Other editions of book The Merry Wives of Windsor

The Merry Wives of Windsor is a comedy by William Shakespeare, first published in 1602, though believed to have been written prior to 1597. The Windsor of the play's title is a reference to Windsor Castle in Berkshire, England, and though nominally set in the reign of Henry IV, the play makes no pretence to exist outside contemporary Elizabethan era English middle class life. It features the character Sir John Falstaff, the fat knight who had previously been featured in Henry IV Parts 1 and 2. It has been adapted for the opera on several occasions.

The Merry Wives of Windsor is a comedy by William Shakespeare, first published in 1602, though believed to have been written prior to 1597. The Windsor of the play's title is a reference to Windsor Castle in Berkshire, England, and though nominally set in the reign of Henry IV, the play makes no pretence to exist outside contemporary Elizabethan era English middle class life. It features the character Sir John Falstaff, the fat knight who had previously been featured in Henry IV Parts 1 and 2. It has been adapted for the opera on several occasions. The play is nominally set in the early 15th century, during the same period as the Henry IV plays featuring Falstaff, but there is only one brief reference to this period, a line in which the character Fenton is said to have been one of Prince Hal's rowdy friends (he "kept company with the wild prince and Poins"). In all other respects, the play implies a contemporary setting of the Elizabethan era, c. 1600. Falstaff arrives in Windsor very short on money. He decides, to obtain financial advantage, that he will court two wealthy married women, Mistress Ford and Mistress Page. Falstaff decides to send the women identical love letters and asks his servants – Pistol and Nym – to deliver them to the wives. When they refuse, Falstaff sacks them, and, in revenge, the men tell Ford and Page (the husbands) of Falstaff's intentions. Page is not concerned, but the jealous Ford persuades the Host of the Garter Inn to introduce him to Falstaff as a 'Master Brook' so that he can find out Falstaff's plans. Meanwhile, three different men are trying to win the hand of Page's daughter, Anne Page. Mistress Page would like her daughter to marry Doctor Caius, a French physician, whereas the girl's father would like her to marry Master Slender. Anne herself is in love with Master Fenton, but Page had previously rejected Fenton as a suitor due to his having squandered his considerable fortune on high-class living. Hugh Evans, a Welsh parson, tries to enlist the help of Mistress Quickly (servant to Doctor Caius) in wooing Anne for Slender, but the doctor discovers this and challenges Evans to a duel. The Host of the Garter Inn prevents this duel by telling both men a different meeting place, causing much amusement for himself, Justice Shallow, Page and others. Evans and Caius decide to work together to be revenged on the Host. Key themes of Merry Wives include love and marriage, jealousy and revenge, social class and wealth. Explored with irony, sexual innuendo, sarcasm, and stereotypical views of classes and nationalities, these themes help to give the play something closer to a modern-day view than is often found in Shakespeare's plays. The play is centred on the class prejudices of middle-class England. The lower class is represented by characters such as Bardolph, Nym, and Pistol (Falstaff's followers), and the upper class is represented by Sir John Falstaff and Master Fenton. Shakespeare uses both Latin and misused English to represent the attitudes and differences of the people of this era. For example, much humor is derived from the exaggerated accents of Dr. Caius and Sir Hugh Evans. For example, Caius speaks in an exaggerated French dialect ; when he finds out he has married a page instead of Mistress Anne he exclaims that he has married "oon garcon", and Evans speaks in a thick Welsh accent to the point that Falstaff complains that he "makes fritters of English" (5,5,135) Much of the comedic effect of the play is derived from misunderstandings between characters. Other scholars say that the treatment of sexual jealousy in the play differs from its treatment in others, like Othello and A Winter's Tale. The jealousy of Leontes and Othello is dangerous and deep-seated, while Ford's jealousy is something to be mocked and laughed at.

Excerpt: ...Page. Not by my consent I promise you. The Gentleman is of no hauing, hee kept companie with the wilde Prince, and Pointz: he is of too high a Region, he knows too much: no, hee shall not knit a knot in his fortunes, with the finger of my substance: if he take her, let him take her simply: the wealth I haue waits on my consent, and my consent goes not that way Ford. I beseech you heartily, some of you goe home with me to dinner: besides your cheere you shall haue sport, I will shew you a monster: Mr Doctor, you shal go, so shall you Mr Page, and you Sir Hugh Shal. Well, fare you well: We shall haue the freer woing at Mr Pages Cai. Go home Iohn Rugby, I come anon Host. Farewell my hearts, I will to my honest Knight Falstaffe, and drinke Canarie with him Ford. I thinke I shall drinke in Pipe-wine first with him, Ile make him dance. Will you go Gentles? All. Haue with you, to see this Monster. Scena Tertia. Enter M.Ford, M.Page, Seruants, Robin, Falstaffe, Ford, Page, Caius, Euans. Mist.Ford. What Iohn, what Robert M.Page. Quickly, quickly: Is the Buck-basket - Mis.Ford. I warrant. What Robin I say Mis.Page. Come, come, come Mist.Ford. Heere, set it downe M.Pag. Giue your men the charge, we must be briefe M.Ford. Marrie, as I told you before (Iohn & Robert) be ready here hard-by in the Brew-house, & when I sodainly call you, come forth, and (without any pause, or staggering) take this basket on your shoulders: y done, trudge with it in all hast, and carry it among the Whitsters in Dotchet Mead, and there empty it in the muddie ditch, close by the Thames side M.Page. You will do it? M.Ford. I ha told them ouer and ouer, they lacke no direction. Be gone, and come when you are call'd M.Page. Here comes little Robin Mist.Ford. How now my Eyas-Musket, what newes with you? Rob. My Master. Sir Iohn is come in at your backe doore (Mistris. Ford, and requests your company M.Page. You litle Iack-a-lent,...

William Shakespeare is widely considered the greatest writer in the history of the English language, so renowned and respected that the time period in which he lived is often known as the Age of Shakespeare. Indeed, his genius is questioned only by those who doubt the authenticity of his authorship of timeless classics like Romeo and Juliet. As Ben Jonson once put it, "He was not of an age, but for all time.” No other writer, in English or in any other language, can rival the appeal that Shakespeare has enjoyed around the world, and nobody’s had a bigger influence.

In Shakespeare's bawdy bedroom farce, the dissolute Sir John Falstaff seeks to restore his declining fortunes by seducing the wife of a wealthy Windsor citizen. His ambitions go awry when two of his intended victims realize what Falstaff is up to and seek to lure him into a trap of their own. The Merry Wives of Windsor explores greed, envy and revenge, yet ends on a note of forgiveness. Shakespeare weaves an intricate plot, full of disguises and double-dealing, resulting in sparkling comedy. Falstaff ranks as one of Shakespeare's greatest characters, a man whose obvious flaws make him thoroughly human and all the more likeable.