genial, openhearted, and witty, he were not also boisterous, cowardly, and, ultimately, poignant. Finally, the plays are distinguished by an unparalleled use of language. Shakespeare had a tremendous vocabulary and a corresponding sensitivity to nuance, as well as a singular aptitude for coining neologisms and punning.

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see also:

▪	1984 by George Orwell

▪

Achebe

▪	Albert Camus

▪	Alexandre Dumas

▪	All Quiet on the Western Front

▪	August 1914 by Aleksandr Solzhenitsyn

▪

Beowulf

▪	Bram Stoker

▪	Burger's Daughter by Nadine Gordimer

▪	Confessions of Zeno by Italo Svevo

▪	Dante Alighieri

▪	Doctor Zhivago by Boris Pasternak

▪	Enigma by Robert Harris

▪	Every Man for Himself by Beryl Bainbridge

▪	Fifth Business by Robertson Davie

▪	Frankenstein, or The Modern Prometheus

▪	George Eliot

▪	Gothic Literature

▪	Her Privates We by Frederic Manning

▪	Into a Black Sun by Takeshi Kaiko

▪

Kobo Abe

▪	November 1918 by Alfred Doblin

▪	Resurrection Man by Eoin McNamee

▪	Robert Heinlein

▪	Robinson Crusoe

▪	Santa Evita by Tomas Eloy Martinez

▪	Stalingrad by Theodor Plievier

▪	The Bluest Eye

▪	The Cypresses Believe in God by Jose Maria Gironella

▪	The Devil Is Loose! by Antonine Maillet

▪	The Entertainer by John Osborne

▪	The Feast of the Goat by Mario Vargas Llosa

▪	The Four Horsemen of the Apocalypse by Vicente Blasco Ibanez

▪	The Peron Novel by Tomas Eloy Martinez

▪	The Reprieve by Jean-Paul Sartre

▪	The Silent Prophet by Joseph Roth

▪	The Wars by Timothy Findley

▪	Till We have Faces

▪	Under Western Eyes by Joseph Conrad

▪	Verdun by Jules Romains

▪	Weep Not, Child by James Ngugi

▪	Wild Swans

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