
Danish: 
Alle verdener er en scene, og alle mændene og kvinderne blot skuespillere.
De har alle deres udgange og deres indgange, og en mand spiller i sin tid mange dele.
Intet andet opsummerer på samme måde William Shakespeares holdninger til teaterets magt.
Men Englands ynglings bard demonsterer igen og igen, at det modsatte også
er sandt, at en scene kan blive hvilket som helt sted i verden.
Du har sikkert brugt en skoletime eller to sammen med Williams værker. Rød startede
OSP som en Shakespeare kanal, men i dag vil vi lægge  til side de tragedier og komedier, som vi
før har arbejdet med her og i stedet for fokuserer på hans forhold til historie.
For at se hvordan han blev en legendarisk skuespilforfatter, og for at finde ud af hvorfor han er Englands #1 historiker ved tilfælde
lad os lave noget historie!
William Shakespeare blev i den engelske by Stratford-Upon-Avon i 1564, i begyndelsen
af dronning Elizabeth d.1s regeringstid.
Selvom Shakespeares familie ikke var adelige eller virkelig rige, boede de langt nok fra
London til at de kunne betale huslejen uden at skulle begå et månedligt kup.
Shakespeare brugt noget af sit tidlige liv i Stratford med at hjælpe til i hans fars handskebutik,
så vores unge Bill ville have være bekendt med sine lokale handelsfolk.

English: 
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.
Nothing else quite sums up William Shakespeare’s
attitudes on the power of Theater.
But England’s Favorite Bard demonstrates
time and time again that the reverse is also
true, that one Stage can become anywhere in
the World.
You’ve surely spent a class or two with
one of William’s works, and heck, Red started
OSP as a Shakespeare channel, but today, we’ll
put aside the Tragedies and Comedies we’ve
handled here before, and instead focus on
his relationship to History.
So, to see how he became a legendary playwright
and find out why he’s England’s #1 Accidental-historian,
let’s do some History!
William Shakespeare was born in the English
town of Stratford-Upon-Avon in 1564, early
into the reign of Queen Elizabeth 1.
Though Shakespeare’s family wasn’t noble-born
or all that rich, they lived far enough from
London that they could pay the rent without
going on a monthly heist.
Shakespeare spent some of his early life in
Stratford helping in his dad’s glove shop,
so our young Bill would have been familiar
with his local tradespeople.

Danish: 
Da han var 18, giftede Shakespeare sig med Anna Hathaway og fik en datter 6 måneder senere;
Jeg vil lade dig lave matematikken på den.
Ved siden af familieanliggender, studerede  Shakespeare på byens lokale gymnasium.
Det var ikke prangende, men det var en ordentlig uddannelse, og som vi vil se, gav den ham alt
han behøvede for at blive en succesfuld skuespilforfatter senere i hans karrierer.
Hans primærer undervisning var i græsk og latin, med det formål at læse Det Nye Testamente
og det antikke romerske klassikere på deres originale sprog.
På overfladen var dette et temmelig simpelt pensum, men det var radikalt nyt til det elizabethanske England,
Idet Renæssancesen og dens tilbedelse af alt antikt kun lige var begyndt at komme nordpå.
I 1500-tallet mange ting var nye for England.
Ud over konceptet disponibelt indkomst, var engelsk teaterkultur kun lige begyndt at tage form,
og det var lærerbogs definitionen af hurtigt og beskidt.
Med undtagelsen af et par permanente teatre,  var de fleste scener et simpelt træ setup unden dekoration
og kun et par centrale rekvisitter.
Og modsat de antikke grækere og romere havde England ikke et bekvemt katalog af
materiale at trække fra. Derfor blev skuespil skrevet hurtigt, ofte i samarbejde, derefter udført
og kasseret

English: 
At the age of 18, Shakespeare married Anne
Hathaway and had a daughter 6 months later;
I’ll let you run the math on that one.
Aside from family matters, Shakespeare studied
at the town’s Grammar School.
It wasn’t fancy, but it was an honest education,
and as we’ll see, it gave him everything
he needed to succeed in his later career as
a playwright.
His primary instruction was in Greek and Latin,
with the aim of reading the New Testament
and the ancient Roman classics in their original
language.
On its face, this is a fairly simple curriculum,
but it was radically new to Elizabethan England,
as the Renaissance love for all things ancient
was just making its way north.
In the 1500s, a lot of things were new to
England.
In addition to the concept of disposable income,
English theater culture was just taking shape,
and it was the textbook definition of Quick
and Dirty.
With only a few permanent play-houses, most
stages were simple wooden sets with no decoration
and only a few key props.
And unlike the ancient Greeks and Romans,
England didn’t have a handy catalogue of
material to draw from, so plays were written
quickly, often in collaboration, then performed
and discarded.

English: 
This meant that freelancers were in high demand,
and this is probably where Shakespeare got
his start in the theater biz: writing with
London’s other leading playwrights.
Actors, by contrast, mostly went in troupes,
working together over multiple productions,
with the financial support of some hotshot
patron who got the naming rights.
In 1594, Shakespeare was a founding member
of The Lord Chamberlain’s Men, under the
patronage of none other than the Lord Chamberlain.
And this is where William worked as both an
actor and a playwright for the rest of his
career, writing tragic and comic fiction as
well as historical plays for almost two decades.
Sweet Mother of Job Security.
In 1598 the city’s main Play House was closed
over a landlord dispute, so our troupe took
matters into their own hands by disassembling
it and hucking the timber across the Thames
in the dead of winter to build a New theater
on the other side of London.
Now that is dedication to the craft.
The next year, The Globe became The home of
the Lord Chamberlain’s Men, but despite
its size, it was still pretty simple; flat
stage, no roof or fancy sets, standing area
below and three balconies above; The Globe
didn’t faff around.

Danish: 
Dette betød at freelancers var i høj kurs, og det var formentlig her at Shakespeare fik
sin start i teater biz: skrivende sammen med Londons andre ledende skuespilforfattere.
Skuespillere derimod rejste ofte sammen i trupper, og samarbejdede igennem flere produktioner
med finansiel støtte af en hotspot mæcen, som fik navnerettighederne.
I 1594 var Shakespeare en af grundlæggerne af The Lord Chamerlain's Men, under
støtten af ingen ringere end Lord Chamberlain.
Og det er her at William arbejdede som både skuespiller og skuespilforfatter resten af hans
karrierer, hvor han skrev tragisk og komisk fiktion såvel som historiske skuespil for næsten 2 årtier.
Søde Moder af Jobsikkerhed.
I 1598 lukkede byens hoved teater på grund af en udlejer uenighed, så vores trup tog
sagen i deres egne hænder ved at demontere det og flytte træet over Themsen
midt om vinteren for at bygge et nyt teater på den anden side af London.
Det er dedikation til håndværket.
Året efter blev The Globe hjem til The Lord Chamberlainæs Men, men på trods af
dens størrelse var det stadig en forholdsvis simpel; flad scene uden tag eller prangende dekoration, ståområde
nedenfor og tre balkoner ovenover. The Globe gik lige til sagen.

Danish: 
Og med plads til underklasse folk lige så vel som til aristokraterne, alle
havde en plads, så londoner af alle slags kunne nyde skuespillet.
I forlængelse heraf skrev Shakespeare  både til overklassen og til den almene befolkning.
Så hvis din lokale Shakespeare  produktion springer over de beskidte vittigheder, så er du blevet snydt
fordi det er ikke autentisk 
Shakespeareiansk.
Indenlænge spillede Shakespeare og hans venner ved det royale hof for selveste dronning Elizabeth.
Og da kronen overgik til kong James i 1603, var han så glad for truppen at han
blev deres mæcen og omdøbte dem The King's Men.
Klassisk.
Og når vi snakker om konger, lad os zoome ud for et øjeblik for at kigge på, hvad England lavede
i Shakespeares tid, for den var en meget travl tid.
Før James Stuart blev konge, var Elizabeth den sidste regerende monark af Tudor
dynastiet.
Tudorene er mest kendt for at afslutte Rosekrigene, for at bede paven smutte og
for at omdanne den Spanske Armada ind til en undervandstømmerpark.
I Shakespeares tid var livet forholdsvis godt, England var fredsfuldt  - endeligt - og
kunsten havde aldrig været mere populær.
Antikke græske og romerske tekster blev oversat til engelsk for populært forbrug

English: 
And with room for the lower-class groundlings
as well as the high-rolling aristocrats, everybody
had a place, so Londoners of all stripes could
enjoy the plays.
To that end, Shakespeare wrote to the high-brow
and to the low.
So if your local Shakespeare production skips
over the dirty jokes, then you have been duped,
because that’s not the authentic Shakespeareance.
Before too long, Shakespeare and friends performed
at the royal court for Queen Elizabeth herself.
And when the crown passed to King James in
1603, he was so fond of the troupe that he
became their patron and redubbed them The
King’s Men.
Classy.
And speaking of Kings, let’s zoom out for
a minute to look at how England was doing
in Shakespeare’s day, because it was quite
a busy time.
Before James Stuart became King, Elizabeth
was the last reigning monarch of the Tudor
dynasty.
The Tudors are best known for ending the War
of the Roses, telling the Pope to scram, and
converting the Spanish Armada into a subaquatic
lumber yard.
In Shakespeare’s day, life was pretty good,
England was peaceful — finally — and the
arts had never been more popular.
Ancient Greek and Roman texts were getting
translated into English for popular consumption,

Danish: 
og Raphael Holinshed havde lige afsluttet en mammut af en bog: Historical Chronicle of England,
Scotland, and Ireland.
Med engelsk patriotisme højtflyvende som aldrig før, ønskede folk at høre historier om
engelsk storhed.
De fleste englændere kunne læse, men Holinsheds historie var omkring 1,000
side for lang til at kunne være tilgængelig for den almene mand.
Så det er her at Shakespeare kommer ind i billedet.
Han lokker dig ind med et løfte om underholdning, holdet tingene spænende med patos og mord
blænder dig med spydige og platte jokes, og når du går opdager du, at han narrede
dig til at lære.
Dette lyder måske bekendt, for det er denne måde vi lærer jer ting.
Hvis man ser bort fra det faktum, at han var ekstremt god til at skrive skuespil, Shakespeares blotte
valg af emne gav utallige englændere det første glimt af deres egen historie.
Ved at lave gøre historiske skuespil populær som genre, Shakespeare blev utilsigtet
den mest indflydelsesrige historiker i England.
Shakespeares tidlige værker er fyldt med historier, og hans første fokus var
Rosekrigene;  hvor han dækkede Henrik d.6's liv i 3 skuespil, og sluttede med
Richard d.3's "blodige" regeringstid.
Bagefter hoppede han tilbage i tiden for at vise heltekongen Henrik d.5's opgang.

English: 
and Raphael Holinshed had just finished up
a mammoth Historical Chronicle of England,
Scotland, and Ireland.
With English patriotism flying higher than
ever, people wanted to hear stories about
English greatness.
Now, most Englishmen knew how to read, sure,
but Holinshed’s history was about 1,000
pages too-doorstoppy to be accessible to the
average lad.
So this is where Shakespeare comes in.
He lures you with the promise of entertainment,
keeps things exciting with pathos and murder,
dazzles you with snark and low-brow jokes,
and then when you leave you realize he duped
you into learning.
This might sound familiar, because this is
how we teach you stuff.
Disregarding the fact that he was extremely
good at writing plays, Shakespeare’s mere
choice of subject matter gave countless Englishmen
their first glimpse at their own history.
In making popular the genre of the History
Play, Shakespeare inadvertently became the
most influential Historian in England.
Shakespeare’s early work is loaded with
histories, and his first focus was on The
War of the Roses; where he covered the life
of Henry VI in 3 plays, and concluded with
the “bloody” reign of Richard III.
Afterwards, he jumped back in time to show
the rise of the Hero King Henry V.

English: 
This was a 4-play sequence starting with King
Richard II, through Henry IV, and finishing
with Henry V.
Now, all of these plays are self-contained,
but they share characters, conflicts, & some
key themes.
Plus, when we put the 8 plays together into
a macro-story, this Henriad becomes a century-long
Epic of English History’s greatest hits,
culminating in the ascension of Henry 7 and
the new Tudor Dynasty.
So, with our proverbial stage set, let’s
summarize some Shakespeare… quickly, and
quietly, before Red catches me trespassing
on her turf.
*R2* We begin in the late 1300s with Richard
II, who’s been asked to settle a dispute
between two nobles over some misplaced cash
and a murdered uncle.
Richard dawdles and avoids doing his job,
so Henry Bolingbroke takes the opportunity
to coup his way into becoming King Henry IV.
*H4I* Now Henry had wanted to absolve his
usurpation guilt by going on a crusade, but
there’s turmoil at home with the nobles,
so it’s too risky to leave.
Worse yet, his son Hal is too busy partying
in the tavern to be a helpful prince.
But he eventually decides to Do His Job and
fights the rebels.
*H4II* Now Hal might be a decent Prince, but
being a good King is a much harder Ask.

Danish: 
Det var et skuespil i fire dele startende med Kong Richard d.2, gennem Henrik d.4 og afsluttende
med Henrik d.5
Alle disse skuespil var selvstændige, men de delte karakter, konflikter og nogle
centrale temaer.
Plus når vi sætter alle disse 8 stykker sammen til en makro-fortælling, bliver denne Henriade til en århundrede land
epos af engelsk histories største hits, som kulminerer med Henrik d.7 kroning og
med det nye Tudor dynasti.
Så med vores berømte scene sat, lad og opsummerer noget Shakespeare -- hurtigt og
stille, inden Rød fanger mig overskride hendes områder.
*R2* Vi begynder i slutningen af 1300-tallet med Richard d.2, som er blevet bedet om at dømme en strid
mellem to adelig over manglende penge og en myrdet onkel.
Richard smøler og undgår at lave sit arbejde, så Henry Bolingbroke benytter sig af muligheden
og kupper sig til at blive kong Henrik d.4
*H4I* Henrik ønskede at frigøre sig for sin tronraner skyld ved at gå på korstog, men
der er uro derhjemme med de adelige og det er for risikofyldt at rejse.
Værre endnu hans søn Hal har for travlt med at feste i kroerne til at være en hjælpsom prins.
Men han beslutter sig endelig for at gøre sit job og kæmpe mod rebellerne.
*H4II* Hal er måske en nogenlunde prins, men at være en god konge er meget mere svært.

English: 
Unfortunately, this takes the entire runtime
of the play and an earful from his dying father.
But by the end he’s shaped up, apologized
for his misdeeds, and is ready to take on
the world as King Henry V. *H5* Now this is
the spicy play.
Our Prince Hal is all nice and Kinged, and
England is done civil-warring, so he lays
a renewed claim to the throne of France.
In return, the French Prince sends him a very
rude letter and some tennis balls as concession,
so Henry, quite toasty by the slight, sets
off to go a-conquring and starts the Hundred
Years War back up.
He first takes the port of Harfleur with a
hearty Once More Unto the Breach, and pushes
onto Agincourt, heavily outnumbered.
The night before the battle, he treks around
his camp to ruminate on how being King is
effort, ugh.
And the next day, the English army surprise
the French and themselves by longbow-spamming
their way to victory.
Cut to several years later, and Henry is negotiating
a treaty with France as well as wifing up
Princess Catherine of Valois.
The End.
EEeeeexcept for the part immediately after
this where Henry 6 whiffs it and loses the
war, but that’s where the second 4-parter
comes in.

Danish: 
Uheldigvis tager dette hele stykkets spillelængde og en skideballe fra hans døende far.
Men i slutningen er han blevet dannet, undskylder for hans ugerninger og er klar til at vise sig
som kong Henrik d.5. *H5* Dette er et spicy stykke.
Vores prins Hal er god og konget og England er færdige med at borgerkrige, så han gør
et fornyet krav på den franske trone.
Som svar sendet den franske prins ham et meget ubehøvlet brev og nogle tennisbolde som indrømmelse,
så Henrik, noget ophidset af afslaget, sætter ud for at erobre og genstart
Hundredeårskrigen.
Han indtager først havnen i Harfleur med et hjerteligt "Once More Unto the Breach" og rykker
videre til Agincourt i stort undertal.
Natten før kampen, vandre han rundet i hans lejr for at gruble over hvordan det at være konge er
en indsats, ugh.
Og den næste overrasker den engelsk hær franskmændene og dem selv ved at langbue-spamme
deres vej til sejr.
Klip til flere år senere og Henrik forhandler en traktat med Frankrig ligesom han konegører
prinsesse Katarina af Valois
Slut.
Meeeen der er den del lige efter det, hvor Henrik d.6 fejler og taber
krigen, men det er det hvor den anden 4-dels stykke kommer ind.

Danish: 
*H6I* Så tidshop 2 år fremad og Henrik d.5 dør uventet,  og lille Henrik d.6
er nu konge.
Fra her går alting galt.
Frankrig starter med at kæmpe ved Orleans med hjælp fra en Jeanne d'Arc, imens englske
adelige har for travlt med at lave intriger mod hinanden til at stoppe det.
En kløft åbner op mellem Lancaster familien og York familien, hvilken bliver et stort rod senere.
Flere tidshop senere og Jeanne d'Ard er fanget og dræbt af England og Henrik gifter sig med
Margrete af Anjou.
*H6II* Selvom der indledningsvis var succes tabte England krigen og blev smidt ud af Frankrig,
Så Richard af York er forholdsvis irriteret over Henriks lederskab og gør krav på tronen.
Dette resulterer i slaget ved St Albans, hvor York smadrer kongens tropper og
sender Henrik i uorden.
*H6III* Med et nederlag i syne, gør Henrik York til tronfølger, men Henriks
kone Margrethe og Lancaser franktionen sybes at dette er dumt, så de tager
kampen til Yorkerne.
De vinder et stykke tid,  taber et stykke tid, vinder en smule mere, men så begynder de
at tabe igen og til sidst bliver Henrik fanget og dræbt i fængsel af Richard Jr af York.
*R3* Endnu engang er det sidste stykke i sættet det mest spicy.
Edward d.4 af York er kongen - Igen lang historie, og hans bror Richard Jr begører hovedbekædningen

English: 
*H6I* So, timeskip forward 2 years and Henry
V unexpectedly bites it, so little beeby Henry
6 is now King.
From here, everything goes south.
France starts throwing hands at Orleans with
the help of one Joan of Arc, while English
Nobles are too busy scheming against each
other to stop it.
A rift opens up between the Lancaster family
and the Yorks, which becomes a big mess later.
Several timeskips later, Joan is captured
and killed by England, and Henry marries Margaret
of Anjou.
*H7II* Despite some initial success, England
lost the war and got the boot out of France,
so Richard of York is rather miffed with Henry’s
leadership, and lays a claim to throne.
This comes to a head at the battle of St Albans,
where York smashes the King’s forces and
sends Henry into disarray.
*H6III* With defeat in sight, Henry marks
York as next in line for the throne, but Henry’s
wife Margaret and the Lancastrian faction
think that this is stupid, so they take the
fight to the Yorkies.
They win for a little bit, lose for a little
bit, win a little more, but then they start
losing again, and eventually Henry is captured,
and killed in prison by Richard Jr of York.
*R3* Once again, the last play in the set
is the spiciest one.
Edward IV of York is King, again, long story,
and his brother, Richard Jr, wants the hedgear

English: 
for himself, because it’s civil war allll
the way down.
So Richard jails his younger brother and drowns
him in a vat of wine, which makes Edward die
of shock, leaving the crown to his two kids,
with Richard as their regent.
Clearly his work isn’t done, so he convinces
the nobles that the princes are illegitimate,
so that he can get the crown from his dead
brother.
But then to seal the deal he has the kids
killed anyway because Loose Ends Sink Royal
Claims.
Richard takes the throne but rebellions break
out immediately, and the Earl of Richmond
leads an army against the king.
Before their battle, Richard is haunted by
the ghosts of all the people he’s killed.
He gives the Kingdom for a Horse speech, Richmond
kills him, and takes the throne as Henry 7.
England’s troubles are over, the Tudors
have arrived!
Now, in a stage performance, there’s not
much room to investigate the big-scale dynamics
of national conflict like you’d see in a
typical history book, but Shakespeare does
focus in on the nuances of Kingship, and how
their character affects the way they rule
a state.
That said, these plays can get flak for retroactive
Tudor Bias, especially in the case of Richard
3.
Historically, Richard was unremarkable, but
he was guilty of Being The Last King Before

Danish: 
for ham selv, fordi det er borgerkrig hele vejen igennem.
Så Richard sætter sin yngre bror i fængsel og drukner ham i et kar af vin, hvilket får Edward
til at dø af chok. Han efterlader kronen til sine 2 børn med Richard som deres værge.
Hans arbejde er åbenlyst ikke færdigt, så han overbeviser de adelige om at prinserne er uægte
så han kan få kronen fra sin døde bror.
Men for at gøre en ende på det, får han børnene dræbt, fordi løse ender sænker royale
krav.
Richard tager tronen, men oprør bryder ud med det samme og Jarlen af Richmond
fører en hør mod kongen.
Før slaget bliver Richard hjemsøgt af alle de mennesker han har slået ihjels genfærd.
Han giver kongeriget for en hest talen, Richard dræber ham og tager tronen som Henrik d.7
Englands trængsel er over, Tudorerne er ankommet.
På en sceneudførelse er det ikke megen plads til at undersøge de dybdegående
dynamikker af en national konflikt, som du vil se i en typisk historiebog, men Shakespeare
fokuserer på nuancerne ved kongeværdigheden  og hvordan karakterne påvirker den måde de hersker
over en stat
Men med det sagt kan de disse stykker anklages for retroaktivt Tudor partiskhed, især i Richard d.3s
tilfælde.
Historisk set var Richard ubetydelig, men han var skyldig i at være den sidste koge før

English: 
The Tudors, so clearly he just has to be awful.
As such, Shakespeare condemns him to a murder-frenzied
reputation, and shows rumors like the killing
of the young princes as fact.
The play explicitly sets up Richard as a Pure
Evil villain to contrast with the heroic arrival
of Shakespeare’s present Tudor dynasty.
So while Richard 3 makes for Great Drama,
it pulls double-duty as Political Propaganda.
And this isn’t the last time Shakespeare
fiddles with facts to make a narrative more
exciting, as MacBoy and Wife are fully rewritten
to be more murderous, and Cleopatra is…
alright, listen up BILL — *Rant Removed,
Profanity Limit Reached*.
But outside those three glaring exceptions,
Shakespeare tells his history pretty straight.
And the benefit of a multi-person drama is
that diverse perspectives can be portrayed,
especially with stories like Julius Caesar,
where competing rhetoric weighs the morality
of tyrannicide and civil war.
Shakespeare is at his best when characters
and ideas are in conflict onstage, and that’s
just as true for his Histories as it is for
his dramas.
Ignoring for a second how Shakespeare has
made life tricky for later historians, let’s

Danish: 
Tudorene, så det var klart at han måtte være forfædelig.
Shakespeare dømmer ham til at have et mordfyldt omdømme og viser rygter, som mordet
på de unge prinser, som fakta.
Skuespillet fremstiller Richard som en rendyrket ond skurk, som står i kontrast til det heroiske indtog
af Shakespeares samtidige Tudor dynasti.
Så mens Richard d.3 laver godt drama, laver den dobbelt op som politisk propaganda.
Og dette er ikke sidste gang at Shakespeare fifler med fakta for at skabe mere spændende
narrativ, som MacBoy og hans kone der er fuldt genskrevet til at være mere mordlystne og Cleopatra er...
okay nu lytter du BILL - *Rasen Fjernet, Skældsords Grænse Nået*
Men udover disse tre åbenlyse undtagelser fortæller Shakespeare sine forholdsvis sandt.
Og med fordelen med et multi-persons drama er, at forskellige perspektiver kan blive portrætteret,
især med historier som Julius Cæsar, hvor modstirende tankegane dømmer moraliteten
af tyranni og borgerkrig.
Shakespeare er i sit es, når karakterer og ideer er i konflikt på scenen og det er
lige så sandt for hans historiegengivelser som for hans dramaer.
Hvis man for et øjeblik ignorerer, hvordan gjorde livet svært for senere historikere, lad os

English: 
appreciate the effect he had on his contemporary
audience.
When history is distilled from its thousand-page
write-ups and presented in a way that people
can actually appreciate, suddenly an entire
share of the population can understand their
national history for probably the first time
ever.
This kind of storytelling was powerful then
and it’s powerful now, I mean, just think
of how much better you know revolutionary
American history since Hamilton came out.
Though Shakespeare didn’t intend to publish
his plays, because a script is lifeless without
actors, his friends in The King’s Men compiled
a folio of his works for distribution, which
is why we’re able to enjoy the brilliance
of his plays even today.
And that’s actually where some get hung
up on his story: Because surely, our talented
William couldn’t really have been some countryside
plebeian.
Only a gentleman of Refinement could possibly
have written these masterpieces.
So there’ve been theories that Shakespeare
was just a pen-name for Edward de Vere or
Sir Francis Bacon, or some secret guild of
writers.
But alas, Shakespeare was indeed a kid from
Stratford who got a decent Grammar-School
education and really enjoyed reading the classics.

Danish: 
værdsætte effekten han havde på hans samtidige publikum.
Når historie bliver sammenkogt fra dens tusind siders omfang og præsenteret på en måde, som folk
faktisk kan sætte pris på, kan en stor den af befolkningen pludselig forstå deres
egen national historie formentlig for første gang nogensinde.
Den form for historiefortælling var stærk dengang, og den er stærk nu, jeg mener, bare tænk
på hvor meget bedre du kender USA's revolutionstid siden Hamilton udkom.
Selvom Shakespeares hensigt ikke var at udgive hans skuespil, fordi et manuskript er livløst unden
skuespillere, men hans venner i The King's Men samlede et folio af hans værker for udgivelse, hvilket
er, hvorfor at vi i dag har mulighed for at nyde hans fantastiske stykker.
Og dette er her at nogle faktisk bliver mistroiske over for hans historie: Fordi det er klart at vores talentfulde
William kunne ikke have været en almen proletar.
Kun en raffineret gentleman kunne have skrevet disse mesterværker.
Så det har været teorier omkring, at Shakespeare bare var et pennenavn for Edward de Vere, eller
Sir Francis Bacon, eller et hemmeligt laug af forfattere.
Men ak, Shakespeare var helt bestemt en dreng fra Stratford, som fik en ordenlig gymnasium
uddannelse, og som virkelig kunne lide at klassikerne.

English: 
Perhaps the greatest Shakespeare Conspiracy
of all, dare I say, a Shakespearacy, is that
William could be smart without being rich.
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Danish: 
Måske er den største Shakespeare konspiration, må jeg være så fræk at sige, en Shakespearacy, er at
William kunne være klog uden at være rig.
Tusind tak for at se med!
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