By figuratively asserting that the world is a stage, Shakespeare uses the points of comparison between the world and a stage to convey an understanding about how the world works and the lives of the people within it.

" Shakespeare also uses Italian in the banter between Lucentio and Tranio and in the greetings between Petruchio and Hortensio in the first act.

Shakespeare also uses the legal term, " quietus " ( final settlement ), in Sonnet 134, the last Fair Youth sonnet.

Shakespeare, on the other hand, uses two sets of twins, which, according to William Connolly, “ dilutes the force of situations .” One suggestion is that Shakespeare got this idea from Plautus ’ Amphitruo, in which both twin masters and twin slaves appear.

By writing his comedies in a combination of Elizabethan and Plautine styles, Shakespeare helps to create his own brand of comedy, one that uses both styles.

Also, Shakespeare uses the same kind of opening monologue so common in Plautus ’ s plays.

Shakespeare uses the image of Proteus to establish the character of his great royal villain Richard III in the play Henry VI, Part Three, in which the future usurper boasts:

The play also uses frequent references to Shakespeare and other writers to further its didactic messages.

Due to processing power limitations, the program uses a probabilistic model ( by using a random number generator or RNG ) instead of actually generating random text and comparing it to Shakespeare.

William Shakespeare, in Julius Caesar uses the spleen to describe Cassius ' irritable nature.

In Antony and Cleopatra Shakespeare uses several literary techniques to convey a deeper meaning about the differences between Rome and Egypt.

Shakespeare uses this technique in the final scenes of Julius Caesar.

Shakespeare uses lengthy verses, metaphors, similes, and soliloquies to reflect Richard's character as a man who likes to analyse situations rather than act upon them.

Traditionally, Shakespeare uses prose to distinguish social classes-the upper class generally speaks in poetry while the lower classes speak in prose.

The courtly scenes tend to be spoken in blank verse, whereas the commons tend to speak in prose, with fewer metaphors and less decorative language ( Shakespeare uses this contrast in several plays, such as The Two Gentlemen of Verona, where prose marks the servants out from their masters ).

Shakespeare uses both Latin and misused English to represent the attitudes and differences of the people of this era.

" Although the play is set in Illyria in the Balkans Shakespeare often uses local London references.

Shakespeare uses doggerel in The Comedy of Errors to help establish the intellectual and socioeconomic status of the Dromio twins ( III. i ).

William Shakespeare uses anacoluthon in his history plays such as in this ( Henry V IV iii 34-6 ):

Shakespeare later uses it in All's Well That Ends Well.

They then return to the Gate House, which after the Dissolution of the monasteries was put to many uses, with Shakespeare, Dr Johnson, Hogarth and Dickens all taking part in its story.

Researchers have applied a range of tests and techniques to determine the relative shares of Shakespeare and Fletcher in the play — Hallet Smith, in The Riverside Shakespeare, cites " metrical characteristics, vocabulary and word-compounding, incidence of certain contractions, kinds and uses of imagery, and characteristic lines of certain types "— in their attempts to distinguish the shares of Shakespeare and Fletcher in the play.

Pauline Kiernan argues that Shakespeare changed English drama forever in Hamlet because he " showed how a character's language can often be saying several things at once, and contradictory meanings at that, to reflect fragmented thoughts and disturbed feelings.

He also notes that Shakespeare became more proficient in reading the language as set out in Florio ’ s manuals, as evidenced by his increasing use of Florio and other Italian sources for writing the plays.

As a result, many phrases from this poem entered the Latin language, much as passages from Shakespeare and Alexander Pope have entered the English language.

Other possible sources are the anonymous play King Leir ( published in 1605 ); A Mirror for Magistrates ( 1574 ), by John Higgins ; The Malcontent ( 1604 ), by John Marston ; The London Prodigal ( 1605 ); Arcadia ( 1580 – 1590 ), by Sir Philip Sidney, from which Shakespeare took the main outline of the Gloucester subplot ; Montaigne's Essays, which were translated into English by John Florio in 1603 ; An Historical Description of Iland of Britaine, by William Harrison ; Remaines Concerning Britaine, by William Camden ( 1606 ); Albion's England, by William Warner, ( 1589 ); and A Declaration of egregious Popish Impostures, by Samuel Harsnett ( 1603 ), which provided some of the language used by Edgar while he feigns madness.

In the English language, the most famous and most successful tragedies are those of William Shakespeare and his Elizabethan contemporaries.

The playbill had a note reading " The manager, in announcing this play, adapted by N. H. Bannister from the language of Shakespeare alone, assures the public that every expression calculated to offend the ear, has been studiously avoided, and the play is presented for their decision with full confidence that it will merit approbation.

In 1970, Swiss dramatist Friedrich Dürrenmatt adapted the play into a German language comedy entitled Titus Andronicus: Komödie nach Shakespeare ( Titus Andronicus: A Comedy After Shakespeare ).

Secondly, Elam suggests that Shakespeare derived his Italian idioms and some of the dialogue from John Florio's Second Fruits, a bilingual introduction to Italian language and culture published in 1591.

Antoon's 1990 production at the New York Shakespeare Festival, starring Morgan Freeman and Tracey Ullman, which was set in the old west ; Bill Alexander's 1992 RSC production at the Barbican, starring Anton Lesser and Amanda Harris, in which the Induction was rewritten in modern language, and the play-within-the-play featured actors carrying scripts and continually forgetting lines ; Delia Taylor's 1999 production at the Clark Street Playhouse, which featured an all female cast, with Diane Manning as Petruchio and Elizabeth Perotti as Katherina ; Phyllida Lloyd's 2003 production at the Globe, again with an all female cast, starring Janet McTeer as Petruchio and Kathryn Hunter as Katherina ; Gregory Doran's 2003 RSC production at the Royal Shakespeare Theatre, where the play was presented with Fletcher's The Tamer Tamed as a two-part piece, with Jasper Britton and Alexandra Gilbreath ( playing both Katherina in The Shrew and Maria ( Petruchio's second wife ) in The Tamer Tamed ); Edward Hall's 2006 Propeller Company production at the Courtyard Theatre as part of the RSC's presentation of the Complete Works, featuring an all-male cast, with Dugald Bruce Lockhart as Petruchio and Simon Scardifield as Katherina ; and Conall Morrison's 2008 RSC production at the Royal Shakespeare Theatre, starring Stephen Boxer and Michelle Gomez.

Shakespeare emphasizes the differences between the two nations with his use of language and literary devices, which also highlight the different characterizations of the two countries by their own inhabitants and visitors.

Feminist theory, in respect to Antony and Cleopatra, often looks at Shakespeare ’ s use of language when describing Rome and Egypt.

Through his language, he tends to characterize Rome as “ masculine ” and Egypt as “ feminine .” According to Gayle Greene, “ the ‘ feminine ’ world of love and personal relationships is secondary to the ‘ masculine ’ world of war and politics, has kept us from realizing that Cleopatra is the play ’ s protagonist, and so skewed our perceptions of character, theme, and structure .” The highlighting of these starkly contrasting qualities of the two backdrops of Antony and Cleopatra, in both Shakespeare ’ s language and the words of critics, brings attention to the characterization of the title characters, since their respective countries are meant to represent and emphasize their attributes.

This is somewhat the equivalent of a modern historian trying to write in the English of Shakespeare ( although it is unheard of for a modern academic to write in Elizabethan English, whereas harking back to the language of the Classical past was rather common practice amongst Arrian's contemporaries ).

Evidently one of these manuscripts fell into William Shakespeare's hands, for that poet made use of it in his Henry VIII, and Samuel Weller Singer even said that Shakespeare " merely put Cavendish's language into verse.

In the English language, the works of Shakespeare have been a particularly fertile ground for textual criticism — both because the texts, as transmitted, contain a considerable amount of variation, and because the effort and expense of producing superior editions of his works have always been widely viewed as worthwhile.

William Shakespeare also indulged in similar activities using the English language but has never been accused of writing synthetic or plastic English.

Translating Shakespeare into Klingon proved problematic because Marc Okrand had not created a verb for " to be " when he developed the language.

A feudal naming habit is used sometimes in other languages: the French sometimes refer to Aristotle as " le Stagirite " from one spelling of his place of birth, and English speakers often refer to Shakespeare as " The Bard ", recognizing him as a paragon writer of the language.

Literary critic Paul Haeffner writes that Shakespeare had a great understanding of language and the potential of every word he used.