* Lord Abergavenny is a character in William Shakespeare's play Henry VIII.

Nelson publicly encouraged this close bond with his officers and on 29 September 1798 described them as " We few, we happy few, we band of brothers ", echoing William Shakespeare's play Henry V. From this grew the notion of the Nelsonic Band of Brothers, a cadre of high-quality naval officers that served with Nelson for the remainder of his life.

Shakespeare's Henry IV plays and Henry V adapted and developed the material in an earlier play called the Famous Victories of Henry V, in which Sir John " Jockey " Oldcastle appears as a dissolute companion of the young Henry.

In addition to the anonymous The Famous Victories of Henry V, in which Oldcastle is Henry V's companion, Oldcastle's history is described in Raphael Holinshed's Chronicles, Shakespeare's usual source for his histories.

Shakespeare's desire to burlesque a hero of early English Protestantism could indicate Catholic sympathies, but Henry Brooke, 11th Baron Cobham was sufficiently sympathetic to Catholicism that in 1603, he was imprisoned as part of the Main Plot to place Arbella Stuart on the English throne, so if Shakespeare wished to use Oldcastle to embarrass the Cobhams, he seems unlikely to have done so on religious grounds.

Judging by the number of reprints, Hamlet appears to have been Shakespeare's fourth most popular play during his lifetime — only Henry IV Part 1, Richard III and Pericles eclipsed it.

William Shakespeare's play Henry IV, Part II contains a wry comment about people who claim to be related to royal families.

* In William Shakespeare's history play Henry IV, Part 2, Prince Harry refers to Murad as " Amurath " in Act V Scene 2 when he succeeds his father, King Henry IV, in 1413:

Glyndŵr has remained a notable figure in the popular culture of both Wales and England, portrayed in William Shakespeare's play Henry IV, Part 1 ( anglicised as Owen Glendower ) as a wild and exotic man ruled by magic and emotion (" at my nativity, The front of heaven was full of fiery shapes, Of burning cressets, and at my birth The frame and huge foundation of the earth Shaked like a coward.

Owain is perhaps best remembered outside Wales as the mysterious Welshman of ' Owen Glendower ' in Shakespeare's Henry IV, Part 1 who claims to be able to " call spirits from the vasty deep ," and proves later on that he can, at least, summon unearthly music.

He is also a character in Shakespeare's Henry IV, Part 1 and was the hero of James Hill's UK TV movie Owain, Prince of Wales, broadcast in 1983 in the early days of Channel 4 / S4C.

In 1874, German literary historian Karl Elze dated both The Tempest and Henry VIII — traditionally labeled as Shakespeare's last plays — to the years 1603 – 04.

His symbol, also the symbol of Wales, is the leek ( this largely comes from reference in Shakespeare's Henry V, VI 1 ).

* July 12 – Laurence Olivier's film Henry V, based on Shakespeare's play, opens in London.

Falstaff is an operatic commedia lirica in three acts by Giuseppe Verdi, adapted by Arrigo Boito from Shakespeare's plays The Merry Wives of Windsor and scenes from Henry IV.

Shakespeare's plays about the lives of kings, such as Richard III and Henry V, belong to this category, as do Christopher Marlowe's Edward II and George Peele's Famous Chronicle of King Edward the First.

Because Shakespeare was dead, the folio was compiled by John Heminges and Henry Condell ( fellow actors in Shakespeare's company ), and arranged into comedies, histories and tragedies.

At the siege of Harfleur, Henry utters one of Shakespeare's best-known speeches, beginning " Once more unto the breach, dear friends ..."

The idea, or possibility, of female centaurs was certainly known in early modern times, as evidenced by Shakespeare's King Lear, Act IV, Scene vi, ln. 124 – 125:

" In the 1951 season at Stratford, he gave a critically acclaimed performance and achieved stardom as Prince Hal in Shakespeare's Henry IV, Part 1 opposite Anthony Quayle's Falstaff.

One prototype for this version of the town drunk is supplied by Shakespeare's Falstaff, who appears in both parts of Henry IV and in The Merry Wives of Windsor.

The historical parallels in the succession of Richard II may not have been intended as political comment on the contemporary situation, with the weak Richard II analogous to Queen Elizabeth and an implicit argument in favour of her replacement by a monarch capable of creating a stable dynasty, but lawyers investigating John Hayward's historical work, The First Part of the Life and Raigne of King Henrie IV, a book partly derived from Shakespeare's Richard II, chose to make this connection.

He cited to this effect William Shakespeare's play The Merchant of Venice published in 1600 ( Act IV, sc.

From 1995 to 2000, Kaufman directed three independent films distributed in limited theatrical releases: Tromeo and Juliet, a loose parody of Shakespeare's play ; Terror Firmer, a slasher film loosely based on Kaufman's book All I Need to Know about Filmmaking I Learned from the Toxic Avenger, and an independent film sequel to The Toxic Avenger trilogy titled Citizen Toxie: The Toxic Avenger IV.

The dramatic reading in the mix towards the end of the song is a few lines of Shakespeare's King Lear ( Act IV, Scene VI ), which were added to the song direct from an AM radio Lennon was fiddling with that happened to be receiving the broadcast of the play on the BBC Third Programme.

The battle itself and many of the key people involved appear in Shakespeare's Henry IV, Part 1.

In Shakespeare's Merchant of Venice, Portia disguises herself as Balthazar in Act IV, scene i.

The play anachronistically places Sir John Falstaff, who had previously appeared in Shakespeare's plays about the medieval King Henry IV and set circa 1400, in the contemporary setting of the Elizabethan era, circa 1600.

Most critics consider Merry Wives to be one of Shakespeare's weaker plays, and the Falstaff of Merry Wives to be much inferior to the Falstaff of the two Henry IV plays.

He appears in William Shakespeare's plays Henry IV, Part 1 and Henry IV, Part 2 as John of Lancaster, and in Henry V and Henry VI, Part 1 as Duke of Bedford.

The entertainment includes a performance of Shakespeare's Henry IV, Part 1 by the Lord Chamberlain's Men.

The wording derives from a passage in Act IV, scene III of William Shakespeare's play Love's Labour's Lost, in which the King of Navarre says " Black is the badge of hell / The hue of dungeons and the school of night.

Margaret is a major character in William Shakespeare's three-part play Henry VI, Part 1, Part 2 and Part 3.

Many people are familiar with William Shakespeare's melodramatic version of events in Henry VI, Part 3, notably the murder of Edmund of Rutland, although Edmund is depicted as a small child, and following his unnecessary slaughter by Clifford, Margaret torments his father, York, before murdering him also.

" Kate, Bianca, Ruth and Sarah: Playing the Woman's Part in The Taming of the Shrew " in M. J. Collins ( editor ), Shakespeare's Sweet Thunder: Essays on the Early Comedies ( Newark: Associated University Presses, 1997 ), 176 – 215

" Shakespeare's Part in The Taming of the Shrew, PMLA, 5: 2 ( March, 1890 ), 201 – 278

* Thomas of Woodstock ( play ), also known as Richard II, Part One, 1590s play treating events prior to Shakespeare's play

Olivier's film incorporates a few scenes and speeches from Shakespeare's Henry VI, Part III and Cibber's rewrite of Shakespeare's play, but cuts entirely the characters of Queen Margaret and the Duchess of York, and Richard's soliloquy after seeing the ghosts of his victims.

Henry VI, Part 2 has the largest cast of all Shakespeare's plays, and is seen by many critics as the best of the Henry VI trilogy.

* John Crowne-The Misery of Civil War, adapted from Shakespeare's Henry VI, Part 2 and Part 3

In Shakespeare's Romeo and Juliet ( 1. 3. 19 ) it is observed of Juliet, " Come Lammas Eve at night shall she be fourteen.

The Bible contained 1, 028 marked passages, about a quarter of which appear in Shakespeare's works as either a theme, allusion, or quotation.

* November 1 – At Whitehall Palace in London, William Shakespeare's romantic comedy The Tempest is performed, perhaps for the first time.

Arion is mentioned in Act 1, scene ii of Shakespeare's Twelfth Night, where the Captain reassures Viola that her brother may still be alive after the shipwreck, for " like Arion on the dolphin's back, I saw him hold acquaintance with the waves.

In 1923, extracts were broadcast on BBC Radio 1, performed by the Cardiff Station Repertory Company as the second episode of a series of programs showcasing Shakespeare's plays, entitled Shakespeare Night.

" A Stylometric Comparison of Shakespeare's Titus Andronicus, Pericles and Julius Caesar ", Shakespeare Newsletter, 29: 1 ( Spring, 1979 ), 42

" Going by the Book: Classical Allusions in Shakespeare's Titus Andronicus ", Studies in Philology, 79: 1 ( Spring 1982 ), 62 – 77

" Shakespeare's Lost Source-Plays ", Modern Language Review, 49: 1 ( Spring, 1954 ), 293 – 307

* "' Caparisoned like the horse ': Tongue and Tail in Shakespeare's The Taming of the Shrew ", by LaRue Love Sloan ; Early Modern Literary Studies, 10: 2 ( September, 2004 ), 1 – 24.

Garson donated millions for the construction of the Greer Garson Theatre at both the Santa Fe University of Art and Design and at Southern Methodist University's Meadows School of the Arts on three conditions: 1 ) the stages be circular, 2 ) the premiere production be William Shakespeare's A Midsummer Night's Dream, and 3 ) they have large ladies ' rooms.

He appears as " Reignier " in William Shakespeare's play Henry VI, part 1.

Yorick is the deceased court jester whose skull is exhumed by the gravedigger in Act 5, Scene 1, of William Shakespeare's Hamlet.

A reference to L. J. Brutus is in the following lines from Shakespeare's play The Tragedie of Julius Cæsar, ( Cassius to Marcus Brutus, Act 1, Scene 2 ).

In Shakespeare's Taming of the Shrew, Petruchio compares Katherina " As Socrates ' Xanthippe or a worse " in Act 1 Scene 2.

Richard III concludes Shakespeare's first tetralogy ( also containing Henry VI parts 1 – 3 ).

" Topical Ideology: Witches, Amazons and Shakespeare's Joan of Arc ", English Literary Renaissance, 18: 1 ( Spring, 1988 ), 40 – 65