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Shakespeare's writing features extensive wordplay of double entendres and clever rhetorical flourishes. [27] Humour is a key element in all of Shakespeare's plays. His works have been considered controversial through the centuries for his use of bawdy punning, [28] to the extent that "virtually every play is shot through with sexual puns."
Shakespeare is also supposed to have taken his revenge on Lucy by writing a scurrilous ballad about him. [22] [23] Another 18th-century story has Shakespeare starting his theatrical career minding the horses of theatre patrons in London. [24] John Aubrey reported that Shakespeare had been a country schoolmaster. [25]
The Florian theory of Shakespeare authorship holds that the Protestant pastor Michelangelo Florio (1515–1566) or his son the English lexicographer John Florio (1552–1625), or both, wrote the plays of William Shakespeare (1564–1616).
See Baconian theory of Shakespeare authorship; Barnard, John (1604–1674), husband of Shakespeare's granddaughter, proposed by Finch Barnard in 1914. [22] Barnes, Barnabe (1571–1609), poet, playwright. [17] proposed as a member of a group theory by Alden Brooks in 1943. [23]
Shakespeare introduced or invented countless words in his plays, with estimates of the number in the several thousands. Warren King clarifies by saying that, "In all of his work – the plays, the sonnets and the narrative poems – Shakespeare uses 17,677 words: Of those, 1,700 were first used by Shakespeare."
The first person to claim that the body of Shakespeare's last will and testament was written in Shakespeare's own handwriting was John Cordy Jeaffreson, who compared the letters in the will and in the signature, and then expressed his findings in a letter to Athenaeum (1882). He suggests that the will was intended to be a rough draft, and that ...
According to Open Source Shakespeare, a web page containing all of the bard’s plays, poems and sonnets, there are 884,421 words in the entire works of Shakespeare.
For Shakespeare, as he began to write, both traditions were alive; they were, moreover, filtered through the recent success of the University Wits on the London stage. By the late 16th century, the popularity of morality and academic plays waned as the English Renaissance took hold, and playwrights like Thomas Kyd and Christopher Marlowe revolutionised theatre.